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"title": "S.F. International Film Festival 2008",
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"content": "\u003cp>It’s only a matter of time before Americans, spooked by a bad economy and ever-scarcer resources, hunker down with their guns and religion and turn isolationist. Led by Lou Dobbs, we’ll start hoarding corn and chardonnay, sealing borders, sticking our fingers in our ears and blocking out all news and culture from the outside world. I share my not-so-paranoid fantasy as a way of underscoring the marvelous contribution of the San Francisco International Film Festival, which kicks off its 51st edition tonight (Thursday, April 24, 2008) and cuts a swath through our global and cinematic indifference until May 8.\u003c/p>\n\u003cp>For casual filmgoers who don’t commit the names of Danish directors to memory, the program can be an impenetrable array of tempting morsels that requires a secret code to decrypt. One should resist any whiff of intimidation, however; the only quality required to dive into a big-time film festival is a spirit of adventure. Just pick a title that grabs you and if there’s anything you need to know about the filmmaker, country or social issue, trust me, someone in line will tell you.\u003c/p>\n\u003cp>As for the special events, it’s lovely that documentary aesthete Errol Morris is receiving the Persistence of Vision Award (April 29), and his onstage interview should be well worth catching. The program also includes his new film about Abu Ghraib, \u003cb>Standard Operating Procedure\u003c/b>, an absurdly over-stylized approach to a subject that has been tackled in at least a couple of other docs already. If you miss it at the festival, it opens May 9.\u003c/p>\n\u003cp>The great Mike Leigh will be honored with the Founder’s Directing Award (April 30), his onstage interview followed by \u003cb>Topsy-Turvy\u003c/b>, Leigh’s impeccable, enthralling 1999 slice of Gilbert and Sullivan. Robert Towne (\u003cb>Chinatown\u003c/b>) pockets the Kanbar Award for screenwriting (May 3); he’ll be feted with clips, conversation and the great Hal Ashby-Warren Beatty evisceration of Nixon-era sexual/political amorality, \u003cb>Shampoo\u003c/b>.\u003c/p>\n\u003cp>Music fans already have tickets to \u003cb>The Golem\u003c/b> (April 25 at the Castro), with Black Francis (of The Pixies) performing his original score. The beat goes on with \u003cb>Cachao: Una Más\u003c/b>, an invigorating concert-fueled doc about the immortal Cuban bassist, composer and bandleader, and Carlos Saura’s vibrant \u003cb>Fados\u003c/b>, which captures the snap, color and emotion of Portugal’s distinctive musical genre.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>.\u003c/p>\n\u003cp>The festival opens with \u003cb>The Last Mistress\u003c/b>, French \u003ci>femme de scandale\u003c/i> Catherine Breillat’s latest survey of male-female power trips and head games. A 19th-century period piece that unfolds with excessively deliberate precision and obsession, it stars Asia Argento as a cross between a rebel (think Frida Kahlo) and a poseur (say, Madonna).\u003c/p>\n\u003cp>Swell, you’re saying, but I can glean all that from the program on my own. How about a little help with the obscure titles that comprise most of the lineup? I’m here to help, hombre. The fascinating Israeli drama \u003cb>Vasermil\u003c/b> centers on three teenagers struggling to find a way out of the low-hope, middle-of-nowhere development town of Beersheva. Instead of the nihilism and hair-trigger violence that propel most young-thug or disenfranchised-immigrant pictures, \u003cb>Vasermil\u003c/b> walks a tightrope between possibility and futility.\u003c/p>\n\u003cp>Swedish director Roy Andersson has an oddball sense of humor — detached, observant and dry, dry, dry. If your appetite for the painfully absurd remotely approaches his, you’ll adore \u003cb>You, the Living\u003c/b>. If not, you’ll chuckle once or twice and stare blankly at the screen for the other 89 minutes,\u003c/p>\n\u003cp>On the documentary side, Renee Tajima-Peña’s beautifully crafted road movie, \u003cb>Calavera Highway\u003c/b>, follows her Mexican American husband’s attempt to reconnect with his six brothers and root out the truth about his father. It’s a simply terrific film about family, identity and melting-pot America in the 21st century. If you miss it, though, it airs on PBS in September.\u003c/p>\n\u003cp>Closer to home, resident subversive Craig Baldwin (longtime programmer of \u003ca href=\"http://www.othercinema.com/\" target=\"offsite\" rel=\"noopener\">Other Cinema\u003c/a> at Artists’ Television Access in the Mission) returns with \u003cb>Mock Up on Mu\u003c/b>, a feature-length science-fiction parable that marks his latest mad-hatter re-assembly of vintage educational films, old Hollywood movies and original footage. Baldwin invents a moon-colonization scenario populated by real-life figures L. Ron Hubbard, Jack Parsons, Margaret Cameron and Aleister Crowley that is more playful and more accessible than his previous mega-dense films.\u003c/p>\n\u003cp>Another local film that deserves every iota of praise it gets is Barry Jenkins’ debut indie feature, \u003cb>Medicine For Melancholy\u003c/b>. A thoughtful excavation of black identity in a gentrified city — this one, in case you hadn’t guessed — the movie follows two twenty-something African American strangers the morning after they wake up together. A beautiful, delicate and probing film, it deserves a high-profile theatrical release in every city in the country.\u003c/p>\n\u003cp>We regularly choose what movies we see based on actors or directors we like, although we realize that it’s not a guarantee of quality or satisfaction. The festival includes several titles by well-known filmmakers, some bearing better word-of-mouth than others. I can offer no assurances, since I’ve not yet seen them, but I provide a list for your convenience: \u003cb>The Man From London\u003c/b> (Bela Tarr), \u003cb>A Girl Cut in Two\u003c/b> (Claude Chabrol), \u003cb>I Served the King of England\u003c/b> (Jiri Menzel), \u003cb>My Winnipeg\u003c/b> (Guy Maddin), \u003cb>Lady Jane\u003c/b> (Robert Guediguian), \u003cb>Mongol\u003c/b> (Sergei Bodrov), \u003cb>Glass: A Portrait of Philip in Twelve Parts\u003c/b> (Scott Hicks), \u003cb>Go Go Tales\u003c/b> (Abel Ferrara) and \u003cb>Redbelt\u003c/b> (David Mamet).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If, perchance, you feel no more enlightened than you were 12 paragraphs ago, revert to my previous advice. Pick a title and go. The world is calling.\u003c/p>\n\n",
