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"content": "\u003cp>It’s hard, sometimes, to be a movie critic. A critic is supposed to be objective; discerning and shrewd, sure, but objective. He or she should know what a moviegoer will be expecting out of a movie when they buy a ticket, and he or she should judge the movie on how well it meets or exceeds those expectations. But when half the charm of a movie is in the story of the actors and filmmakers themselves, it can be hard for a critic to know what somebody with little prior knowledge of the film will think.\u003c/p>\n\u003cp>Such is the case with \u003cb>Baghead\u003c/b>, the newest release from writers/directors/producers Mark and Jay Duplass. \u003cb>Baghead\u003c/b> is the story of four struggling (read: failing) actors who go to the woods for a weekend to try and write a screenplay that will make them all famous. In the beginning, they drink and laugh and crush on each other, but when they start seeing a man with a bag over his head outside their windows, things take a turn for the creepy.\u003c/p>\n\u003cp>I can say with confidence that, even standing on its own, \u003cb>Baghead\u003c/b> is a good movie. The storyline moves effortlessly from being a bumbling comedy about four nobodies in a clumsy, frantic love quadrangle to being legitimately scary. The camera work — the entire movie was filmed on a camcorder, and it shows — lends a compelling sense of realism to the film, and the performances are spot on and tremendously natural. But that’s where \u003cb>Baghead\u003c/b>‘s backstory starts to become entangled with the film itself: the performances are natural because the actors are playing themselves. Because \u003cb>Baghead\u003c/b> is not really a horror film about a guy with a bag on his head; it’s a meta-film, about the difficulties of making an independent film, and of being poor and ignored in a world of the rich and famous. \u003cb>Baghead\u003c/b> is a movie made by guys nobody knows, starring actors nobody knows, about actors nobody knows making a movie nobody will see.\u003c/p>\n\u003cp>The film gets even more meta when you take into account the fact that the movie the characters are trying to write is a horror film about a guy with a bag on his head, and that the Baghead guy they thought they saw is actually a friend of theirs, who is working in tandem with one of the characters to make a movie about four people being stalked by a guy with a bag on his head. So, let’s reiterate: The Duplass brothers are indie filmmakers who made an indie film about actors trying to write an indie film, but who are actually the subject of another indie film without knowing it. Get it?\u003c/p>\n\u003cp>I did, but, then, I read the press release, so I knew who the filmmakers were and what the goal of their movie was. Though I enjoyed trying to pick my way through the self-referential mess that is \u003cb>Baghead\u003c/b>, I found myself wondering if people who didn’t know that backstory would have any idea what was going on. My ultimate answer to myself was yes, the movie does a good enough job explaining itself that you don’t need to know all about it to enjoy it, or even to appreciate the levels of filmmaking commentary that exist within it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Baghead\u003c/b> is a movie that has a bit to say, about the benefits and downfalls of guerilla filmmaking, but it’s also an exaltation of the independent style, with a camera that never stays quite still and four terrific performances from four actors you may never see again. It’s fun, it’s funny, it’s just a little scary, and it ends exactly the way it should. Though hidden at first from the untrained eye, \u003cb>Baghead\u003c/b> reveals itself to be a love letter to the indie film, and it?s a joyous thing to watch.\u003c/p>\n\n",
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"content": "\u003cp>\u003cb>Introduction\u003c/b>\u003c/p>\n\u003cp>Neo-Benshi is the practice of producing live alternate voice-overs for movies. … \u003ca href=\"http://en.wikipedia.org/wiki/Benshi\" target=\"offsite\" rel=\"noopener\">Benshi\u003c/a> is a Japanese word referring to the oral “interpreter” who performed a live narrative accompaniment to silent movies, in lieu of showing intertitles with dialogue … Currently, it is finding a resurgence among experimental poets in the San Francisco Bay area and Los Angeles.\u003c/p>\n\u003cp>The Wikipedia entry for “\u003ca href=\"http://en.wikipedia.org/wiki/Neo-Benshi\" target=\"offsite\" rel=\"noopener\">Neo-Benshi\u003c/a>“\u003c/p>\n\u003cp>\u003cb>Scene One\u003c/b>\u003c/p>\n\u003cp>It is two and a half years ago. Dennis Somera has just invited his email list to a performance of a new art form called “Neo-Benshi” at California College of Arts, suspiciously (to me) performed by a passel of experimental poets. Dennis is known among a fairly limited group of people as the poet who shaves his head onstage: a signature piece he’s been performing for years. Since he has a full head of beautiful, thick, black hair, which seems to grow at a rate of about two inches a month, this is a dramatic thing. This is not all there is to Dennis’s performances. When he sends out his infrequent calls to come see him stutter and pun, you simply go.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dennis riffs off of \u003cb>West Side Story\u003c/b> the only performer to dip a toe into colonization. Others choose more obscure films; it is as I thought: another excuse for experimental poets to deconstruct all the meaning out of formerly integral things. And yet, and yet. They are so funny about it. We’ve all seen \u003cb>Mystery Science Theater\u003c/b>. We’re none of us that funny or we’d all be doing it, wouldn’t we? We didn’t realize how much of the humor lies inherent in the tension between live dialogue and recorded moving image; between a familiar flick, and the dry, incredibly sophisticated commentary a people raised on film can make. For the first time, I leave a poetry event wanting more.\u003c/p>\n\u003cp>\u003cb>Scene Two\u003c/b>\u003c/p>\n\u003cp>It is a week and a half ago. Jaime Cortez has just invited his posse to \u003ca href=\"http://www.atasite.org/calendar/?x=2914\" target=\"offsite\" rel=\"noopener\">a performance in the series “Neo-Benshi Cabaret”\u003c/a> at Artists’ Television Access, organized by Konrad Steiner and Irina Leimbacher of kino21. Jaime is a visual artist and fiction writer — a narrativist in word and image. The other performers are a comfortable interleaving of poets and pluralists. Thus, the cabaret has more diverse purposes than a demonstration of poetic sensibility and post-structural acrobatics, although those are here, too.\u003c/p>\n\u003cp>The audience has come to laugh and, once given a taste of it, isn’t much inclined to do otherwise. Poetic ruminations over the top of Bergman, \u003cb>Jeremiah Johnson\u003c/b>, and \u003cb>Mary Poppins\u003c/b> are praised over cigarettes, but get less traction on the spot. Happier is the reception of a poetic \u003cb>Logan’s Run\u003c/b> and a Charlie Brown \u003cb>Who’s Afraid of Virginia Woolf?\u003c/b>. But the evening belongs to Douglas and Nicole Kearney’s Rent-An-Oriental \u003cb>Indiana Jones\u003c/b> and Cortez’s Clinton/Obama \u003cb>Guess Who’s Coming to Dinner?\u003c/b>.\u003c/p>\n\u003cp>This is the leading edge of a new art form: what in another performance medium would be rather obvious racial satire, acquires an astonishing power in the duel between live performance and familiar sequence. Here, my dears, is our opportunity to make our failing flailing away at intransigent stereotypes strong and fresh again. Forget the pointless lily-gilding of adding poetry to filmic silences. It will be a long time of power-picking out the obvious before Neo-Benshi is ready to get subtle. My gods, this is an art form with potential mass appeal.\u003c/p>\n\u003cp>Hold on to your hats. There’s a new sheriff in town.\u003c/p>\n\u003cp>\u003cb>Scene Three\u003c/b>\u003c/p>\n\u003cp>Dennis Somera is one of two featured at The (New) Reading Series at 21 Grand. His technology has failed so far, the overhead projector sharing the alternative formatting of his written word burning out its motor before our very eyes. He’s a little flustered and unprepared. He moves on to the video projector and asks the audience to close their eyes, feel their bodies, and be in the moment. Smartass.\u003c/p>\n\u003cp>The moment I hear him begin chanting “common ground/comin’ around,” I know some head shaving is about to start. The audience obediently keeps its eyes closed and therefore misses most of the performance in which the previous reader, Anna Moschovakis, cuts off, then shaves the equally thick, glossy, and long hair of Dennis’s friend? cousin? who is wearing a white shirt upon which is projected the head-shaving/bootcamp sequence from \u003cb>Full Metal Jacket\u003c/b>.\u003c/p>\n\u003cp>Every time that I’ve seen this performance over the years, Dennis adds another layer. Tonight, it is so loaded down, it is almost done; surely it is done; finally it’s in its final form? There’s the play on words, the endless chanting, the occasional throw-in of related phrases, the seated (sometimes kneeling) man losing his hair to a woman with clippers, the mirroring of Dennis at the mic in his white shirt and Dennis’s proxy on the carpet in his white shirt, the audience with its eyes wide shut, the allusion to their familiarity with New Ageiness, and finally, the projection of a familiar film that turns this years-old piece, suddenly, into a Benshi-piece. Is this the straw that breaks its back?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.kino21.org/\" target=\"offsite\" rel=\"noopener\">For more information\u003c/a> and a schedule of monthly performances at ATA, visit kino21.org. For \u003ca href=\"http://newyipes.blogspot.com/\" target=\"offsite\" rel=\"noopener\">The (New) Reading Series\u003c/a> schedule at 21 Grand visit newyipes.blogspot.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dennis riffs off of \u003cb>West Side Story\u003c/b> the only performer to dip a toe into colonization. Others choose more obscure films; it is as I thought: another excuse for experimental poets to deconstruct all the meaning out of formerly integral things. And yet, and yet. They are so funny about it. We’ve all seen \u003cb>Mystery Science Theater\u003c/b>. We’re none of us that funny or we’d all be doing it, wouldn’t we? We didn’t realize how much of the humor lies inherent in the tension between live dialogue and recorded moving image; between a familiar flick, and the dry, incredibly sophisticated commentary a people raised on film can make. For the first time, I leave a poetry event wanting more.\u003c/p>\n\u003cp>\u003cb>Scene Two\u003c/b>\u003c/p>\n\u003cp>It is a week and a half ago. Jaime Cortez has just invited his posse to \u003ca href=\"http://www.atasite.org/calendar/?x=2914\" target=\"offsite\" rel=\"noopener\">a performance in the series “Neo-Benshi Cabaret”\u003c/a> at Artists’ Television Access, organized by Konrad Steiner and Irina Leimbacher of kino21. Jaime is a visual artist and fiction writer — a narrativist in word and image. The other performers are a comfortable interleaving of poets and pluralists. Thus, the cabaret has more diverse purposes than a demonstration of poetic sensibility and post-structural acrobatics, although those are here, too.\u003c/p>\n\u003cp>The audience has come to laugh and, once given a taste of it, isn’t much inclined to do otherwise. Poetic ruminations over the top of Bergman, \u003cb>Jeremiah Johnson\u003c/b>, and \u003cb>Mary Poppins\u003c/b> are praised over cigarettes, but get less traction on the spot. Happier is the reception of a poetic \u003cb>Logan’s Run\u003c/b> and a Charlie Brown \u003cb>Who’s Afraid of Virginia Woolf?\u003c/b>. But the evening belongs to Douglas and Nicole Kearney’s Rent-An-Oriental \u003cb>Indiana Jones\u003c/b> and Cortez’s Clinton/Obama \u003cb>Guess Who’s Coming to Dinner?\u003c/b>.\u003c/p>\n\u003cp>This is the leading edge of a new art form: what in another performance medium would be rather obvious racial satire, acquires an astonishing power in the duel between live performance and familiar sequence. Here, my dears, is our opportunity to make our failing flailing away at intransigent stereotypes strong and fresh again. Forget the pointless lily-gilding of adding poetry to filmic silences. It will be a long time of power-picking out the obvious before Neo-Benshi is ready to get subtle. My gods, this is an art form with potential mass appeal.\u003c/p>\n\u003cp>Hold on to your hats. There’s a new sheriff in town.\u003c/p>\n\u003cp>\u003cb>Scene Three\u003c/b>\u003c/p>\n\u003cp>Dennis Somera is one of two featured at The (New) Reading Series at 21 Grand. His technology has failed so far, the overhead projector sharing the alternative formatting of his written word burning out its motor before our very eyes. He’s a little flustered and unprepared. He moves on to the video projector and asks the audience to close their eyes, feel their bodies, and be in the moment. Smartass.