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"excerpt": "It's only a matter of time before Americans, spooked by a bad economy and ever-scarcer resources, hunker down with their guns and religion and turn isolationist. Led by Lou Dobbs, we'll start hoarding corn and chardonnay, sealing borders, sticking our fingers in our ears and blocking out all news and culture from the outside world. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s only a matter of time before Americans, spooked by a bad economy and ever-scarcer resources, hunker down with their guns and religion and turn isolationist. Led by Lou Dobbs, we’ll start hoarding corn and chardonnay, sealing borders, sticking our fingers in our ears and blocking out all news and culture from the outside world. I share my not-so-paranoid fantasy as a way of underscoring the marvelous contribution of the San Francisco International Film Festival, which kicks off its 51st edition tonight (Thursday, April 24, 2008) and cuts a swath through our global and cinematic indifference until May 8.\u003c/p>\n\u003cp>For casual filmgoers who don’t commit the names of Danish directors to memory, the program can be an impenetrable array of tempting morsels that requires a secret code to decrypt. One should resist any whiff of intimidation, however; the only quality required to dive into a big-time film festival is a spirit of adventure. Just pick a title that grabs you and if there’s anything you need to know about the filmmaker, country or social issue, trust me, someone in line will tell you.\u003c/p>\n\u003cp>As for the special events, it’s lovely that documentary aesthete Errol Morris is receiving the Persistence of Vision Award (April 29), and his onstage interview should be well worth catching. The program also includes his new film about Abu Ghraib, \u003cb>Standard Operating Procedure\u003c/b>, an absurdly over-stylized approach to a subject that has been tackled in at least a couple of other docs already. If you miss it at the festival, it opens May 9.\u003c/p>\n\u003cp>The great Mike Leigh will be honored with the Founder’s Directing Award (April 30), his onstage interview followed by \u003cb>Topsy-Turvy\u003c/b>, Leigh’s impeccable, enthralling 1999 slice of Gilbert and Sullivan. Robert Towne (\u003cb>Chinatown\u003c/b>) pockets the Kanbar Award for screenwriting (May 3); he’ll be feted with clips, conversation and the great Hal Ashby-Warren Beatty evisceration of Nixon-era sexual/political amorality, \u003cb>Shampoo\u003c/b>.\u003c/p>\n\u003cp>Music fans already have tickets to \u003cb>The Golem\u003c/b> (April 25 at the Castro), with Black Francis (of The Pixies) performing his original score. The beat goes on with \u003cb>Cachao: Una Más\u003c/b>, an invigorating concert-fueled doc about the immortal Cuban bassist, composer and bandleader, and Carlos Saura’s vibrant \u003cb>Fados\u003c/b>, which captures the snap, color and emotion of Portugal’s distinctive musical genre.\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>The festival opens with \u003cb>The Last Mistress\u003c/b>, French \u003ci>femme de scandale\u003c/i> Catherine Breillat’s latest survey of male-female power trips and head games. A 19th-century period piece that unfolds with excessively deliberate precision and obsession, it stars Asia Argento as a cross between a rebel (think Frida Kahlo) and a poseur (say, Madonna).\u003c/p>\n\u003cp>Swell, you’re saying, but I can glean all that from the program on my own. How about a little help with the obscure titles that comprise most of the lineup? I’m here to help, hombre. The fascinating Israeli drama \u003cb>Vasermil\u003c/b> centers on three teenagers struggling to find a way out of the low-hope, middle-of-nowhere development town of Beersheva. Instead of the nihilism and hair-trigger violence that propel most young-thug or disenfranchised-immigrant pictures, \u003cb>Vasermil\u003c/b> walks a tightrope between possibility and futility.\u003c/p>\n\u003cp>Swedish director Roy Andersson has an oddball sense of humor — detached, observant and dry, dry, dry. If your appetite for the painfully absurd remotely approaches his, you’ll adore \u003cb>You, the Living\u003c/b>. If not, you’ll chuckle once or twice and stare blankly at the screen for the other 89 minutes,\u003c/p>\n\u003cp>On the documentary side, Renee Tajima-Peña’s beautifully crafted road movie, \u003cb>Calavera Highway\u003c/b>, follows her Mexican American husband’s attempt to reconnect with his six brothers and root out the truth about his father. It’s a simply terrific film about family, identity and melting-pot America in the 21st century. If you miss it, though, it airs on PBS in September.\u003c/p>\n\u003cp>Closer to home, resident subversive Craig Baldwin (longtime programmer of \u003ca href=\"http://www.othercinema.com/\" target=\"offsite\" rel=\"noopener\">Other Cinema\u003c/a> at Artists’ Television Access in the Mission) returns with \u003cb>Mock Up on Mu\u003c/b>, a feature-length science-fiction parable that marks his latest mad-hatter re-assembly of vintage educational films, old Hollywood movies and original footage. Baldwin invents a moon-colonization scenario populated by real-life figures L. Ron Hubbard, Jack Parsons, Margaret Cameron and Aleister Crowley that is more playful and more accessible than his previous mega-dense films.\u003c/p>\n\u003cp>Another local film that deserves every iota of praise it gets is Barry Jenkins’ debut indie feature, \u003cb>Medicine For Melancholy\u003c/b>. A thoughtful excavation of black identity in a gentrified city — this one, in case you hadn’t guessed — the movie follows two twenty-something African American strangers the morning after they wake up together. A beautiful, delicate and probing film, it deserves a high-profile theatrical release in every city in the country.\u003c/p>\n\u003cp>We regularly choose what movies we see based on actors or directors we like, although we realize that it’s not a guarantee of quality or satisfaction. The festival includes several titles by well-known filmmakers, some bearing better word-of-mouth than others. I can offer no assurances, since I’ve not yet seen them, but I provide a list for your convenience: \u003cb>The Man From London\u003c/b> (Bela Tarr), \u003cb>A Girl Cut in Two\u003c/b> (Claude Chabrol), \u003cb>I Served the King of England\u003c/b> (Jiri Menzel), \u003cb>My Winnipeg\u003c/b> (Guy Maddin), \u003cb>Lady Jane\u003c/b> (Robert Guediguian), \u003cb>Mongol\u003c/b> (Sergei Bodrov), \u003cb>Glass: A Portrait of Philip in Twelve Parts\u003c/b> (Scott Hicks), \u003cb>Go Go Tales\u003c/b> (Abel Ferrara) and \u003cb>Redbelt\u003c/b> (David Mamet).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If, perchance, you feel no more enlightened than you were 12 paragraphs ago, revert to my previous advice. Pick a title and go. The world is calling.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The great moment of revelation in \u003cb>Gimme Shelter\u003c/b>, Albert and David Maysles’ 1970 portrait of the Rolling Stones tour that ended so disastrously at Altamont, was the look on Mick Jagger’s face as he sat watching footage of a Hells Angel member repeatedly stabbing a man in front of the stage while the band played. The image that will live the longest from \u003cb>Shine a Light\u003c/b>, the new Stones’ concert film, is of Keith Richards’ face as he mischievously winks at a girl in front of the stage. The difference between the two films is not merely 38 years, but the gulf between real life and show biz.