\u003c/p>\n\u003cp>The moment I hear him begin chanting “common ground/comin’ around,” I know some head shaving is about to start. The audience obediently keeps its eyes closed and therefore misses most of the performance in which the previous reader, Anna Moschovakis, cuts off, then shaves the equally thick, glossy, and long hair of Dennis’s friend? cousin? who is wearing a white shirt upon which is projected the head-shaving/bootcamp sequence from \u003cb>Full Metal Jacket\u003c/b>.\u003c/p>\n\u003cp>Every time that I’ve seen this performance over the years, Dennis adds another layer. Tonight, it is so loaded down, it is almost done; surely it is done; finally it’s in its final form? There’s the play on words, the endless chanting, the occasional throw-in of related phrases, the seated (sometimes kneeling) man losing his hair to a woman with clippers, the mirroring of Dennis at the mic in his white shirt and Dennis’s proxy on the carpet in his white shirt, the audience with its eyes wide shut, the allusion to their familiarity with New Ageiness, and finally, the projection of a familiar film that turns this years-old piece, suddenly, into a Benshi-piece. Is this the straw that breaks its back?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.kino21.org/\" target=\"offsite\" rel=\"noopener\">For more information\u003c/a> and a schedule of monthly performances at ATA, visit kino21.org. For \u003ca href=\"http://newyipes.blogspot.com/\" target=\"offsite\" rel=\"noopener\">The (New) Reading Series\u003c/a> schedule at 21 Grand visit newyipes.blogspot.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>What if your childhood friend called you up out of the blue after years, maybe decades, of not being in touch? What if this friend was the same person who once convinced you to wear your sister’s wig to school because it made you look like the guy on the cover of \u003cb>Frampton Comes Alive\u003c/b>? And was the person responsible for coining an unfortunate nickname that it took you years to shake? That friend is Alby (Matt McGrath), the 35-year-old little boy lost in David Munro’s feature film debut, \u003cb>Full Grown Men\u003c/b>. The person on the receiving end of that call (and numerous childhood pranks) is Elias (Judah Friedlander), who has since grown up to become a gifted special ed teacher.\u003c/p>\n\u003cp>At the start of the film, as scrawled illustrations on torn-out notebook paper float through a fluffy white cloud and an off-kilter tune is plonked out on toy piano, a wistful Alby fondly remembers his boyhood. “If I could live in the past, I’d be on a plane tomorrow,” he says, as though the past were a place that he can somehow still visit, given the right directions. Very much like a child, Alby doesn’t seem to understand how time works, that people grow and change as the years pass. He lives in an eternal present, but seen from a perspective frozen sometime around the age of 12 or 13.\u003c/p>\n\u003cp>In Alby’s actual present, he has walked out on his wife and son and returned to his childhood home to live with his wisp of a mother, whose medicated grasp on the present is also tenuous at best. How will he celebrate losing, his wife asks, “the best thing that ever happened to him?” With a trip to Diggityland, an aging amusement park somewhere in Florida, that’s how. Hence the phone call to Elias and a hastily conceived road trip.\u003c/p>\n\u003cp>Like numerous Adam Sandler and Will Ferrell characters before him, Alby is a boy trapped in a man’s body. But unlike those characters (and actors), who mine arrested development for manic pratfalls and warp the world to conform to their vision of it, Alby, as played by Matt McGrath, is scarily believable. Perhaps it’s the way McGrath folds his body into a little ball, looking sad, small and vulnerable, or the expression on his face as he tells a van-full of special needs kids an incredibly inappropriate story.\u003c/p>\n\u003cp>We all know this guy. He’s the life of the party who lacks the facility to understand that the party is over and everyone else has long gone. As someone who has resisted becoming a “grown up” well into my fourth decade, I certainly understand Alby, and probably know a few borderline Albys, but I still have to wonder — where do these guys come from? Perhaps these types of men were born without the filter that most of us possess, or have developed, that tells us when a joke is about to go too far, or that we’re about to hurt feelings or reveal bad parts of ourselves that should remain hidden. Sadly, the fact that most have this filter means we HAVE become the dreaded grown-ups we’ve tried so hard to avoid.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s a risky gambit to make a film around as uncomfortable a character as Alby, who spends his time slowly working the last nerve of just about anyone he encounters. When he is ejected from his home or his friend’s car or pretty much anywhere he goes, we root not for him, but for the people who kick him to the curb. Does Alby understand what he’s doing to the people around him? Or is it that, as Amy Sedaris says in her brief cameo, some people think they’re funny when they’re really not?\u003c/p>\n\u003cp>What’s great about \u003cb>Full Grown Men\u003c/b>, other than the dreamy saturated colors and quirky fifties modern buildings and roadside attractions, is how it turns the buddy movie/road picture on its side. Maybe Alby isn’t the hero, perhaps the film belongs more to the sidekick, Elias, who has become self-aware enough to know when a trap is a trap, and that Alby is his own special trap. Does Alby learn anything? Even though he eventually gives up his baggage — a suitcase full of action figures — it’s unclear whether his strange journey has taught him anything that he can use back in the real world.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Full Grown Men\u003c/b> opens in San Francisco Friday, July 25, 2008.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What if your childhood friend called you up out of the blue after years, maybe decades, of not being in touch? What if this friend was the same person who once convinced you to wear your sister’s wig to school because it made you look like the guy on the cover of \u003cb>Frampton Comes Alive\u003c/b>? And was the person responsible for coining an unfortunate nickname that it took you years to shake? That friend is Alby (Matt McGrath), the 35-year-old little boy lost in David Munro’s feature film debut, \u003cb>Full Grown Men\u003c/b>. The person on the receiving end of that call (and numerous childhood pranks) is Elias (Judah Friedlander), who has since grown up to become a gifted special ed teacher.\u003c/p>\n\u003cp>At the start of the film, as scrawled illustrations on torn-out notebook paper float through a fluffy white cloud and an off-kilter tune is plonked out on toy piano, a wistful Alby fondly remembers his boyhood. “If I could live in the past, I’d be on a plane tomorrow,” he says, as though the past were a place that he can somehow still visit, given the right directions. Very much like a child, Alby doesn’t seem to understand how time works, that people grow and change as the years pass. He lives in an eternal present, but seen from a perspective frozen sometime around the age of 12 or 13.\u003c/p>\n\u003cp>In Alby’s actual present, he has walked out on his wife and son and returned to his childhood home to live with his wisp of a mother, whose medicated grasp on the present is also tenuous at best. How will he celebrate losing, his wife asks, “the best thing that ever happened to him?” With a trip to Diggityland, an aging amusement park somewhere in Florida, that’s how. Hence the phone call to Elias and a hastily conceived road trip.\u003c/p>\n\u003cp>Like numerous Adam Sandler and Will Ferrell characters before him, Alby is a boy trapped in a man’s body. But unlike those characters (and actors), who mine arrested development for manic pratfalls and warp the world to conform to their vision of it, Alby, as played by Matt McGrath, is scarily believable. Perhaps it’s the way McGrath folds his body into a little ball, looking sad, small and vulnerable, or the expression on his face as he tells a van-full of special needs kids an incredibly inappropriate story.\u003c/p>\n\u003cp>We all know this guy. He’s the life of the party who lacks the facility to understand that the party is over and everyone else has long gone. As someone who has resisted becoming a “grown up” well into my fourth decade, I certainly understand Alby, and probably know a few borderline Albys, but I still have to wonder — where do these guys come from? Perhaps these types of men were born without the filter that most of us possess, or have developed, that tells us when a joke is about to go too far, or that we’re about to hurt feelings or reveal bad parts of ourselves that should remain hidden. Sadly, the fact that most have this filter means we HAVE become the dreaded grown-ups we’ve tried so hard to avoid.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s a risky gambit to make a film around as uncomfortable a character as Alby, who spends his time slowly working the last nerve of just about anyone he encounters. When he is ejected from his home or his friend’s car or pretty much anywhere he goes, we root not for him, but for the people who kick him to the curb. Does Alby understand what he’s doing to the people around him? Or is it that, as Amy Sedaris says in her brief cameo, some people think they’re funny when they’re really not?\u003c/p>\n\u003cp>What’s great about \u003cb>Full Grown Men\u003c/b>, other than the dreamy saturated colors and quirky fifties modern buildings and roadside attractions, is how it turns the buddy movie/road picture on its side. Maybe Alby isn’t the hero, perhaps the film belongs more to the sidekick, Elias, who has become self-aware enough to know when a trap is a trap, and that Alby is his own special trap. Does Alby learn anything? Even though he eventually gives up his baggage — a suitcase full of action figures — it’s unclear whether his strange journey has taught him anything that he can use back in the real world.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Full Grown Men\u003c/b> opens in San Francisco Friday, July 25, 2008.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In \u003cb>Strangers\u003c/b>, the San Francisco Jewish Film Festival’s opening night feature, directors Erez Tadmor and Guy Nattiv tell a story as old as \u003cb>Romeo and Juliet\u003c/b> with energy and spontaneity.\u003c/p>\n\u003cp>Rana and Eyal meet cute, accidentally switching identical backpacks on the subway in Berlin. She is a Palestinian living in France, he is Israeli, and they’re both in Berlin for the World Cup finals. They meet to exchange backpacks and are immediately attracted to each other.\u003c/p>\n\u003cp>Exploring whether love can overcome political and social barriers is a familiar premise, but \u003cb>Strangers\u003c/b> covers the territory in a fresh way. The actors, working mostly without a script, improvised their dialogue, which makes the characters feel less like pawns the filmmakers are moving around to make a point, with Rana meant to represent all Palestinians and Eyal supposed to speak for all Israelis.\u003c/p>\n\u003cp>Their flirtation, conducted in English, is awkward and charming: he reads her poetry in Hebrew and then translates it for her; they play soccer in the room where they are staying in Berlin; and they mug for pictures on her cell phone at a soccer match.\u003c/p>\n\u003cp>But in one of the film’s best scenes, when the two are having a drink, they realize their infatuation with one another cannot shut out the world. He has learned that Hezbollah has kidnapped two Israeli soldiers, and we can feel the tension growing and the flirtation deflating as the couple try to navigate the politics of the situation. The attraction doesn’t disappear, but as the discussion ends — the two agree they probably won’t find a solution to a generations-old conflict in one night — you can see the couple beginning to recognize there is no way to avoid their incredibly loaded personal and political histories.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>History and culture can’t be ignored, but \u003cb>Strangers\u003c/b> does offer hope for looking beyond them to see that societies are not monolithic, but made up of individuals.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The San Francisco Jewish Film Festival runs July 24 through August 11, 2008 at various locations around the bay. \u003cb>Strangers\u003c/b> opens the festival at the Castro Theater on Thursday, July 24 at 8pm. For\u003ca href=\"http://sfjff.org/\" target=\"offsite\" rel=\"noopener\"> tickets and information\u003c/a> visit sfjff.org\u003c/p>\n\n",
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"content": "\u003cp>Writer/director Fatih Akin’s \u003cb>The Edge of Heaven\u003c/b> (\u003cb>Auf Der Anderen Seite\u003c/b>) loses a lot in translation. The winner of the Best Screenplay Award at the 2007 Cannes Film Festival, \u003cb>The Edge of Heaven\u003c/b> tells the interlocking stories of three families whose journeys take them from Turkey to Germany and back. Much of the film focuses on the interplay between the two cultures, and deftly uses language to indicate the generational and societal gaps between parents and children (in one family, Ali, the boorish father, speaks mostly Turkish, and his refined, professor son Nejat speaks mostly German). Unfortunately for the American viewer unfamiliar with German and Turkish, it is often difficult to identify which language each character is speaking. Every character in the movie speaks at least two languages, and when most switch rapidly between one and the other, the nuance of who is speaking what language in which situation gets lost.\u003c/p>\n\u003cp>Despite the struggle foreign viewers will have to grasp the richness of the film’s linguistic interaction, \u003cb>The Edge of Heaven\u003c/b> still paints a vivid picture of a world in transition and a people at a crossroads. It’s a film of intersections between six lives, two generations, and two very different cultures. The characters are often searching for each other, looking in all the wrong places while the person they seek passes right by them, unrecognized. The story also weaves together the lives of parents and children, exploring the way people born into different eras can grow to resent the values of the other, and the way a mother’s attempts to protect her child from the truth can backfire in unforeseen ways.\u003c/p>\n\u003cp>But the most important intersection behind \u003cb>The Edge of Heaven\u003c/b> is the one between the culture of the West and the culture of the Middle East, as embodied in the sociopolitical turmoil of modern-day Turkey. Amid talk of Turkey joining the European Union, gangs of liberal, vaguely socialist revolutionaries are rounded up and jailed by Turkish police. The unrest is both generational and cultural: the movie’s young Turks consider their country to be overly nationalistic, almost fascist, while Turkey’s adult generation looks with trepidation upon the increasing individualism and Westernization of its children. At least, that’s what appears to be happening; the movie never goes into detail about the politics behind the struggle, instead presenting us with the violent protests and leaving us to determine who’s on what side.\u003c/p>\n\u003cp>As a study, then, of foreignness, societal change, and a country caught between two worlds, \u003cb>The Edge of Heaven\u003c/b> is a good but not a great piece. The information it presents is captivating, but it doesn’t present enough. Instead, writer/director Akin tries too hard to infuse the film with cleverness, showing us every time one character just misses finding the person he or she is looking for. It’s a tool that he overuses and that feels like an old trick anyway, and it detracts from the true drama of the film.\u003c/p>\n\u003cp>As a movie, \u003cb>The Edge of Heaven\u003c/b> is similarly spotty. At times, the movie dazzles with its cinematography and its performances — Hanna Schygulla provides a memorable minute of silent anguish as the mother of a daughter who has just died. At other times, however, the narrative runs into dead ends and characters are forced to behave in ways that don’t make sense. This is especially problematic at the beginning of the film, which feels as if it is meant to be a major part of the storyline but is in reality more of a prologue. The script dashes through the meeting of an old Turkish man (played by Tunçel Turkiz) and a prostitute (Nursel Köse), pauses quickly to show us that the old man’s son (Baki Davrak) and the prostitute are falling in love, then kills the prostitute by the 28th minute. For a viewer knowing little about the movie, and thinking that these characters are going to be central to the film’s plot, the velocity of the moment is startling and unpleasant.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A good study of character, of culture, and of change, \u003cb>The Edge of Heaven\u003c/b> taught me some things about Turkey that I didn’t know. But, in the end, rather than make a strong claim about Turkey’s political situation, the film contents itself with clever narrative moments, and doesn’t say much at all. At least, I don’t think it does; maybe that got lost in translation, too.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Writer/director Fatih Akin’s \u003cb>The Edge of Heaven\u003c/b> (\u003cb>Auf Der Anderen Seite\u003c/b>) loses a lot in translation. The winner of the Best Screenplay Award at the 2007 Cannes Film Festival, \u003cb>The Edge of Heaven\u003c/b> tells the interlocking stories of three families whose journeys take them from Turkey to Germany and back. Much of the film focuses on the interplay between the two cultures, and deftly uses language to indicate the generational and societal gaps between parents and children (in one family, Ali, the boorish father, speaks mostly Turkish, and his refined, professor son Nejat speaks mostly German). Unfortunately for the American viewer unfamiliar with German and Turkish, it is often difficult to identify which language each character is speaking. Every character in the movie speaks at least two languages, and when most switch rapidly between one and the other, the nuance of who is speaking what language in which situation gets lost.\u003c/p>\n\u003cp>Despite the struggle foreign viewers will have to grasp the richness of the film’s linguistic interaction, \u003cb>The Edge of Heaven\u003c/b> still paints a vivid picture of a world in transition and a people at a crossroads. It’s a film of intersections between six lives, two generations, and two very different cultures. The characters are often searching for each other, looking in all the wrong places while the person they seek passes right by them, unrecognized. The story also weaves together the lives of parents and children, exploring the way people born into different eras can grow to resent the values of the other, and the way a mother’s attempts to protect her child from the truth can backfire in unforeseen ways.\u003c/p>\n\u003cp>But the most important intersection behind \u003cb>The Edge of Heaven\u003c/b> is the one between the culture of the West and the culture of the Middle East, as embodied in the sociopolitical turmoil of modern-day Turkey. Amid talk of Turkey joining the European Union, gangs of liberal, vaguely socialist revolutionaries are rounded up and jailed by Turkish police. The unrest is both generational and cultural: the movie’s young Turks consider their country to be overly nationalistic, almost fascist, while Turkey’s adult generation looks with trepidation upon the increasing individualism and Westernization of its children. At least, that’s what appears to be happening; the movie never goes into detail about the politics behind the struggle, instead presenting us with the violent protests and leaving us to determine who’s on what side.\u003c/p>\n\u003cp>As a study, then, of foreignness, societal change, and a country caught between two worlds, \u003cb>The Edge of Heaven\u003c/b> is a good but not a great piece. The information it presents is captivating, but it doesn’t present enough. Instead, writer/director Akin tries too hard to infuse the film with cleverness, showing us every time one character just misses finding the person he or she is looking for. It’s a tool that he overuses and that feels like an old trick anyway, and it detracts from the true drama of the film.\u003c/p>\n\u003cp>As a movie, \u003cb>The Edge of Heaven\u003c/b> is similarly spotty. At times, the movie dazzles with its cinematography and its performances — Hanna Schygulla provides a memorable minute of silent anguish as the mother of a daughter who has just died. At other times, however, the narrative runs into dead ends and characters are forced to behave in ways that don’t make sense. This is especially problematic at the beginning of the film, which feels as if it is meant to be a major part of the storyline but is in reality more of a prologue. The script dashes through the meeting of an old Turkish man (played by Tunçel Turkiz) and a prostitute (Nursel Köse), pauses quickly to show us that the old man’s son (Baki Davrak) and the prostitute are falling in love, then kills the prostitute by the 28th minute. For a viewer knowing little about the movie, and thinking that these characters are going to be central to the film’s plot, the velocity of the moment is startling and unpleasant.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A good study of character, of culture, and of change, \u003cb>The Edge of Heaven\u003c/b> taught me some things about Turkey that I didn’t know. But, in the end, rather than make a strong claim about Turkey’s political situation, the film contents itself with clever narrative moments, and doesn’t say much at all. At least, I don’t think it does; maybe that got lost in translation, too.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The ’70s is the decade that keeps on giving. Its continued appeal, confirmed most recently by \u003cb>Viva\u003c/b>, Anna Biller’s amusing flip of the skirt to period sexploitation movies, is that it lends itself to a singular combination of nostalgia and condescension. We look back fondly on the ’70s as a more innocent time than today, Watergate notwithstanding, but man oh man, what a compendium of fashion and decorating disasters.\u003c/p>\n\u003cp>Biller, who wrote, directed and edited \u003cb>Viva\u003c/b> and designed the costumes and the sets, also stars as Barbi, a dim, busty housewife who lives in suburban L.A. with blow-dried mannequin Rick (Chad England, looking a lot like early-period Peter Graves). They are stuck in some weird time warp, abiding by gender roles left over from the ’50s and only vaguely aware that the times are a-changin’. They read \u003ci>Playboy\u003c/i> and presumably they’re familiar with the pill, but they aren’t exactly hip to its social repercussions.\u003c/p>\n\u003cp>Barbi’s buxom pal Sheila (Bridget Brno) is quite a bit more provocative, no doubt because she’s married to sex maniac Mark (the lasciviously ludicrous Jared Sanford). When Barbi and Sheila split from their hubbies (for some contrived reasons that escape me now) they cluelessly embark on a wacky tour of L.A.’s sexual cornucopia.\u003c/p>\n\u003cp>\u003cb>Viva\u003c/b> makes the most of a couple of swell set pieces, notably a visit to a nudist camp complete with a musical number. (The credits list one Jenny Hedley as “nudist tambourinist,” a welcome addition to anyone’s resume.) Curiously, though, for all the nudity on display the movie contains precious little sex. There’s a sweetness (and a nuttiness) to Biller’s re-imagining of the pre-AIDS ’70s that is unquestionably endearing, yet also willfully shallow.\u003c/p>\n\u003cp>It would be a mistake to take this parody’s sexual politics too seriously, not least because it’s awfully hard to decipher them. Barbi (who adopts the nom de guerre Viva at the beginning of her adventures) isn’t naïve so much as stupid. She isn’t a liberated woman, or even a libertine, but an obscure object of desire whose only power is to say no. Indeed, she and Sheila take their husbands back near the end of the movie (although a hint of independence is tacked on).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Basically, you’re better off forgetting about \u003cb>Shampoo\u003c/b>, \u003cb>Beyond the Valley of the Dolls\u003c/b>, \u003cb>Boogie Nights\u003c/b> and every other movie that dealt with sex in the ’70s. Just enjoy \u003cb>Viva\u003c/b> as a lark, a joke and an homage to the kind of skin-baring that was titillating and shocking back in the day, and barely warrants a yawn now.\u003c/p>\n\u003cp>\u003cb>Viva\u003c/b> does do a terrific job of capturing the look, sound and vibe of both the ’70s and the decade’s movies. From Mark’s red leisure suit to the macramé plant holder hanging in some love pad, from the deviled eggs and lime Jell-o mold adorning a BBQ buffet to the Paco Rabanne that serves as a plot point, Biller displays a solid eye for detail and a genuine affection for the tackier aspects of American popular culture.\u003c/p>\n\u003cp>\u003c/p>\u003cp>Cheesiness, in fact, is the prevailing theme of \u003cb>Viva\u003c/b>. The problem is that we’re sometimes unsure if that’s the desired effect or a consequence of limited talent. As an example, almost all of the male actors playing lecherous studs seem to be gay. It’s a pretty good joke, if that’s the intent, but it undercuts the digs Biller takes at heterosexually omnivorous Angelenos.\u003c/p>\n\u003cp>The film could do with more snap, and two hours is a long time to sustain a parody. Yet Biller’s outstanding achievement — the costumes and sets notwithstanding — is that somehow \u003cb>Viva\u003c/b> manages to avoid the narcissistic air of a vanity project, even when its creator/star is decked out and carried out like Cleopatra at the climactic (pun intended) orgy scene. That’s no small feat, especially when you consider that the stupendously talented writer-director-star Orson Welles tripped over his own ego once or twice.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Viva\u003c/b> runs Friday, July 11 through Tuesday, July 15 at the Red Vic Movie House in San Francisco. Anna Biller will be present after the Friday and Saturday evening shows. For \u003ca href=\"http://www.redvicmoviehouse.com/\">showtimes\u003c/a>, visit the Red Vic website.