\u003c/p>\n\u003cp>The urge to conflate and contrast \u003cb>Shine a Light\u003c/b> and \u003cb>Gimme Shelter\u003c/b> begins with an inspired booking. \u003cb>Shine a Light\u003c/b> opens this Friday, and the Clay Theatre’s midnight movie series, \u003ca href=\"http://landmarkafterdark.com/index.php\" target=\"offsite\" rel=\"noopener\">The Late Night Picture Show\u003c/a>, programmed \u003cb>Gimme Shelter\u003c/b> for Friday and Saturday night (April 4 and 5, 2008). Although one is a documentary with some performance footage and the other is a full concert augmented by a few extraneous scenes, they are connected by the theory (to the degree you accept it) that a documentary is a true (if not accurate) picture regardless of its subject’s attempts to present an untrue face. The Maysles brothers were exceedingly fortunate, not in recording a murder on-camera but in capturing Jagger in an unguarded moment. He appears quite ordinary, and slightly shaken, as he stares at the monitor, as if he’s finally encountered something he can’t manipulate, manage or shrug off.\u003c/p>\n\u003cp>Perhaps Jagger wasn’t stunned by the images so much as thrown back to that free-fall moment of abject powerlessness when he tried to settle the crowd and banish the bad vibes. Wearing a ridiculous cape, stirring the ashes of “Sympathy for the Devil” while the audience fretted and whinnied, the most hypnotic rock star of the era — and a dark prophet to many — was revealed as a fop and an overrated actor a long way from home.\u003c/p>\n\u003cp>The Stones reprise “Sympathy for the Devil” in \u003cb>Shine a Light\u003c/b>, swapping the apocalyptic tone for an audience-friendly toe-tapper with a call-and-response (“woo-woo”) passage. And then, as if to bury once and for all any lingering association with Altamont, Hells Angels and rock ‘n’ roll catastrophe, they bring out Christina Aguilera to duet with Mick on “Live With Me.” Yes, that’s its own special brand of ignominy, but it’s not one destined for immortality (regardless of the lifespan of digital media).\u003c/p>\n\u003cp>A quick word here about Martin Scorsese, the most-praised American filmmaker of our era, who is credited with directing \u003cb>Shine a Light\u003c/b> but, like Alfred Hitchcock, will receive more attention for his extended cameo at the beginning of the film. He also turns up very briefly at the end, for reasons that only he knows; either Scorsese wants to steal the spotlight from the Stones, or he’s mocking his well-known attachment to lengthy Steadicam shots. If nothing else, this movie (along with his American Express ad) confirms his status as a recognizable celebrity. If I were him, I’d settle for being an artist. But nobody asked me.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Stones are the ones who really triumph in \u003cb>Shine a Light\u003c/b>, recorded in October, 2006, at the Beacon Theatre in welcoming New York City, not by making powerful music so much as by avoiding with considerable ease any hint of self-parody or irrelevance. Jagger, in particular, is an entertainer whose greatest talent at this point may be convincing the audience that he’s having a grand old time. Keith Richards, though, genuinely looks like there’s no place he’d rather be than elbow-to-elbow onstage with fellow guitarist Ron Wood. (At least so long as he can fire up a steady stream of cigarettes.) Richards doesn’t provide many highlights with his guitar playing, but nobody goes to a Stones show for their virtuosity.\u003c/p>\n\u003cp>You know if you roll with the Stones, and that will determine whether you see or avoid \u003cb>Shine a Light\u003c/b>. For a slab of Stones with a sliver of truth, a dollop of insight and the flavor of San Francisco in the late ’60s, \u003cb>Gimme Shelter\u003c/b> is the ticket.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Shine a Light\u003c/b> opens Friday, April 4, 2008. \u003cb>Gimme Shelter\u003c/b> screens Friday and Saturday, April 4-5, 2008 at the Clay Theatre.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The great moment of revelation in \u003cb>Gimme Shelter\u003c/b>, Albert and David Maysles’ 1970 portrait of the Rolling Stones tour that ended so disastrously at Altamont, was the look on Mick Jagger’s face as he sat watching footage of a Hells Angel member repeatedly stabbing a man in front of the stage while the band played. The image that will live the longest from \u003cb>Shine a Light\u003c/b>, the new Stones’ concert film, is of Keith Richards’ face as he mischievously winks at a girl in front of the stage. The difference between the two films is not merely 38 years, but the gulf between real life and show biz.\u003c/p>\n\u003cp>The urge to conflate and contrast \u003cb>Shine a Light\u003c/b> and \u003cb>Gimme Shelter\u003c/b> begins with an inspired booking. \u003cb>Shine a Light\u003c/b> opens this Friday, and the Clay Theatre’s midnight movie series, \u003ca href=\"http://landmarkafterdark.com/index.php\" target=\"offsite\" rel=\"noopener\">The Late Night Picture Show\u003c/a>, programmed \u003cb>Gimme Shelter\u003c/b> for Friday and Saturday night (April 4 and 5, 2008). Although one is a documentary with some performance footage and the other is a full concert augmented by a few extraneous scenes, they are connected by the theory (to the degree you accept it) that a documentary is a true (if not accurate) picture regardless of its subject’s attempts to present an untrue face. The Maysles brothers were exceedingly fortunate, not in recording a murder on-camera but in capturing Jagger in an unguarded moment. He appears quite ordinary, and slightly shaken, as he stares at the monitor, as if he’s finally encountered something he can’t manipulate, manage or shrug off.\u003c/p>\n\u003cp>Perhaps Jagger wasn’t stunned by the images so much as thrown back to that free-fall moment of abject powerlessness when he tried to settle the crowd and banish the bad vibes. Wearing a ridiculous cape, stirring the ashes of “Sympathy for the Devil” while the audience fretted and whinnied, the most hypnotic rock star of the era — and a dark prophet to many — was revealed as a fop and an overrated actor a long way from home.\u003c/p>\n\u003cp>The Stones reprise “Sympathy for the Devil” in \u003cb>Shine a Light\u003c/b>, swapping the apocalyptic tone for an audience-friendly toe-tapper with a call-and-response (“woo-woo”) passage. And then, as if to bury once and for all any lingering association with Altamont, Hells Angels and rock ‘n’ roll catastrophe, they bring out Christina Aguilera to duet with Mick on “Live With Me.” Yes, that’s its own special brand of ignominy, but it’s not one destined for immortality (regardless of the lifespan of digital media).\u003c/p>\n\u003cp>A quick word here about Martin Scorsese, the most-praised American filmmaker of our era, who is credited with directing \u003cb>Shine a Light\u003c/b> but, like Alfred Hitchcock, will receive more attention for his extended cameo at the beginning of the film. He also turns up very briefly at the end, for reasons that only he knows; either Scorsese wants to steal the spotlight from the Stones, or he’s mocking his well-known attachment to lengthy Steadicam shots. If nothing else, this movie (along with his American Express ad) confirms his status as a recognizable celebrity. If I were him, I’d settle for being an artist. But nobody asked me.