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The ’70s is the decade that keeps on giving. Its continued appeal, confirmed most recently by \u003cb>Viva\u003c/b>, Anna Biller’s amusing flip of the skirt to period sexploitation movies, is that it lends itself to a singular combination of nostalgia and condescension. We look back fondly on the ’70s as a more innocent time than today, Watergate notwithstanding, but man oh man, what a compendium of fashion and decorating disasters.\u003c/p>\n\u003cp>Biller, who wrote, directed and edited \u003cb>Viva\u003c/b> and designed the costumes and the sets, also stars as Barbi, a dim, busty housewife who lives in suburban L.A. with blow-dried mannequin Rick (Chad England, looking a lot like early-period Peter Graves). They are stuck in some weird time warp, abiding by gender roles left over from the ’50s and only vaguely aware that the times are a-changin’. They read \u003ci>Playboy\u003c/i> and presumably they’re familiar with the pill, but they aren’t exactly hip to its social repercussions.\u003c/p>\n\u003cp>Barbi’s buxom pal Sheila (Bridget Brno) is quite a bit more provocative, no doubt because she’s married to sex maniac Mark (the lasciviously ludicrous Jared Sanford). When Barbi and Sheila split from their hubbies (for some contrived reasons that escape me now) they cluelessly embark on a wacky tour of L.A.’s sexual cornucopia.\u003c/p>\n\u003cp>\u003cb>Viva\u003c/b> makes the most of a couple of swell set pieces, notably a visit to a nudist camp complete with a musical number. (The credits list one Jenny Hedley as “nudist tambourinist,” a welcome addition to anyone’s resume.) Curiously, though, for all the nudity on display the movie contains precious little sex. There’s a sweetness (and a nuttiness) to Biller’s re-imagining of the pre-AIDS ’70s that is unquestionably endearing, yet also willfully shallow.\u003c/p>\n\u003cp>It would be a mistake to take this parody’s sexual politics too seriously, not least because it’s awfully hard to decipher them. Barbi (who adopts the nom de guerre Viva at the beginning of her adventures) isn’t naïve so much as stupid. She isn’t a liberated woman, or even a libertine, but an obscure object of desire whose only power is to say no. Indeed, she and Sheila take their husbands back near the end of the movie (although a hint of independence is tacked on).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Basically, you’re better off forgetting about \u003cb>Shampoo\u003c/b>, \u003cb>Beyond the Valley of the Dolls\u003c/b>, \u003cb>Boogie Nights\u003c/b> and every other movie that dealt with sex in the ’70s. Just enjoy \u003cb>Viva\u003c/b> as a lark, a joke and an homage to the kind of skin-baring that was titillating and shocking back in the day, and barely warrants a yawn now.\u003c/p>\n\u003cp>\u003cb>Viva\u003c/b> does do a terrific job of capturing the look, sound and vibe of both the ’70s and the decade’s movies. From Mark’s red leisure suit to the macramé plant holder hanging in some love pad, from the deviled eggs and lime Jell-o mold adorning a BBQ buffet to the Paco Rabanne that serves as a plot point, Biller displays a solid eye for detail and a genuine affection for the tackier aspects of American popular culture.\u003c/p>\n\u003cp>\u003c/p>\u003cp>Cheesiness, in fact, is the prevailing theme of \u003cb>Viva\u003c/b>. The problem is that we’re sometimes unsure if that’s the desired effect or a consequence of limited talent. As an example, almost all of the male actors playing lecherous studs seem to be gay. It’s a pretty good joke, if that’s the intent, but it undercuts the digs Biller takes at heterosexually omnivorous Angelenos.\u003c/p>\n\u003cp>The film could do with more snap, and two hours is a long time to sustain a parody. Yet Biller’s outstanding achievement — the costumes and sets notwithstanding — is that somehow \u003cb>Viva\u003c/b> manages to avoid the narcissistic air of a vanity project, even when its creator/star is decked out and carried out like Cleopatra at the climactic (pun intended) orgy scene. That’s no small feat, especially when you consider that the stupendously talented writer-director-star Orson Welles tripped over his own ego once or twice.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Viva\u003c/b> runs Friday, July 11 through Tuesday, July 15 at the Red Vic Movie House in San Francisco. Anna Biller will be present after the Friday and Saturday evening shows. For \u003ca href=\"http://www.redvicmoviehouse.com/\">showtimes\u003c/a>, visit the Red Vic website.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Encounters at the End of the World",
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"content": "\u003cp>Forget about Morgan Spurlock. Stand back, Michael Moore. The biggest joker making documentaries right now, believe it or not, is that wacko philosopher and German stone-face Werner Herzog. Is the world upside down, or what?\u003c/p>\n\u003cp>The iconoclastic filmmaker’s latest triumph of what can only be called secular mysticism is entitled \u003cb>Encounters at the End of the World\u003c/b>, and unfolds atop and beneath the ice of Antarctica. All the beloved Herzog elements are here: breathtaking nature, exceptionally smart and obsessive eccentrics, mysteries big and small and the director’s gently mocking narration. (“I hate the sun on both my celluloid and my skin,” he declares early on, lamenting the clear weather.) Like every other Herzog doc, \u003cb>Encounters\u003c/b> isn’t informational or (God forbid) educational, but experiential.\u003c/p>\n\u003cp>Herzog lands at McMurdo Station, the South Pole home of the National Science Foundation, where he is immediately confronted with the ugly evidence of human activity. He can’t wait to get out of town and find some empty pristine landscape. Yet wherever he goes he is drawn to human beings — scientists, mostly, who symbolize our species’ relentless impulse to acquire knowledge and to explain every mystery.\u003c/p>\n\u003cp>Every discovery of a new organism, according to one dedicated expert, serves to “increase the known diversity.” Indeed, the film is a compendium of digging, sawing, drilling and dynamiting in the name of scientific research and sample collecting. Herzog never comes out and says it, but he’s amassed a pretty good visual argument that we are destroying the planet in order to preserve it. He’s incapable of earnest pontification, but putting that limitation aside, \u003cb>Encounters\u003c/b> could easily be included alongside \u003cb>An Inconvenient Truth\u003c/b> in the burgeoning sub-genre of eco-docs.\u003c/p>\n\u003cp>Herzog doesn’t believe in God — although he does believe in heavenly sounding choral harmonies and opera — and I’m not sure how much he likes man. He gently mocks the long-winded exploits and travels of a few of the scientists, but he has to realize that he’s simultaneously sending up his own peripatetic journeying and mythmaking (\u003cb>Little Dieter Needs to Fly\u003c/b>, in particular, comes to mind).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> We are talking about two equally quixotic pursuits, the need to solve every unknown and the need to film every impossible and wacky human endeavor. Both require extraordinary levels of commitment and, if one is to remain sane and balanced, a sense of humor and a rein on one’s ego. Herzog certainly has the ability to prickle and annoy us with his flashes of self-indulgence, but he also charms us like nobody else, like when he goes off on a bizarre, hilarious and ultimately touching digression about gay and insane penguins.\u003c/p>\n\u003cp>\u003cb>Encounters at the End of the World\u003c/b> is a transporting film, and a beautiful one. It might even be an important one, though I’m more inclined to call it a mind-expanding cloud of cotton candy than a work of philosophical and intellectual profundity. But then the function of jokers and jesters has always been to show us ourselves, through the camouflage of faux naive pranks.\u003c/p>\n\u003cp> It can’t just be a coincidence that Herzog’s effortlessly amusing travelogue arrives at the same time as \u003cb>The Love Guru\u003c/b>, a clumsy, unfunny comedy starring the former \u003cb>Saturday Night Live\u003c/b> star who mocked humorless Germans in the recurring “Sprockets” sketch. Who would have guessed that Werner Herzog would get the last laugh?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Encounters At the End of the World\u003c/b> opens Friday, June 27, 2008 at the Lumiere Theatre in San Francisco, Shattuck Cinemas in Berkeley, Rafael Film Center in San Rafael and the Camera Cinemas in San Jose.\u003c/p>\n\n",
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"excerpt": "Forget about Morgan Spurlock. Stand back, Michael Moore. The biggest joker making documentaries right now, believe it or not, is that wacko philosopher and German stone-face Werner Herzog. Is the world upside down, or what?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Forget about Morgan Spurlock. Stand back, Michael Moore. The biggest joker making documentaries right now, believe it or not, is that wacko philosopher and German stone-face Werner Herzog. Is the world upside down, or what?\u003c/p>\n\u003cp>The iconoclastic filmmaker’s latest triumph of what can only be called secular mysticism is entitled \u003cb>Encounters at the End of the World\u003c/b>, and unfolds atop and beneath the ice of Antarctica. All the beloved Herzog elements are here: breathtaking nature, exceptionally smart and obsessive eccentrics, mysteries big and small and the director’s gently mocking narration. (“I hate the sun on both my celluloid and my skin,” he declares early on, lamenting the clear weather.) Like every other Herzog doc, \u003cb>Encounters\u003c/b> isn’t informational or (God forbid) educational, but experiential.\u003c/p>\n\u003cp>Herzog lands at McMurdo Station, the South Pole home of the National Science Foundation, where he is immediately confronted with the ugly evidence of human activity. He can’t wait to get out of town and find some empty pristine landscape. Yet wherever he goes he is drawn to human beings — scientists, mostly, who symbolize our species’ relentless impulse to acquire knowledge and to explain every mystery.\u003c/p>\n\u003cp>Every discovery of a new organism, according to one dedicated expert, serves to “increase the known diversity.” Indeed, the film is a compendium of digging, sawing, drilling and dynamiting in the name of scientific research and sample collecting. Herzog never comes out and says it, but he’s amassed a pretty good visual argument that we are destroying the planet in order to preserve it. He’s incapable of earnest pontification, but putting that limitation aside, \u003cb>Encounters\u003c/b> could easily be included alongside \u003cb>An Inconvenient Truth\u003c/b> in the burgeoning sub-genre of eco-docs.\u003c/p>\n\u003cp>Herzog doesn’t believe in God — although he does believe in heavenly sounding choral harmonies and opera — and I’m not sure how much he likes man. He gently mocks the long-winded exploits and travels of a few of the scientists, but he has to realize that he’s simultaneously sending up his own peripatetic journeying and mythmaking (\u003cb>Little Dieter Needs to Fly\u003c/b>, in particular, comes to mind).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp> We are talking about two equally quixotic pursuits, the need to solve every unknown and the need to film every impossible and wacky human endeavor. Both require extraordinary levels of commitment and, if one is to remain sane and balanced, a sense of humor and a rein on one’s ego. Herzog certainly has the ability to prickle and annoy us with his flashes of self-indulgence, but he also charms us like nobody else, like when he goes off on a bizarre, hilarious and ultimately touching digression about gay and insane penguins.\u003c/p>\n\u003cp>\u003cb>Encounters at the End of the World\u003c/b> is a transporting film, and a beautiful one. It might even be an important one, though I’m more inclined to call it a mind-expanding cloud of cotton candy than a work of philosophical and intellectual profundity. But then the function of jokers and jesters has always been to show us ourselves, through the camouflage of faux naive pranks.\u003c/p>\n\u003cp> It can’t just be a coincidence that Herzog’s effortlessly amusing travelogue arrives at the same time as \u003cb>The Love Guru\u003c/b>, a clumsy, unfunny comedy starring the former \u003cb>Saturday Night Live\u003c/b> star who mocked humorless Germans in the recurring “Sprockets” sketch. Who would have guessed that Werner Herzog would get the last laugh?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Encounters At the End of the World\u003c/b> opens Friday, June 27, 2008 at the Lumiere Theatre in San Francisco, Shattuck Cinemas in Berkeley, Rafael Film Center in San Rafael and the Camera Cinemas in San Jose.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A great irony, or paradox, accompanies the opening of the 32nd annual San Francisco International LGBT Film Festival today. This is a moment of unabashed joy in the gay and lesbian community, with the California Supreme Court recently ruling in favor of gay marriage and thousands of couples around the state tying the knot. But queer cinema, like independent film in general, is having a heck of a time finding a theatrical audience. At a time when gays and lesbians are enjoying a smoother road to living satisfying, expressive lives, queer filmmakers are increasingly stymied and frustrated. So is the festival (aka \u003cb>Frameline32\u003c/b>) a cause for celebration, or concern?