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Stones are the ones who really triumph in \u003cb>Shine a Light\u003c/b>, recorded in October, 2006, at the Beacon Theatre in welcoming New York City, not by making powerful music so much as by avoiding with considerable ease any hint of self-parody or irrelevance. Jagger, in particular, is an entertainer whose greatest talent at this point may be convincing the audience that he’s having a grand old time. Keith Richards, though, genuinely looks like there’s no place he’d rather be than elbow-to-elbow onstage with fellow guitarist Ron Wood. (At least so long as he can fire up a steady stream of cigarettes.) Richards doesn’t provide many highlights with his guitar playing, but nobody goes to a Stones show for their virtuosity.\u003c/p>\n\u003cp>You know if you roll with the Stones, and that will determine whether you see or avoid \u003cb>Shine a Light\u003c/b>. For a slab of Stones with a sliver of truth, a dollop of insight and the flavor of San Francisco in the late ’60s, \u003cb>Gimme Shelter\u003c/b> is the ticket.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Shine a Light\u003c/b> opens Friday, April 4, 2008. \u003cb>Gimme Shelter\u003c/b> screens Friday and Saturday, April 4-5, 2008 at the Clay Theatre.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Walter Hopps was a bit of an oddball, disappearing for days at a time, often hiding in his attic. But he had ambition and, with the help of a few friends, managed to turn post-war Los Angeles from a backwards farm town to the second most important city in the American art world. Some might argue THE most important American city for art, but most of those proponents all live in the Southlands.\u003c/p>\n\u003cp>Before Hopps, the \u003ca href=\"http://www.lacma.org/\" target=\"offsite\" rel=\"noopener\">Los Angeles Contemporary Museum of Art\u003c/a> maintained such a conservative agenda it shunned Abstract Expressionism for fear of any Commie sympathy it might contain. After Hopps, New Yorkers (like condescending dealer \u003ca href=\"http://www.aaa.si.edu/collections/oralhistories/transcripts/karp69.htm\" target=\"offsite\" rel=\"noopener\">Ivan Karp\u003c/a>) shuddered at the ferocious new competition from California.\u003c/p>\n\u003cp>If Walter Hopps had a business plan in the mid-1950s, here’s how it would have read:\u003c/p>\n\u003cp>1. Dress like a straight, but be an enigma. (Upon meeting him, many folks believed that he worked for the CIA).\u003cbr>2. Find an affordable space for your gallery (Syndell Studios then \u003ca href=\"http://en.wikipedia.org/wiki/Ferus_Gallery\" target=\"offsite\" rel=\"noopener\">Ferus Gallery\u003c/a> opened in little out-of-the-way places).\u003cbr>3. Exhibit the work of your friends (including, but not limited to, \u003ca href=\"http://www.beatmuseum.org/altoon/johnaltoon.html\" target=\"offsite\" rel=\"noopener\">John Altoon\u003c/a>, \u003ca href=\"http://en.wikipedia.org/wiki/Edward_Kienholz\" target=\"offsite\" rel=\"noopener\">Ed Kienholz\u003c/a>, \u003ca href=\"http://en.wikipedia.org/wiki/Wallace_Berman\" target=\"offsite\" rel=\"noopener\">Wallace Berman\u003c/a>, \u003ca href=\"http://www.kenprice.com/\" target=\"offsite\" rel=\"noopener\">Kenneth Price\u003c/a> and \u003ca href=\"http://www.billyalbengston.com/\" target=\"offsite\" rel=\"noopener\">Billy Al Bengston\u003c/a>).\u003cbr>4. Find a benefactor to keep you going in those first few lean years.\u003cbr>5. Don’t back down when the vice cops come for Wallace Berman.\u003cbr>6. As the space begins to take off, team up with a stylish Cary Grant look-alike (that would be \u003ca href=\"http://www.aaa.si.edu/collections/oralhistories/tranSCRIPTs/blum77.htm\" target=\"offsite\" rel=\"noopener\">Irving Blum\u003c/a>) who is even more ambitious and professional than yourself.\u003cbr>7. Create a local collector base by teaching art appreciation classes at the nearby college extension.\u003cbr>8. Help lure an avant art magazine (\u003ca href=\"http://artforum.com/\">Artforum\u003c/a>) from San Francisco to L.A. Get it based next door to your gallery, Ferus.\u003cbr>9. Champion the New York artists that have not yet caught on (like Andy Warhol).\u003c/p>\n\u003cp>It’s all there in Morgan Neville’s loving documentary \u003cb>The Cool School: The Story of The Ferus Art Gallery\u003c/b>. Using a busload of archival footage — much of it simply amazing — and interviews with surviving artists and the scene’s orbiting personalities, Neville has brought to life that moment when Los Angeles art sparked.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Neville’s film also affords us the chance to consider the moment when San Francisco squandered its cultural caché. Walter Hopps’s first few shows were mainly of art that he brought down from the Bay Area. The pieces helped contextualize the works he chose to show from unknown Los Angeles artists like \u003ca href=\"http://www.artnet.com/artist/9292/craig-kauffman.html\" target=\"offsite\" rel=\"noopener\">Craig Kauffman\u003c/a>.\u003c/p>\n\u003cp>After WWII, the Bay Area played host to a vibrant school of Abstract Expressionism. The work coming out of here, often shepherded by \u003ca href=\"http://en.wikipedia.org/wiki/Clyfford_Still\" target=\"offsite\" rel=\"noopener\">Clyfford Still\u003c/a>, was of an equal caliber to that coming out of New York. But there was no one in SF who possessed Hopps’s vision and wherewithal to cash in on it. And there were not enough collectors willing to invest in the San Francisco scene to keep it alive. And SF soon ended up playing second fiddle to The City of Angels.\u003c/p>\n\u003cp>It can get really easy to focus on who was a catalyst and who was a slacker. But near the end of \u003cb>The Cool School\u003c/b>, to a crowd that’s gathered in his honor, Walter Hopps throws you back to the big picture when he quotes a bit from a friend’s poem, “Art offers the possibility of love with strangers.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Cool School\u003c/b> opens March 21, 2008 at the \u003ca href=\"http://www.roxie.com\" target=\"offsite\" rel=\"noopener\">Roxie Film Center\u003c/a> in San Francisco.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Walter Hopps was a bit of an oddball, disappearing for days at a time, often hiding in his attic. But he had ambition and, with the help of a few friends, managed to turn post-war Los Angeles from a backwards farm town to the second most important city in the American art world. Some might argue THE most important American city for art, but most of those proponents all live in the Southlands.\u003c/p>\n\u003cp>Before Hopps, the \u003ca href=\"http://www.lacma.org/\" target=\"offsite\" rel=\"noopener\">Los Angeles Contemporary Museum of Art\u003c/a> maintained such a conservative agenda it shunned Abstract Expressionism for fear of any Commie sympathy it might contain. After Hopps, New Yorkers (like condescending dealer \u003ca href=\"http://www.aaa.si.edu/collections/oralhistories/transcripts/karp69.htm\" target=\"offsite\" rel=\"noopener\">Ivan Karp\u003c/a>) shuddered at the ferocious new competition from California.