\u003c/p>\n\u003cp>Rest assured I’m not here to sprinkle on anyone’s parade. From a community standpoint, \u003cb>Frameline32\u003c/b> is an unambiguously self-confident affirmation of LGBT identity. As an artistic event, the festival encompasses every genre of filmmaking, and every corner and side street of queer society, with insight and passion. But it’s hard to ignore the larger forces at work.\u003c/p>\n\u003cp> In the post-\u003cb>Will & Grace\u003c/b> world, the average American is less threatened and more tolerant of gays and lesbians. The other chunk of good news is the affordability of digital moviemaking, which ensures a steady stream of first-time filmmakers. But once a gay or lesbian director has made a couple movies, and is ready to step up to a bigger canvas requiring a bigger budget and top-drawer actors, he or she finds few options. The studios aren’t pushing gay-themed films (excepting the one that’s got \u003cb>Milk\u003c/b>), in part because straight audiences got all the exercise they wanted climbing \u003cb>Brokeback Mountain\u003c/b>.\u003c/p>\n\u003cp>The upshot is that queer filmmakers are turning to television to advance their careers. Perhaps it’s not the end of the world, especially with gay and lesbian audiences (like their straight counterparts) increasingly used to watching movies on DVD on that very same screen. Maybe the provocatively written, beautifully produced ensemble series on cable television (which are replete with gay and lesbian characters) have supplanted adult-oriented films in American culture, and cultural commentators like myself should simply stop lamenting the fact that Hollywood has all but ceased making movies for anyone other than teenagers.\u003c/p>\n\u003cp>I’d love to hear what Michelle Ehlen, the L.A.-based writer, director and star of \u003cb>Butch Jamie\u003c/b> has to say about all this. Her endearing and truth-filled no-budget comedy centers on an actress so eager to work (yet shut out of feminine parts by her butchness) that she agrees to pretend to be a man playing a man in an indie film. The movie needs another subplot or two, but the very fact that Ehlen plays her storyline for bemusement and gentle romance rather than anger illustrates how evolved our species has become.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Daryl Wein’s \u003cb>Sex Positive\u003c/b> honors a more traditional, bare-knuckled political activist. Well, perhaps not quite traditional. New Yorker Richard Berkowitz was a safe sex (and anti-bath house) proponent in the early years of the AIDS epidemic, when gay men didn’t want to hear it. Self-identified by hedonistic sexual freedom (aka promiscuity), and demonized for it by mainstream society, many gays were livid at what they saw as Berkowitz’s campaign to clamp down on gay lifestyles. \u003cb>Sex Positive\u003c/b> isn’t a great documentary, but it illuminates an important recent chapter of history and spotlights a man whose contribution has yet to be acknowledged.\u003c/p>\n\u003cp>.\u003c/p>\n\u003cp>Berkowitz is far from the only social-justice advocate to turn up on the silver screen. The powerful documentary \u003cb>Citizen Nawi\u003c/b> profiles a middle-aged Israeli plumber who, catalyzed by his love affair with a younger Palestinian, was awakened to the harsh treatment endured by Palestinians. We ride along with Ezra Nawi into the hills outside Hebron, where ultra-religious Jewish settlers actively harass villagers subsisting on olive trees and little else.\u003c/p>\n\u003cp>Veteran British director Isaac Julien and beloved actress Tilda Swinton team up for an inspiring and touching biography/tribute to their late friend, filmmaker Derek Jarman. Fresh off its Grand Jury Prize in the documentary competition at the Seattle International Film Festival, \u003cb>Derek\u003c/b> is constructed around an extensive 1990 interview with the witty, self-effacing Jarman. A courageous and fearless figure in his own right — he went public with his AIDS diagnosis as a kind of political statement — Jarman is a prime example of a rare filmmaker able to simultaneously be true to his art, his moment and his audience.\u003c/p>\n\u003cp>Berkowitz and Jarman would recognize the circle of handsome young friends, acquaintances and lovers that populate \u003cb>Antarctica\u003c/b>, a wistful and often funny ensemble drama set among the gay community in Tel Aviv. By and large, these guys (plus one lesbian couple) have all the sex they can handle; it’s just love, trust and commitment that are missing from their lives. The themes of \u003cb>Antarctica\u003c/b> transcend borders, and speak to what’s going on in a hundred cities around the globe.\u003c/p>\n\u003cp>Everybody knows the San Francisco-based Kinsey Sicks as a politically savvy, vocally gifted, one-of-a-kind drag revue. (They’re also a quartet, by the by.) \u003cb>The Kinsey Sicks: Almost Infamous\u003c/b> follows the troupe en route to and during its potentially life-changing booking in that godless den of iniquity, that Sodom-and-Gomorrah-of-the desert, Las Vegas. Inspiring and sobering in equal measure, Ken Bielenberg’s doc is a poignant record of a drive-by collision between San Francisco values and Vegas mores.\u003c/p>\n\u003cp>Without wishing to dissuade anyone from seeing them at the festival, herewith is a list of films that will get a theatrical release over the summer: \u003cb>The Edge of Heaven\u003c/b> (July 11), \u003cb>Chris & Don: A Love Story\u003c/b> (July 18), \u003cb>XXY\u003c/b> (Aug. 1) and \u003cb>A Jihad For Love\u003c/b> (Aug. 22).\u003c/p>\n\u003cp>Finally, Frameline32 marks the last stand of longtime director Michael Lumpkin, who has elevated the fest from a scraggly neighborhood event into one of the premier lesbian and gay film bashes in the universe. The fest will present a sidebar of some of his faves of the last 20 years, from \u003cb>Mala Noche\u003c/b> to \u003cb>Lilies\u003c/b> to \u003cb>Yes Nurse! No Nurse!\u003c/b>. A trip down Memory Lane will no doubt be sufficient to banish any doubts and inspire optimism about the future of queer cinema. But let’s talk again in a year.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>Frameline32\u003c/b> runs June 19-29, 2008 at the Castro, Roxie and Victoria Theatres in San Francisco, and the Rialto Cinemas Elmwood in Berkeley. For \u003ca href=\"http://www.frameline.org/festival/\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a> visit frameline.org.\u003c/p>\n\n",
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"excerpt": "A great irony, or paradox, accompanies the opening of the 32nd annual San Francisco International LGBT Film Festival today. At a time when gays and lesbians are enjoying a smoother road to living satisfying, expressive lives, queer filmmakers are increasingly stymied and frustrated. So is the festival (aka \u003cb>Frameline32\u003c/b>) a cause for celebration, or concern?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A great irony, or paradox, accompanies the opening of the 32nd annual San Francisco International LGBT Film Festival today. This is a moment of unabashed joy in the gay and lesbian community, with the California Supreme Court recently ruling in favor of gay marriage and thousands of couples around the state tying the knot. But queer cinema, like independent film in general, is having a heck of a time finding a theatrical audience. At a time when gays and lesbians are enjoying a smoother road to living satisfying, expressive lives, queer filmmakers are increasingly stymied and frustrated. So is the festival (aka \u003cb>Frameline32\u003c/b>) a cause for celebration, or concern?\u003c/p>\n\u003cp>Rest assured I’m not here to sprinkle on anyone’s parade. From a community standpoint, \u003cb>Frameline32\u003c/b> is an unambiguously self-confident affirmation of LGBT identity. As an artistic event, the festival encompasses every genre of filmmaking, and every corner and side street of queer society, with insight and passion. But it’s hard to ignore the larger forces at work.\u003c/p>\n\u003cp> In the post-\u003cb>Will & Grace\u003c/b> world, the average American is less threatened and more tolerant of gays and lesbians. The other chunk of good news is the affordability of digital moviemaking, which ensures a steady stream of first-time filmmakers. But once a gay or lesbian director has made a couple movies, and is ready to step up to a bigger canvas requiring a bigger budget and top-drawer actors, he or she finds few options. The studios aren’t pushing gay-themed films (excepting the one that’s got \u003cb>Milk\u003c/b>), in part because straight audiences got all the exercise they wanted climbing \u003cb>Brokeback Mountain\u003c/b>.\u003c/p>\n\u003cp>The upshot is that queer filmmakers are turning to television to advance their careers. Perhaps it’s not the end of the world, especially with gay and lesbian audiences (like their straight counterparts) increasingly used to watching movies on DVD on that very same screen. Maybe the provocatively written, beautifully produced ensemble series on cable television (which are replete with gay and lesbian characters) have supplanted adult-oriented films in American culture, and cultural commentators like myself should simply stop lamenting the fact that Hollywood has all but ceased making movies for anyone other than teenagers.\u003c/p>\n\u003cp>I’d love to hear what Michelle Ehlen, the L.A.-based writer, director and star of \u003cb>Butch Jamie\u003c/b> has to say about all this. Her endearing and truth-filled no-budget comedy centers on an actress so eager to work (yet shut out of feminine parts by her butchness) that she agrees to pretend to be a man playing a man in an indie film. The movie needs another subplot or two, but the very fact that Ehlen plays her storyline for bemusement and gentle romance rather than anger illustrates how evolved our species has become.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Daryl Wein’s \u003cb>Sex Positive\u003c/b> honors a more traditional, bare-knuckled political activist. Well, perhaps not quite traditional. New Yorker Richard Berkowitz was a safe sex (and anti-bath house) proponent in the early years of the AIDS epidemic, when gay men didn’t want to hear it. Self-identified by hedonistic sexual freedom (aka promiscuity), and demonized for it by mainstream society, many gays were livid at what they saw as Berkowitz’s campaign to clamp down on gay lifestyles. \u003cb>Sex Positive\u003c/b> isn’t a great documentary, but it illuminates an important recent chapter of history and spotlights a man whose contribution has yet to be acknowledged.\u003c/p>\n\u003cp>.\u003c/p>\n\u003cp>Berkowitz is far from the only social-justice advocate to turn up on the silver screen. The powerful documentary \u003cb>Citizen Nawi\u003c/b> profiles a middle-aged Israeli plumber who, catalyzed by his love affair with a younger Palestinian, was awakened to the harsh treatment endured by Palestinians. We ride along with Ezra Nawi into the hills outside Hebron, where ultra-religious Jewish settlers actively harass villagers subsisting on olive trees and little else.\u003c/p>\n\u003cp>Veteran British director Isaac Julien and beloved actress Tilda Swinton team up for an inspiring and touching biography/tribute to their late friend, filmmaker Derek Jarman. Fresh off its Grand Jury Prize in the documentary competition at the Seattle International Film Festival, \u003cb>Derek\u003c/b> is constructed around an extensive 1990 interview with the witty, self-effacing Jarman. A courageous and fearless figure in his own right — he went public with his AIDS diagnosis as a kind of political statement — Jarman is a prime example of a rare filmmaker able to simultaneously be true to his art, his moment and his audience.\u003c/p>\n\u003cp>Berkowitz and Jarman would recognize the circle of handsome young friends, acquaintances and lovers that populate \u003cb>Antarctica\u003c/b>, a wistful and often funny ensemble drama set among the gay community in Tel Aviv. By and large, these guys (plus one lesbian couple) have all the sex they can handle; it’s just love, trust and commitment that are missing from their lives. The themes of \u003cb>Antarctica\u003c/b> transcend borders, and speak to what’s going on in a hundred cities around the globe.\u003c/p>\n\u003cp>Everybody knows the San Francisco-based Kinsey Sicks as a politically savvy, vocally gifted, one-of-a-kind drag revue. (They’re also a quartet, by the by.) \u003cb>The Kinsey Sicks: Almost Infamous\u003c/b> follows the troupe en route to and during its potentially life-changing booking in that godless den of iniquity, that Sodom-and-Gomorrah-of-the desert, Las Vegas. Inspiring and sobering in equal measure, Ken Bielenberg’s doc is a poignant record of a drive-by collision between San Francisco values and Vegas mores.\u003c/p>\n\u003cp>Without wishing to dissuade anyone from seeing them at the festival, herewith is a list of films that will get a theatrical release over the summer: \u003cb>The Edge of Heaven\u003c/b> (July 11), \u003cb>Chris & Don: A Love Story\u003c/b> (July 18), \u003cb>XXY\u003c/b> (Aug. 1) and \u003cb>A Jihad For Love\u003c/b> (Aug. 22).\u003c/p>\n\u003cp>Finally, Frameline32 marks the last stand of longtime director Michael Lumpkin, who has elevated the fest from a scraggly neighborhood event into one of the premier lesbian and gay film bashes in the universe. The fest will present a sidebar of some of his faves of the last 20 years, from \u003cb>Mala Noche\u003c/b> to \u003cb>Lilies\u003c/b> to \u003cb>Yes Nurse! No Nurse!\u003c/b>. A trip down Memory Lane will no doubt be sufficient to banish any doubts and inspire optimism about the future of queer cinema. But let’s talk again in a year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Nobody Knows: The Untold Story of Black Mormons",
"headTitle": "Nobody Knows: The Untold Story of Black Mormons | KQED",
"content": "\u003cp>When you hear the word Mormon, you might think of abstinence from caffeine and alcohol, polygamy, or a pair of clean cut young men with suits and nametags. Chances are good that the struggles of black Mormons don’t spring to mind. \u003cb>Nobody Knows: The Untold Story of Black Mormons\u003c/b>, an aptly named documentary that screens as part of the 10th Annual San Francisco Black Film Festival, uses interviews with civil rights leaders, historians, and black Mormons themselves to chronicle the history of African Americans in the Mormon church, including pioneers such as Jane James and Elijah Abel.\u003c/p>\n\u003cp>This history is largely unknown, says Margaret Young, who made the movie along with Darius Gray. Young grew up in the civil rights era and says she was always disturbed that in The Church of Jesus Christ of Latter Day Saints, blacks weren’t allowed to be priests until 1978 because they were said to be cursed with the “Mark of Cain.”\u003c/p>\n\u003cp>“Holding the priesthood is everything in the LDS,” Young says. “All 12-year-old boys in the church are given the priesthood and start serving and going into the temple, and to think that a group of people were excluded from that is huge and very troubling.”\u003c/p>\n\u003cp>Because the church was so slow to change, many people perceive Mormons as racist, Young says, and \u003cb>Nobody Knows\u003c/b> includes interviews with black members of the church, including Gray, about how they are challenged on their faith.\u003c/p>\n\u003cp>“I am a proud black man,” Gray says. “And yet I embraced the gospel of Jesus Christ and I stayed in that faith for 39 years. That should say something . . . I’m not an Uncle Tom. This gospel is for all people.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Another interviewee, Tamu Smith talks about how she doesn’t mind explaining her faith to blacks, but she does not like defending her race to members of the church. But Smith, who was raised Pentecostal, says she felt at home the first time she visited the Mormon church as though “the Savior was standing in the doorway.”\u003c/p>\n\u003cp>The interviews with individual church members are most compelling when interviewees explain how the strength of their faith makes it possible for them to reconcile the church’s past. And as an African Methodist Episcopal pastor notes in the film, “to find a religious organization that does not have a dark corner when it comes to diversity is indeed to find a very unusual one.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Nobody Knows: The Untold Story of Black Mormons\u003c/b> screens on Saturday, June 14, 2008 at the Museum of the African Diaspora at 685 Mission Street in San Francisco. For \u003ca href=\"http://sfbff.bside.com/2008/films/nobodyknowstheuntoldstoryofblackmormons_sfbff2008/\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a> visit sfbff.bside.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When you hear the word Mormon, you might think of abstinence from caffeine and alcohol, polygamy, or a pair of clean cut young men with suits and nametags. Chances are good that the struggles of black Mormons don’t spring to mind. \u003cb>Nobody Knows: The Untold Story of Black Mormons\u003c/b>, an aptly named documentary that screens as part of the 10th Annual San Francisco Black Film Festival, uses interviews with civil rights leaders, historians, and black Mormons themselves to chronicle the history of African Americans in the Mormon church, including pioneers such as Jane James and Elijah Abel.\u003c/p>\n\u003cp>This history is largely unknown, says Margaret Young, who made the movie along with Darius Gray. Young grew up in the civil rights era and says she was always disturbed that in The Church of Jesus Christ of Latter Day Saints, blacks weren’t allowed to be priests until 1978 because they were said to be cursed with the “Mark of Cain.”\u003c/p>\n\u003cp>“Holding the priesthood is everything in the LDS,” Young says. “All 12-year-old boys in the church are given the priesthood and start serving and going into the temple, and to think that a group of people were excluded from that is huge and very troubling.”\u003c/p>\n\u003cp>Because the church was so slow to change, many people perceive Mormons as racist, Young says, and \u003cb>Nobody Knows\u003c/b> includes interviews with black members of the church, including Gray, about how they are challenged on their faith.\u003c/p>\n\u003cp>“I am a proud black man,” Gray says. “And yet I embraced the gospel of Jesus Christ and I stayed in that faith for 39 years. That should say something . . . I’m not an Uncle Tom. This gospel is for all people.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Another interviewee, Tamu Smith talks about how she doesn’t mind explaining her faith to blacks, but she does not like defending her race to members of the church. But Smith, who was raised Pentecostal, says she felt at home the first time she visited the Mormon church as though “the Savior was standing in the doorway.”\u003c/p>\n\u003cp>The interviews with individual church members are most compelling when interviewees explain how the strength of their faith makes it possible for them to reconcile the church’s past. And as an African Methodist Episcopal pastor notes in the film, “to find a religious organization that does not have a dark corner when it comes to diversity is indeed to find a very unusual one.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Nobody Knows: The Untold Story of Black Mormons\u003c/b> screens on Saturday, June 14, 2008 at the Museum of the African Diaspora at 685 Mission Street in San Francisco. For \u003ca href=\"http://sfbff.bside.com/2008/films/nobodyknowstheuntoldstoryofblackmormons_sfbff2008/\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a> visit sfbff.bside.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A useful question to ask about \u003cb>Indiana Jones and the Kingdom of the Crystal Skull\u003c/b> — the only useful question, really, unless you have a stake in ticket, merchandise and DVD sales — is how much factual history the movie provides in the course of its ho-hum explication of a daft plot. It’s not completely perverse or picayune to look at a summer flick this way if you remember \u003cb>The Young Indiana Jones Chronicles\u003c/b>, and George Lucas’s admirable commitment to using an entertainment-oriented TV series to educate young viewers about historical moments. In fact, it seems reasonable to infer that the long hiatus since the last Indiana Jones movie, attributed in part to Lucas’s pickiness about scripts, had at least something to do with satisfactorily folding real events into the fictional adventure.\u003c/p>\n\u003cp>Set in 1957, \u003cb>Indiana Jones and TKOTCS\u003c/b>, provides a good deal of socio-political context with numerous references to the Red Scare and the blacklist, at least in the early going. Unfortunately, screenwriter David Koepp and director Steven Spielberg are less interested in taking a fresh, incisive look at this period than in tapping into the “experience” of the ’50s lodged in our collective consciousness thanks to previous movies and television. To put it another way, the filmmakers, like so many in Hollywood, don’t create anything remotely original but evoke, Xerox, pay homage, and poke fun at what came before.\u003c/p>\n\u003cp>\u003c/p>\u003cp>With respect to contemporary commentary — because an important reason for learning history, after all, is to recognize patterns and pitfalls in our own time — \u003cb>Indiana Jones and TKOTCS\u003c/b> throws in a few gratuitous, vaguely masked references to the Swift-boating of John Kerry and the outing of CIA agent Valerie Plame. (Investigating Jones’s forced involvement in a Russian break-in of a Nevada military warehouse, two unsavory FBI agents impugn his World War II record. Later, Jones asks an old ally, who switched allegiances to the Soviets, how many people lost their lives because of his cavalier and mercenary act.) What purpose do these Bush-era allusions serve? They’re like the jokes in animated films aimed squarely at adults, designed to fool us into forgetting that we’re watching a children’s film.\u003c/p>\n\u003cp>On the vast continuum of educational films, \u003cb>Indiana Jones and TKOTCS\u003c/b> falls well short of those other recent flawed travelogues of American adventurers abroad, \u003cb>Standard Operating Procedure\u003c/b> and \u003cb>Where in the World is Osama bin Laden?\u003c/b>. I stretch to make a point (or a joke), for I’m holding a fictional yarn up to a pair of documentaries. But it’s worth asking what sticks with younger viewers as historical truth. Are there hordes of Americans whose understanding of the Titanic and Pearl Harbor have been definitively fixed by James Cameron and Michael Bay (respectively)? And who am I to point fingers, with a view of the Resistance permanently colored by \u003cb>Casablanca\u003c/b>?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s no reason to fret that audiences will come away from \u003cb>Indiana Jones and TKOTCS\u003c/b> convinced of the documented existence of Area 51 and entombed aliens with gigantic magnetic brains. (Apropos our earlier conversation about originality, Koepp doesn’t invent a tale so much as cash in on perceptions promulgated with great delight and success by \u003cb>The X-Files\u003c/b>.) But one wonders if younger moviegoers will likewise ascribe the Cold War, and the civilization of the Mayans, to the imagination of a screenwriter.\u003c/p>\n\u003cp>No doubt columnists and critics debated this issue in the pages of newspapers a century ago, when the masses embraced newfangled motion pictures. We are so much more sophisticated and media-savvy today, allegedly, and it would be nice to see commercial moviemakers relating to their audience on a higher level.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Indiana Jones and the Kingdom of the Crystal Skull\u003c/b> is now playing.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A useful question to ask about \u003cb>Indiana Jones and the Kingdom of the Crystal Skull\u003c/b> — the only useful question, really, unless you have a stake in ticket, merchandise and DVD sales — is how much factual history the movie provides in the course of its ho-hum explication of a daft plot. It’s not completely perverse or picayune to look at a summer flick this way if you remember \u003cb>The Young Indiana Jones Chronicles\u003c/b>, and George Lucas’s admirable commitment to using an entertainment-oriented TV series to educate young viewers about historical moments. In fact, it seems reasonable to infer that the long hiatus since the last Indiana Jones movie, attributed in part to Lucas’s pickiness about scripts, had at least something to do with satisfactorily folding real events into the fictional adventure.\u003c/p>\n\u003cp>Set in 1957, \u003cb>Indiana Jones and TKOTCS\u003c/b>, provides a good deal of socio-political context with numerous references to the Red Scare and the blacklist, at least in the early going. Unfortunately, screenwriter David Koepp and director Steven Spielberg are less interested in taking a fresh, incisive look at this period than in tapping into the “experience” of the ’50s lodged in our collective consciousness thanks to previous movies and television. To put it another way, the filmmakers, like so many in Hollywood, don’t create anything remotely original but evoke, Xerox, pay homage, and poke fun at what came before.\u003c/p>\n\u003cp>\u003c/p>\u003cp>With respect to contemporary commentary — because an important reason for learning history, after all, is to recognize patterns and pitfalls in our own time — \u003cb>Indiana Jones and TKOTCS\u003c/b> throws in a few gratuitous, vaguely masked references to the Swift-boating of John Kerry and the outing of CIA agent Valerie Plame. (Investigating Jones’s forced involvement in a Russian break-in of a Nevada military warehouse, two unsavory FBI agents impugn his World War II record. Later, Jones asks an old ally, who switched allegiances to the Soviets, how many people lost their lives because of his cavalier and mercenary act.) What purpose do these Bush-era allusions serve? They’re like the jokes in animated films aimed squarely at adults, designed to fool us into forgetting that we’re watching a children’s film.