\u003c/p>\n\u003cp>If Walter Hopps had a business plan in the mid-1950s, here’s how it would have read:\u003c/p>\n\u003cp>1. Dress like a straight, but be an enigma. (Upon meeting him, many folks believed that he worked for the CIA).\u003cbr>2. Find an affordable space for your gallery (Syndell Studios then \u003ca href=\"http://en.wikipedia.org/wiki/Ferus_Gallery\" target=\"offsite\" rel=\"noopener\">Ferus Gallery\u003c/a> opened in little out-of-the-way places).\u003cbr>3. Exhibit the work of your friends (including, but not limited to, \u003ca href=\"http://www.beatmuseum.org/altoon/johnaltoon.html\" target=\"offsite\" rel=\"noopener\">John Altoon\u003c/a>, \u003ca href=\"http://en.wikipedia.org/wiki/Edward_Kienholz\" target=\"offsite\" rel=\"noopener\">Ed Kienholz\u003c/a>, \u003ca href=\"http://en.wikipedia.org/wiki/Wallace_Berman\" target=\"offsite\" rel=\"noopener\">Wallace Berman\u003c/a>, \u003ca href=\"http://www.kenprice.com/\" target=\"offsite\" rel=\"noopener\">Kenneth Price\u003c/a> and \u003ca href=\"http://www.billyalbengston.com/\" target=\"offsite\" rel=\"noopener\">Billy Al Bengston\u003c/a>).\u003cbr>4. Find a benefactor to keep you going in those first few lean years.\u003cbr>5. Don’t back down when the vice cops come for Wallace Berman.\u003cbr>6. As the space begins to take off, team up with a stylish Cary Grant look-alike (that would be \u003ca href=\"http://www.aaa.si.edu/collections/oralhistories/tranSCRIPTs/blum77.htm\" target=\"offsite\" rel=\"noopener\">Irving Blum\u003c/a>) who is even more ambitious and professional than yourself.\u003cbr>7. Create a local collector base by teaching art appreciation classes at the nearby college extension.\u003cbr>8. Help lure an avant art magazine (\u003ca href=\"http://artforum.com/\">Artforum\u003c/a>) from San Francisco to L.A. Get it based next door to your gallery, Ferus.\u003cbr>9. Champion the New York artists that have not yet caught on (like Andy Warhol).\u003c/p>\n\u003cp>It’s all there in Morgan Neville’s loving documentary \u003cb>The Cool School: The Story of The Ferus Art Gallery\u003c/b>. Using a busload of archival footage — much of it simply amazing — and interviews with surviving artists and the scene’s orbiting personalities, Neville has brought to life that moment when Los Angeles art sparked.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Neville’s film also affords us the chance to consider the moment when San Francisco squandered its cultural caché. Walter Hopps’s first few shows were mainly of art that he brought down from the Bay Area. The pieces helped contextualize the works he chose to show from unknown Los Angeles artists like \u003ca href=\"http://www.artnet.com/artist/9292/craig-kauffman.html\" target=\"offsite\" rel=\"noopener\">Craig Kauffman\u003c/a>.\u003c/p>\n\u003cp>After WWII, the Bay Area played host to a vibrant school of Abstract Expressionism. The work coming out of here, often shepherded by \u003ca href=\"http://en.wikipedia.org/wiki/Clyfford_Still\" target=\"offsite\" rel=\"noopener\">Clyfford Still\u003c/a>, was of an equal caliber to that coming out of New York. But there was no one in SF who possessed Hopps’s vision and wherewithal to cash in on it. And there were not enough collectors willing to invest in the San Francisco scene to keep it alive. And SF soon ended up playing second fiddle to The City of Angels.\u003c/p>\n\u003cp>It can get really easy to focus on who was a catalyst and who was a slacker. But near the end of \u003cb>The Cool School\u003c/b>, to a crowd that’s gathered in his honor, Walter Hopps throws you back to the big picture when he quotes a bit from a friend’s poem, “Art offers the possibility of love with strangers.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Cool School\u003c/b> opens March 21, 2008 at the \u003ca href=\"http://www.roxie.com\" target=\"offsite\" rel=\"noopener\">Roxie Film Center\u003c/a> in San Francisco.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Sociologically speaking, every ethnic or identity-oriented film festival provides a multifaceted reflection of its community. The lineup serves as a snapshot — incrementally different every year — of the audience’s state of mind and place. It would be foolhardy to generalize from a program as geographically far-reaching as the 2008 S.F. International Asian American Film Festival, but it’s safe to say this much: The tension between the past, represented by both family and history, and the kinetic, high-pressure present is as acute as ever.\u003c/p>\n\u003cp>The lavish feature-length documentary \u003cb>Wings of Defeat\u003c/b> begins with chilling archival footage of Japanese Zeros dive-bombing U.S. battleships, accompanied by present-day recollections of sailors who survived. New York filmmaker Risa Morimoto informs us that she just found out that her uncle, a World War II vet now gone some 20 years, had been a kamikaze pilot. So she heads to Japan to interview her relatives, and to pierce the veil of myth and stigma that still surrounds what today would be called an infamous cult of suicide bombers.\u003c/p>\n\u003cp>Morimoto locates three men who flew kamikaze missions (and a fourth who was trained and set to go when Japan surrendered), and discovers that they were not single-minded super-patriots but young innocents sent to their doom by profoundly irresponsible leaders. (A military man devised the kamikaze strategy, believing it would jolt the emperor into realizing that the war was lost. Instead, Hirohito embraced it.)\u003c/p>\n\u003cp>\u003cb>Wings of Defeat\u003c/b> (playing March 14 at the Sundance Cinemas Kabuki and Mar. 22 at the Camera 12 in San Jose) is an example of the kitchen-sink school of documentary. In addition to the archival footage and new interviews, we get maps, fancy graphics, an attention-drawing score and even an animated dogfight illustrating one pilot’s miraculous survival. (Even with all the bells and whistles, the film doesn’t sustain its 90-minute running time.) The filmmaker’s direct connection to the subject is dispensed with pretty quickly, but she sticks around as an on-camera presence and narrator. Consequently, the documentary’s point of view is continuously fluctuating between Morimoto, the Japanese pilots and the American sailors (who return late in the film), depriving it of a strong, sustained focus. The major benefit of the filmmaker’s voice is that it links the present with the past, pointing out that war’s effects resound generations after the last shot is fired.\u003c/p>\n\u003cp>Miromoto was born in New York, but she plainly feels a connection and some responsibility to the country her parents left. No such loyalties confound or confine the young, opportunistic protagonists of \u003cb>West 32nd\u003c/b>, Michael Kang’s neon-infused independent feature set in a particular corner of the Korean-American underworld. It’s all about getting ahead, earning big bucks and bigger respect, by hook or by crook. The American Dream is alive and well, my friends, at least in the movies.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Assimilated Korean-American attorney John Kim (played by John Cho of \u003cb>Harold and Kumar Escape From Guantanamo Bay\u003c/b>) wins points with his firm’s lead partners by lassoing a case with high PR value. He aims to clear a 14-year-old Korean-American kid charged with murder. So our ambitious and seemingly idealistic yuppie hero, who (in time-honored movie fashion) is neither as clever nor as street-smart as he thinks, begins sniffing around the Queens neighborhood where the crime occurred.\u003c/p>\n\u003cp>The clean-cut, baby-faced John eventually runs afoul of Mike (Jun Kim), a slick, brutal charmer who works for a mobster. They size each other up, they banter, they bond, they get bleary-eyed drunk. John revels in his adrenaline-infused taste of the criminal world. But he’s out of his league, and self-interest and betrayal await him just around the corner.\u003c/p>\n\u003cp>\u003cb>West 32nd\u003c/b> (playing March 16 at the Castro Theatre) is a good-looking movie, entertaining in a lightweight sort of way. Both leads are compelling, though they’re ultimately undermined by a plot that succumbs to contrivances and gratuitous action. Never mind that — what’s fascinating about the movie is its resemblance to New York stories about aspiring immigrants and children of immigrants starring James Cagney, Paul Muni, John Garfield and Edward G. Robinson.\u003c/p>\n\u003cp>The pressures to make a living and to fit in, without denying one’s parents or losing sight of one’s origins, are the stuff of cliché, or fiction. To the contrary, the S.F. International Asian American Film Festival reminds us, in a variety of ways from a dozen directions, that’s reality. Up to the minute, and at the same time the latest chapter in an unfolding history. Our collective history, I might add.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The San Francisco International Asian American Film Festival runs March 13-23, 2008 in San Francisco, Berkeley and San Jose. For \u003ca href=\"http://festival.asianamericanmedia.org/2008/\" target=\"offsite\" rel=\"noopener\">tickets and information visit www.asianamericanmedia.org.\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sociologically speaking, every ethnic or identity-oriented film festival provides a multifaceted reflection of its community. The lineup serves as a snapshot — incrementally different every year — of the audience’s state of mind and place. It would be foolhardy to generalize from a program as geographically far-reaching as the 2008 S.F. International Asian American Film Festival, but it’s safe to say this much: The tension between the past, represented by both family and history, and the kinetic, high-pressure present is as acute as ever.\u003c/p>\n\u003cp>The lavish feature-length documentary \u003cb>Wings of Defeat\u003c/b> begins with chilling archival footage of Japanese Zeros dive-bombing U.S. battleships, accompanied by present-day recollections of sailors who survived. New York filmmaker Risa Morimoto informs us that she just found out that her uncle, a World War II vet now gone some 20 years, had been a kamikaze pilot. So she heads to Japan to interview her relatives, and to pierce the veil of myth and stigma that still surrounds what today would be called an infamous cult of suicide bombers.\u003c/p>\n\u003cp>Morimoto locates three men who flew kamikaze missions (and a fourth who was trained and set to go when Japan surrendered), and discovers that they were not single-minded super-patriots but young innocents sent to their doom by profoundly irresponsible leaders. (A military man devised the kamikaze strategy, believing it would jolt the emperor into realizing that the war was lost. Instead, Hirohito embraced it.)\u003c/p>\n\u003cp>\u003cb>Wings of Defeat\u003c/b> (playing March 14 at the Sundance Cinemas Kabuki and Mar. 22 at the Camera 12 in San Jose) is an example of the kitchen-sink school of documentary. In addition to the archival footage and new interviews, we get maps, fancy graphics, an attention-drawing score and even an animated dogfight illustrating one pilot’s miraculous survival. (Even with all the bells and whistles, the film doesn’t sustain its 90-minute running time.) The filmmaker’s direct connection to the subject is dispensed with pretty quickly, but she sticks around as an on-camera presence and narrator. Consequently, the documentary’s point of view is continuously fluctuating between Morimoto, the Japanese pilots and the American sailors (who return late in the film), depriving it of a strong, sustained focus. The major benefit of the filmmaker’s voice is that it links the present with the past, pointing out that war’s effects resound generations after the last shot is fired.\u003c/p>\n\u003cp>Miromoto was born in New York, but she plainly feels a connection and some responsibility to the country her parents left. No such loyalties confound or confine the young, opportunistic protagonists of \u003cb>West 32nd\u003c/b>, Michael Kang’s neon-infused independent feature set in a particular corner of the Korean-American underworld. It’s all about getting ahead, earning big bucks and bigger respect, by hook or by crook. The American Dream is alive and well, my friends, at least in the movies.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Assimilated Korean-American attorney John Kim (played by John Cho of \u003cb>Harold and Kumar Escape From Guantanamo Bay\u003c/b>) wins points with his firm’s lead partners by lassoing a case with high PR value. He aims to clear a 14-year-old Korean-American kid charged with murder. So our ambitious and seemingly idealistic yuppie hero, who (in time-honored movie fashion) is neither as clever nor as street-smart as he thinks, begins sniffing around the Queens neighborhood where the crime occurred.\u003c/p>\n\u003cp>The clean-cut, baby-faced John eventually runs afoul of Mike (Jun Kim), a slick, brutal charmer who works for a mobster. They size each other up, they banter, they bond, they get bleary-eyed drunk. John revels in his adrenaline-infused taste of the criminal world. But he’s out of his league, and self-interest and betrayal await him just around the corner.\u003c/p>\n\u003cp>\u003cb>West 32nd\u003c/b> (playing March 16 at the Castro Theatre) is a good-looking movie, entertaining in a lightweight sort of way. Both leads are compelling, though they’re ultimately undermined by a plot that succumbs to contrivances and gratuitous action. Never mind that — what’s fascinating about the movie is its resemblance to New York stories about aspiring immigrants and children of immigrants starring James Cagney, Paul Muni, John Garfield and Edward G. Robinson.\u003c/p>\n\u003cp>The pressures to make a living and to fit in, without denying one’s parents or losing sight of one’s origins, are the stuff of cliché, or fiction. To the contrary, the S.F. International Asian American Film Festival reminds us, in a variety of ways from a dozen directions, that’s reality. Up to the minute, and at the same time the latest chapter in an unfolding history. Our collective history, I might add.