\u003c/p>\n\u003cp>On the vast continuum of educational films, \u003cb>Indiana Jones and TKOTCS\u003c/b> falls well short of those other recent flawed travelogues of American adventurers abroad, \u003cb>Standard Operating Procedure\u003c/b> and \u003cb>Where in the World is Osama bin Laden?\u003c/b>. I stretch to make a point (or a joke), for I’m holding a fictional yarn up to a pair of documentaries. But it’s worth asking what sticks with younger viewers as historical truth. Are there hordes of Americans whose understanding of the Titanic and Pearl Harbor have been definitively fixed by James Cameron and Michael Bay (respectively)? And who am I to point fingers, with a view of the Resistance permanently colored by \u003cb>Casablanca\u003c/b>?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The only good thing that can be said about the ridiculous martial arts morality play \u003cb>Redbelt\u003c/b> is that writer-director David Mamet avoids self-parody. An exercise in contrivances, con games and hokey honor that looks and sounds like a late-night basic-cable movie, the film never persuades us that anything of actual importance is going on. But Mamet somehow generates enough suspense to keep us from laughing out loud as his ludicrous story reaches its climax. One presumes he had loftier goals.\u003c/p>\n\u003cp>Mamet has simultaneously embodied American intellectualism and anti-intellectualism for some three decades, dealing from both decks as it suited him. His unmistakable intelligence, writing ability and knowledge of the theatre convinced critics and audiences that there was more to his plays than savage profanity and low-rent misogyny. Meanwhile, his cigar-smoking, poker-playing persona gave him credibility with the \u003ci>Esquire\u003c/i>–\u003ci>GQ\u003c/i>–\u003ci>Playboy\u003c/i> readers who don’t frequent the theater but turn out for his movies.\u003c/p>\n\u003cp>In other words, Mamet is both a highbrow artist who sees and translates the world for us lesser mortals and a man’s man deserving of great riches and pop-culture popularity. But that’s not enough for The Great Writer. Time after time, especially in his movies, he’s invented fantasy replications of himself. These characters — always men, it goes without saying — are sweaty macho beasts whose métier is action but who are also eminently capable of delivering a Simenon-style soliloquy on the frailty of human resolve in the face of financial or fleshy temptation.\u003c/p>\n\u003cp>Which brings us to \u003cb>Redbelt\u003c/b> hero Mike Terry (Chiwetel Ojiofor), a tightly controlled jiu-jitsu instructor who believes that discipline and mental strength are more important than footwork and moves. Like a retired gunfighter in an old Western who is compelled to enter a fray when a bully beats on some poor innocent, Terry intercedes in a bar brawl, saving the neck of a middle-aged white guy.\u003c/p>\n\u003cp>This poor innocent, however, is actually action-movie star Chet Frank (Tim Allen), a multimillionaire with a drinking problem and an oily manager (Mamet regular Joe Mantegna). Chet befriends Terry, his wife (Rebecca Pidgeon) bonds with Terry’s wife (Alice Braga), and it looks like fate has smiled at just the right time in that very special L.A. way. But this tangled con-job plot has a long way to go before it climaxes with Terry asserting his manhood, and choosing morality over opportunism.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One of the mysteries of \u003cb>Redbelt\u003c/b> is why Mamet continues to populate his films with despicable Hollywood types who have been so thoroughly exposed in countless movies about movies. I’m starting to think that Mamet doesn’t just despise the industry sharks, but American movies as well. It would not be unlike Mamet to think that he’s smarter and more talented than everybody else, and that his movies are several cuts above the usual fodder churned out by Hollywood. But based on his most recent output (\u003cb>Spartan\u003c/b>, \u003cb>Heist\u003c/b> and \u003cb>State and Main\u003c/b>), that’s no longer a claim he can make with a straight face.\u003c/p>\n\u003cp>I submit that, like so many gifted writers before him, Mamet is slumming in Hollywood, taking the fat checks and loathing himself behind close doors. We don’t catch any wind of it, however, because he’s a devout capitalist (an important credential for anti-intellectuals) and lacks the self-destructive streak of a Fitzgerald or a Faulkner (another characteristic that endears him to \u003ci>Esquire\u003c/i> readers).\u003c/p>\n\u003cp>Such conjecture is a bit beside the point, I know. What really matters is how well Mamet’s brand of bone-dry philosophizing (obscured by the muscular, masculine enclaves where he sets his ho-hum fables) addresses our current moral entropy. \u003cb>Redbelt\u003c/b> proves pretty definitively that Mamet is more interested in concocting elaborate shell-and-marble games than tackling tough questions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Redbelt\u003c/b> opens Friday, May 9, 2008.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One of the mysteries of \u003cb>Redbelt\u003c/b> is why Mamet continues to populate his films with despicable Hollywood types who have been so thoroughly exposed in countless movies about movies. I’m starting to think that Mamet doesn’t just despise the industry sharks, but American movies as well. It would not be unlike Mamet to think that he’s smarter and more talented than everybody else, and that his movies are several cuts above the usual fodder churned out by Hollywood. But based on his most recent output (\u003cb>Spartan\u003c/b>, \u003cb>Heist\u003c/b> and \u003cb>State and Main\u003c/b>), that’s no longer a claim he can make with a straight face.\u003c/p>\n\u003cp>I submit that, like so many gifted writers before him, Mamet is slumming in Hollywood, taking the fat checks and loathing himself behind close doors. We don’t catch any wind of it, however, because he’s a devout capitalist (an important credential for anti-intellectuals) and lacks the self-destructive streak of a Fitzgerald or a Faulkner (another characteristic that endears him to \u003ci>Esquire\u003c/i> readers).\u003c/p>\n\u003cp>Such conjecture is a bit beside the point, I know. What really matters is how well Mamet’s brand of bone-dry philosophizing (obscured by the muscular, masculine enclaves where he sets his ho-hum fables) addresses our current moral entropy. \u003cb>Redbelt\u003c/b> proves pretty definitively that Mamet is more interested in concocting elaborate shell-and-marble games than tackling tough questions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Redbelt\u003c/b> opens Friday, May 9, 2008.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>No one has it easy becoming an adult. And most people believe that taking up a pursuit like filmmaking is a surefire way to put off the inevitable. But for David Munro and Xandra Castleton, after nearly six years making their first feature film (fittingly titled \u003cb>Full Grown Men\u003c/b>), digging deep into their psyches, building a business together and, oh, getting married and having a child along the way, growing up is exactly what’s happened.\u003c/p>\n\u003cp>Their film is about a man, played by Matt McGrath, in his thirties who, in an effort to remain in the warm, soft cocoon of his youth sets out on a road trip with a childhood sidekick (Judah Friedlander) across the fading highways, quaint roadside stands and dilapidated amusement parks that time, but not memory, has forgotten — only to discover that things are no longer (or perhaps never were) as carefree as he remembers.\u003c/p>\n\u003cp>\u003cb>Full Grown Men\u003c/b> was directed by Munro and co-written by Munro and Castleton from an old script that had been on the back burner. The film spent more than a year and a half on the festival circuit and was on the verge of self-release when it won the audience award in the IndieWIRE and Sundance Channel’s \u003cb>Undiscovered Gems\u003c/b> screening series in January 2008. The win brought with it a $100,000 distribution deal, including a theatrical release through Emerging Pictures and a run on the Sundance Channel.\u003c/p>\n\u003cp>On an exceptionally calm and reflective afternoon in the fragile quiet of the couple’s living room in industrial Dogpatch, we discussed the film project that has turned their life into a tempest for the past few years — and the award that has brought it a second life.\u003c/p>\n\u003cp>\u003cb>Jeff Palfini: What did it mean for your film to win the Audience Award from Undiscovered Gems when it did?\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>David Munro:\u003c/b> Well, when you’re on the festival circuit for a year and a half and haven’t made a sale, people are lapping you basically. There are a lot of great films we’ve seen during our time in festivals that have never found a home, and ultimately, we felt like we hit the jackpot, like the white horse just swooped down and got us, because it’s a big boat of people saying, “Take me!”\u003c/p>\n\u003cp>\u003cb>Xandra Castleton:\u003c/b> It was great to win the award, and to know we’ll be in theaters and on the Sundance Channel, but, really, the best part is that you know we have an audience and also we’ve built up a lot of people in (the 12 cities that took part in the screening series) that are excited to tell their friends, “I found this movie and now it’s coming out.”\u003c/p>\n\u003cp>\u003cb>JP: So this has made a big difference for your film and its release.\u003c/b>\u003c/p>\n\u003cp>\u003cb>DM:\u003c/b> Yeah, and the great thing about Gems is that two of the three big pegs of selling a movie are covered — TV and theaters — and now DVD companies know that there are two other marketing efforts that are going to add value to what they do, and that it’s not just them trying to send flares up in the air. Just recently, we started circling back to people we’ve been talking to for a long time and said, “Oh, by the way, we won this thing,” and we just got two offers.\u003c/p>\n\u003cp>\u003cb>XC:\u003c/b> In the space of a day.\u003c/p>\n\u003cp>\u003cb>JP: How close were you to giving up when you won the award?\u003c/b>\u003c/p>\n\u003cp>\u003cb>DM:\u003c/b> There’s Plan A, which is premiere at Sundance and have Harvey Weinstein fist-fighting other distributors for your movie and giving you a $10 million check, then there’s Plan B and Plan C, and then you kind of keep going until self-distribution is the last option, which is more and more common. But we weren’t ready to pack it in, and that’s something we promised our investors.\u003c/p>\n\u003cp>\u003cb>XC:\u003c/b> A lot of people have said when they heard about this, “Wow, you must be so excited!” And now that we’re starting to talk about the release, it’s starting to get exciting, but really, honestly the biggest feeling for me has been relief. There are just a lot of people, it makes me really happy to be able to tell them their efforts will be on the screen in theaters.\u003c/p>\n\u003cp>\u003cb>DM:\u003c/b> And you will have an actual disc on your shelf, not like where we sent it to you with the title written in sharpie.\u003c/p>\n\u003cp>\u003cb>JP: So how important is theatrical versus DVD or TV?\u003c/b>\u003c/p>\n\u003cp>\u003cb>DM:\u003c/b> Theatrical is almost like a loss leader, it’s considered advertising for the more reliable revenue streams that don’t cost as much, like DVD or TV, and so home video is kind of the grail now. Because that’s where all the upfront selling pays off, because people are just buying and renting, you don’t have to do a ton of advertising. So for us now to have those two pieces in place is great, and it’s nice to be in a position where we have some leverage. We have proof of concept.\u003c/p>\n\u003cp>\u003cb>JP: Do you have an idea of what the theatrical release will look like at this point?\u003c/b>\u003c/p>\n\u003cp>\u003cb>DM:\u003c/b> We’re going to do New York, San Francisco and at least half a dozen Gems cities, possibly more, including South Florida. That’s where I’m from, that’s where we shot it. So those three places are where we have strong support bases, which is great. As far as which theaters in those cities, that can be tricky. If you go with a bigger theatre, it’s more expensive and if your film doesn’t do well in a week, you’re out, whereas the smaller venues are often more patient.\u003c/p>\n\u003cp>\u003cb>JP: They say that your first movie is the most autobiographical? Do each of you identify with characters in the movie?\u003c/b>\u003c/p>\n\u003cp>\u003cb>XC:\u003c/b> The movie is about dealing with the present by going through the minefields of the past, and looking at this friend relationship and how those dynamics have changed. That’s sort of the heart of the story that appealed to me. There’s also a theme that deals with how nostalgia can be really crippling, which has been a disease that’s been a big part of my life, because I grew up in a lot of different places, so I was always having nostalgia for where I was before and somehow thinking that was better. So that’s a theme that definitely comes from my experience.\u003c/p>\n\u003cp>\u003cb>JP: David, how much does nostalgia for your own youth play into the movie?