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The San Francisco International Asian American Film Festival runs March 13-23, 2008 in San Francisco, Berkeley and San Jose. For \u003ca href=\"http://festival.asianamericanmedia.org/2008/\" target=\"offsite\" rel=\"noopener\">tickets and information visit www.asianamericanmedia.org.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Julie Delpy has walked through the streets of Paris with an American suitor before, but this is a different kind of promenade entirely. Far from a remake of Richard Linklater’s \u003cb>Before Sunset\u003c/b>, \u003cb>2 Days in Paris (Deux Jours à Paris)\u003c/b>, Delpy’s full-length directional debut) is an updated, off-beat examination of relationships in the city of lights — in a post-romantic era. Where Linklater prefers a heightened sentimentality in his films, Delpy eschews this sugar-coated idealism for a raunchier bare bones view of love.\u003c/p>\n\u003cp>The film begins with a shot of Marion (Delpy), an opinionated 30-something photographer, and Jack (Adam Goldberg), her hypochondriac boyfriend of 2 years, sleeping on a train (one of the only times the characters aren’t engaged in deep conversation or accusation) leaving Venice for a two-day sojourn in Paris. Over the course of their visit, the love of these polar opposites is tested by Marion’s quirky family, jealousy sparked by a procession of Marion’s ex-lovers, some deceit, and the difficulty of truly knowing another person.\u003c/p>\n\u003cp>Within the first few minutes of the film, the distinct personalities of the main characters emerge. Jack is the embodiment of America’s worst traits: self-absorbed, territorial, competitive, and overly paranoid of terrorism. He is redeemed only by his insouciant sense of humor, best seen when he misdirects a gaggle of Da Vinci “code breakers” wearing Bush/Cheney shirts and takes their place in the front of the taxi queue. Although Jack can irritate, the viewer gradually learns to empathize with him and his comedic attempts at forging the impossible cultural divide.\u003c/p>\n\u003cp>The yin to his neurotic yang, Marion is the personification of some of France’s idiosyncrasies: opinionated, sexual, and oftentimes bellicose. Her best moments surface when she gives herself over to impulsive bursts of confrontation, whether she’s admonishing a former lover for sleeping with 12-year-old prostitutes or a taxi driver for being a racist. Despite being a bit unhinged, Marion is the kind of character you can’t take your eyes off of, the kind that carries a movie.\u003c/p>\n\u003cp>Initially, the casting of Jack seemed like a mistake, but Goldberg fits the shoes of his obnoxiously neurotic character perfectly. The chemistry between he and Delpy is undeniable and the acting of both comes across as effortless and assured. Their smart, snappy, and often loony repartee is so convincing and enjoyable that the viewer finds himself not wanting to miss a single word. At times, the fourth wall crumbles completely and it seems as though Delpy and Goldberg are these characters, living these lives. Another great acting duo (and casting decision) in the movie comes in the form of Marion’s parents (Delpy’s actual parents). The mother is an overemotional housewife with a Jim Morrison connection, while the father is a lively, sexually open gallery owner with a penchant for keying cars parked on the sidewalk. Both actors collectively steal the lunch scene with their impressive comedic timing and natural delivery, the father remarking on how sexy Henry Miller’s work is with a mouth full of chewed rabbit head and the mother commenting on Jack’s appearance, “With such a weird face, he better be smart.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What is most impressive about this dialogue-driven comedy of errors is the extent of Julie Delpy’s involvement. Unsatisfied with simply playing the lead, Delpy managed to also write every line, direct each frame, produce and edit the movie, and conduct the score (during breaks from filming). And if this wasn’t enough, she also lent her voice to the title song, a delicious ditty performed by the ethereally nostalgic Nouvelle Vague. Even with being everywhere at once, Delpy never lags in any department. Most shots look like postcards, the music captures the intended emotions, and the sharp writing resonates. Clearly more than just a pretty face, Delpy has proven herself as quite the movie making force.\u003c/p>\n\u003cp>As the lovely vistas of Paris and the hilariously absurd blunders of Marion and Jack fade into the black of the closing credits, one can’t help but wonder what this woman, truly a Julie of all trades, will tackle next.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>2 Days in Paris\u003c/b> is out on DVD February 5, 2008.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Julie Delpy has walked through the streets of Paris with an American suitor before, but this is a different kind of promenade entirely. Far from a remake of Richard Linklater’s \u003cb>Before Sunset\u003c/b>, \u003cb>2 Days in Paris (Deux Jours à Paris)\u003c/b>, Delpy’s full-length directional debut) is an updated, off-beat examination of relationships in the city of lights — in a post-romantic era. Where Linklater prefers a heightened sentimentality in his films, Delpy eschews this sugar-coated idealism for a raunchier bare bones view of love.\u003c/p>\n\u003cp>The film begins with a shot of Marion (Delpy), an opinionated 30-something photographer, and Jack (Adam Goldberg), her hypochondriac boyfriend of 2 years, sleeping on a train (one of the only times the characters aren’t engaged in deep conversation or accusation) leaving Venice for a two-day sojourn in Paris. Over the course of their visit, the love of these polar opposites is tested by Marion’s quirky family, jealousy sparked by a procession of Marion’s ex-lovers, some deceit, and the difficulty of truly knowing another person.\u003c/p>\n\u003cp>Within the first few minutes of the film, the distinct personalities of the main characters emerge. Jack is the embodiment of America’s worst traits: self-absorbed, territorial, competitive, and overly paranoid of terrorism. He is redeemed only by his insouciant sense of humor, best seen when he misdirects a gaggle of Da Vinci “code breakers” wearing Bush/Cheney shirts and takes their place in the front of the taxi queue. Although Jack can irritate, the viewer gradually learns to empathize with him and his comedic attempts at forging the impossible cultural divide.\u003c/p>\n\u003cp>The yin to his neurotic yang, Marion is the personification of some of France’s idiosyncrasies: opinionated, sexual, and oftentimes bellicose. Her best moments surface when she gives herself over to impulsive bursts of confrontation, whether she’s admonishing a former lover for sleeping with 12-year-old prostitutes or a taxi driver for being a racist. Despite being a bit unhinged, Marion is the kind of character you can’t take your eyes off of, the kind that carries a movie.