\u003c/b>\u003c/p>\n\u003cp>\u003cb>DM:\u003c/b> In a way it was very personal. I don’t think anyone could do the Florida I did in the movie. But a guy wrote me the other day. He had seen the film, and he was so effusive about it because he was from Florida, and he said, “Man, you just nailed that vanishing Florida feel!” I like hearing that from people, because it means I captured something that I had wanted to capture for me, to see if we could create that little snow globe of Florida that I remember.\u003c/p>\n\u003cp>\u003cb>JP: When you’re exploring a part of your life so thoroughly and for so long in the process of writing and making a movie like this, does that provide any resolution?\u003c/b>\u003c/p>\n\u003cp>\u003cb>DM:\u003c/b> I think part of what makes the film better than what I could have done is that prior to shooting the movie I had this other person that had to relate to it too. So as a matter of course, the film became more universal, because it had to. We also grew up together in so many ways. Xandra and I, in the process of making a film about a man learning what it means to become responsible for himself and for other people, and the consequences of that responsibility, I think we learned a lot of that too, certainly in having to become business people. Which we’d never done, nor did we think we ever wanted to do, getting married, having a child, all the things that were the markers into adulthood in this bohemian rhapsody of a life.\u003c/p>\n\u003cp>\u003cb>XC:\u003c/b> We found out that I was pregnant on the day that we came back from the premiere at the Tribeca Film Festival and it was a bit of a surprise.\u003c/p>\n\u003cp>\u003cb>JP: Wow. There’s definitely a metaphor in there somewhere. What were the other high points in the process?\u003c/b>\u003c/p>\n\u003cp>\u003cb>DM:\u003c/b> At the Tribeca premiere, my dad came. Because I was the baby in the family, and because he was part of the Greatest Generation, there were all these things that made me like a Martian to him. His idea about work and what you’re supposed to do with your life was very different than the way I was living mine. Most of my short films, which were very weird, my dad would see them and he’d go, “Well that was interesting.” (Laughs) But still with this kind of like “dot-dot-dot when are you really going to do something with your life?” So after the movie, at the after-party, my father pulled me aside and said, “That was a wonderful film, I really enjoyed it. I’m so proud of you.” Basically, like, “I get it now.” And he died a year later. Among all the other things that this movie has represented as such a life project, to have this story of a guy who is trying to have a second try at coming of age, to finally have some affirmation from sort of the keeper of manhood did feel like a resolution, because I knew in my heart that the things he had really pushed me on and rode me about were exactly what I finally locked into when I fell in love with movies — working really hard toward a goal. So it’s ironic that this story would have, in so many ways, come to that.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>XC:\u003c/b> Or it’s just perfect.\u003c/p>\n\n",
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"excerpt": "No one has it easy becoming an adult. And most people believe that taking up a pursuit like filmmaking is a surefire way to put off the inevitable. But for David Munro and Xandra Castleton, after nearly six years making their first feature film (fittingly titled \u003cb>Full Grown Men\u003c/b>), digging deep into their psyches, building a business together and, oh, getting married and having a child along the way, growing up is exactly what's happened.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>No one has it easy becoming an adult. And most people believe that taking up a pursuit like filmmaking is a surefire way to put off the inevitable. But for David Munro and Xandra Castleton, after nearly six years making their first feature film (fittingly titled \u003cb>Full Grown Men\u003c/b>), digging deep into their psyches, building a business together and, oh, getting married and having a child along the way, growing up is exactly what’s happened.\u003c/p>\n\u003cp>Their film is about a man, played by Matt McGrath, in his thirties who, in an effort to remain in the warm, soft cocoon of his youth sets out on a road trip with a childhood sidekick (Judah Friedlander) across the fading highways, quaint roadside stands and dilapidated amusement parks that time, but not memory, has forgotten — only to discover that things are no longer (or perhaps never were) as carefree as he remembers.\u003c/p>\n\u003cp>\u003cb>Full Grown Men\u003c/b> was directed by Munro and co-written by Munro and Castleton from an old script that had been on the back burner. The film spent more than a year and a half on the festival circuit and was on the verge of self-release when it won the audience award in the IndieWIRE and Sundance Channel’s \u003cb>Undiscovered Gems\u003c/b> screening series in January 2008. The win brought with it a $100,000 distribution deal, including a theatrical release through Emerging Pictures and a run on the Sundance Channel.\u003c/p>\n\u003cp>On an exceptionally calm and reflective afternoon in the fragile quiet of the couple’s living room in industrial Dogpatch, we discussed the film project that has turned their life into a tempest for the past few years — and the award that has brought it a second life.\u003c/p>\n\u003cp>\u003cb>Jeff Palfini: What did it mean for your film to win the Audience Award from Undiscovered Gems when it did?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>David Munro:\u003c/b> Well, when you’re on the festival circuit for a year and a half and haven’t made a sale, people are lapping you basically. There are a lot of great films we’ve seen during our time in festivals that have never found a home, and ultimately, we felt like we hit the jackpot, like the white horse just swooped down and got us, because it’s a big boat of people saying, “Take me!”\u003c/p>\n\u003cp>\u003cb>Xandra Castleton:\u003c/b> It was great to win the award, and to know we’ll be in theaters and on the Sundance Channel, but, really, the best part is that you know we have an audience and also we’ve built up a lot of people in (the 12 cities that took part in the screening series) that are excited to tell their friends, “I found this movie and now it’s coming out.”\u003c/p>\n\u003cp>\u003cb>JP: So this has made a big difference for your film and its release.\u003c/b>\u003c/p>\n\u003cp>\u003cb>DM:\u003c/b> Yeah, and the great thing about Gems is that two of the three big pegs of selling a movie are covered — TV and theaters — and now DVD companies know that there are two other marketing efforts that are going to add value to what they do, and that it’s not just them trying to send flares up in the air. Just recently, we started circling back to people we’ve been talking to for a long time and said, “Oh, by the way, we won this thing,” and we just got two offers.\u003c/p>\n\u003cp>\u003cb>XC:\u003c/b> In the space of a day.\u003c/p>\n\u003cp>\u003cb>JP: How close were you to giving up when you won the award?\u003c/b>\u003c/p>\n\u003cp>\u003cb>DM:\u003c/b> There’s Plan A, which is premiere at Sundance and have Harvey Weinstein fist-fighting other distributors for your movie and giving you a $10 million check, then there’s Plan B and Plan C, and then you kind of keep going until self-distribution is the last option, which is more and more common. But we weren’t ready to pack it in, and that’s something we promised our investors.\u003c/p>\n\u003cp>\u003cb>XC:\u003c/b> A lot of people have said when they heard about this, “Wow, you must be so excited!” And now that we’re starting to talk about the release, it’s starting to get exciting, but really, honestly the biggest feeling for me has been relief. There are just a lot of people, it makes me really happy to be able to tell them their efforts will be on the screen in theaters.\u003c/p>\n\u003cp>\u003cb>DM:\u003c/b> And you will have an actual disc on your shelf, not like where we sent it to you with the title written in sharpie.\u003c/p>\n\u003cp>\u003cb>JP: So how important is theatrical versus DVD or TV?\u003c/b>\u003c/p>\n\u003cp>\u003cb>DM:\u003c/b> Theatrical is almost like a loss leader, it’s considered advertising for the more reliable revenue streams that don’t cost as much, like DVD or TV, and so home video is kind of the grail now. Because that’s where all the upfront selling pays off, because people are just buying and renting, you don’t have to do a ton of advertising. So for us now to have those two pieces in place is great, and it’s nice to be in a position where we have some leverage. We have proof of concept.\u003c/p>\n\u003cp>\u003cb>JP: Do you have an idea of what the theatrical release will look like at this point?\u003c/b>\u003c/p>\n\u003cp>\u003cb>DM:\u003c/b> We’re going to do New York, San Francisco and at least half a dozen Gems cities, possibly more, including South Florida. That’s where I’m from, that’s where we shot it. So those three places are where we have strong support bases, which is great. As far as which theaters in those cities, that can be tricky. If you go with a bigger theatre, it’s more expensive and if your film doesn’t do well in a week, you’re out, whereas the smaller venues are often more patient.\u003c/p>\n\u003cp>\u003cb>JP: They say that your first movie is the most autobiographical? Do each of you identify with characters in the movie?\u003c/b>\u003c/p>\n\u003cp>\u003cb>XC:\u003c/b> The movie is about dealing with the present by going through the minefields of the past, and looking at this friend relationship and how those dynamics have changed. That’s sort of the heart of the story that appealed to me. There’s also a theme that deals with how nostalgia can be really crippling, which has been a disease that’s been a big part of my life, because I grew up in a lot of different places, so I was always having nostalgia for where I was before and somehow thinking that was better. So that’s a theme that definitely comes from my experience.\u003c/p>\n\u003cp>\u003cb>JP: David, how much does nostalgia for your own youth play into the movie?\u003c/b>\u003c/p>\n\u003cp>\u003cb>DM:\u003c/b> In a way it was very personal. I don’t think anyone could do the Florida I did in the movie. But a guy wrote me the other day. He had seen the film, and he was so effusive about it because he was from Florida, and he said, “Man, you just nailed that vanishing Florida feel!” I like hearing that from people, because it means I captured something that I had wanted to capture for me, to see if we could create that little snow globe of Florida that I remember.\u003c/p>\n\u003cp>\u003cb>JP: When you’re exploring a part of your life so thoroughly and for so long in the process of writing and making a movie like this, does that provide any resolution?\u003c/b>\u003c/p>\n\u003cp>\u003cb>DM:\u003c/b> I think part of what makes the film better than what I could have done is that prior to shooting the movie I had this other person that had to relate to it too. So as a matter of course, the film became more universal, because it had to. We also grew up together in so many ways. Xandra and I, in the process of making a film about a man learning what it means to become responsible for himself and for other people, and the consequences of that responsibility, I think we learned a lot of that too, certainly in having to become business people. Which we’d never done, nor did we think we ever wanted to do, getting married, having a child, all the things that were the markers into adulthood in this bohemian rhapsody of a life.\u003c/p>\n\u003cp>\u003cb>XC:\u003c/b> We found out that I was pregnant on the day that we came back from the premiere at the Tribeca Film Festival and it was a bit of a surprise.\u003c/p>\n\u003cp>\u003cb>JP: Wow. There’s definitely a metaphor in there somewhere. What were the other high points in the process?\u003c/b>\u003c/p>\n\u003cp>\u003cb>DM:\u003c/b> At the Tribeca premiere, my dad came. Because I was the baby in the family, and because he was part of the Greatest Generation, there were all these things that made me like a Martian to him. His idea about work and what you’re supposed to do with your life was very different than the way I was living mine. Most of my short films, which were very weird, my dad would see them and he’d go, “Well that was interesting.” (Laughs) But still with this kind of like “dot-dot-dot when are you really going to do something with your life?” So after the movie, at the after-party, my father pulled me aside and said, “That was a wonderful film, I really enjoyed it. I’m so proud of you.” Basically, like, “I get it now.” And he died a year later. 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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
"meta": {
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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}
},
"city-arts": {
"id": "city-arts",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"rss": "https://feeds.megaphone.fm/KQINC2275451163"
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
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