\u003c/p>\n\u003cp>Initially, the casting of Jack seemed like a mistake, but Goldberg fits the shoes of his obnoxiously neurotic character perfectly. The chemistry between he and Delpy is undeniable and the acting of both comes across as effortless and assured. Their smart, snappy, and often loony repartee is so convincing and enjoyable that the viewer finds himself not wanting to miss a single word. At times, the fourth wall crumbles completely and it seems as though Delpy and Goldberg are these characters, living these lives. Another great acting duo (and casting decision) in the movie comes in the form of Marion’s parents (Delpy’s actual parents). The mother is an overemotional housewife with a Jim Morrison connection, while the father is a lively, sexually open gallery owner with a penchant for keying cars parked on the sidewalk. Both actors collectively steal the lunch scene with their impressive comedic timing and natural delivery, the father remarking on how sexy Henry Miller’s work is with a mouth full of chewed rabbit head and the mother commenting on Jack’s appearance, “With such a weird face, he better be smart.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What is most impressive about this dialogue-driven comedy of errors is the extent of Julie Delpy’s involvement. Unsatisfied with simply playing the lead, Delpy managed to also write every line, direct each frame, produce and edit the movie, and conduct the score (during breaks from filming). And if this wasn’t enough, she also lent her voice to the title song, a delicious ditty performed by the ethereally nostalgic Nouvelle Vague. Even with being everywhere at once, Delpy never lags in any department. Most shots look like postcards, the music captures the intended emotions, and the sharp writing resonates. Clearly more than just a pretty face, Delpy has proven herself as quite the movie making force.\u003c/p>\n\u003cp>As the lovely vistas of Paris and the hilariously absurd blunders of Marion and Jack fade into the black of the closing credits, one can’t help but wonder what this woman, truly a Julie of all trades, will tackle next.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>2 Days in Paris\u003c/b> is out on DVD February 5, 2008.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "2008 Indiefest Taps Into SF Iconoclasm",
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"content": "\u003cp>Of all the movie shindigs in the Bay Area, the San Francisco Independent Film Festival — aka SF Indiefest — is the funkiest. The vibe is casual, but the energy is high. The program, which commences tonight with the quasi-biblical Arkansas yarn \u003cb>Shotgun Stories\u003c/b>, has a lot to do with it, of course, for truly independent movies have a handmade, anything-goes quality. But the real wild card is the audience: hordes of moviegoers in their 20s eager to embrace the unknown, the unheralded and the uncompromising.\u003c/p>\n\u003cp>The typical Indiefest feature has no stars, which may have hurt its shot at getting into Sundance and certainly doomed its chances for theatrical distribution. But no-name actors aren’t a turnoff for the fest’s fan base, which doesn’t confuse commercial prospects with quality. On the documentary side, the fest favors colorful characters and outré situations to investigative journalism — hyperrealism over realism — and audiences have long endorsed that emphasis on entertainment.\u003c/p>\n\u003cp>Based on the chunk of the lineup that I previewed, here are some picks to click.\u003c/p>\n\u003cp>\u003cb>Local Heroes:\u003c/b>\u003cbr>\nRhyming is cool, fool, with hip-hop inspiring a wave of talented teens of color to compete in poetry slams. Carl Brown’s \u003cb>2nd Verse — The Rebirth of Poetry\u003c/b> starts out as a profile of several hard-writing Bay Area teenagers, then shifts its focus to the annual throwdown among kids from around the country sponsored by the S.F. organization Youth Speaks. Adults will be gratified to see young people deriving enormous power from words, but the film’s greatest impact will be on middle and high school students.\u003c/p>\n\u003cp>\u003cb>Free Spirits:\u003c/b>\u003cbr>\nCatch a wave, Brian Wilson said, and you’re sitting on top of the world. \u003cb>Sliding Liberia\u003c/b> is a lovely and mesmerizing film, but what is it that Stanford students Britton Caillouette and Nicholai Lidow have made, exactly? Is it a surfing video, an art film, a promotional piece for the Liberian tourist office or a social-issue snapshot? If you guessed (e) all of the above, go to the head of the class.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Exercise Fanatics:\u003c/b>\u003cbr>\n\u003cb>Row Hard No Excuses\u003c/b> is a record of two middle-aged underachievers, John Ziegler and Tom Mailhot, racing from the Canary Islands to Barbados in a two-man rowboat. I wish filmmaker Luke Wolbach had kept us confined with his subjects for the duration, as claustrophobic and brutal as that would have been, instead of providing countless cutaways. The film fulfils our vicarious desire to experience isolation and independence in the middle of the Atlantic, but ultimately it doesn’t cut much deeper than a Discovery Channel travelogue.\u003c/p>\n\u003cp>\u003cb>Mama’s Boys:\u003c/b>\u003cbr>\nIf Bryan Friedman’s estranged father was still a corporate lawyer, we’d likely be less than interested in the Canadian filmmaker’s pallid attempt to rebuild their relationship. But Pop is a 59-year-old, world-class bodybuilder in training for the annual competition. Like every other sports movie with at least a semi-sympathetic main character, \u003cb>The Bodybuilder and I\u003c/b> keeps us intrigued all the way through the judges’ decision. But it could have been a truly wrenching experience, if the director had been more vulnerable.\u003c/p>\n\u003cp>\u003cb>Opening Night Fireworks:\u003c/b>\u003cbr>\nIndiefest’s slate of narrative dramas is toplined by Jeff Nichols’s \u003cb>Shotgun Stories\u003c/b>, a winningly executed slice of white trash life. A man (now sober and Christian) dies in southeast Arkansas, leaving two sets of sons. These half-brothers have never had any use for each other, and violence is in the air. The plot breaks little new ground, but Nichols’ feel for the landscape, his minimal dialogue and the unhurried pace combine to transport us to a faraway place.\u003c/p>\n\u003cp>\u003cb>Date Movie:\u003c/b>\u003cbr>\nOversexed singles are no doubt lining up as we speak for Michael Knowles’s mesmerizing and intimate \u003cb>One Night\u003c/b>, which follows the up-and-down romantic entanglements of a dozen-plus exceptionally attractive New Yorkers on a sultry summer night. The film is best appreciated as an actors’ showcase, though the script will play like Dostoyevsky to the twenty-somethings in the crowd.\u003c/p>\n\u003cp>\u003cb>Beautiful Boys:\u003c/b>\u003cbr>\nGus Van Sant (\u003cb>My Own Private Idaho\u003c/b>, \u003cb>Last Days\u003c/b>) is in his mid-50s, but he remains as obsessed as ever with guileless teenage boys whose goodness and purity cannot survive this world. \u003cb>Paranoid Park\u003c/b> is his latest successful foray into fragmented cinema, and it is filled with sensual pleasures such as Christopher Doyle’s fluid cinematography. The amorphous story revolves around a skateboarder who may have been involved in a crime, and who realizes that adulthood is closer than he thought.\u003c/p>\n\u003cp>This is a random sample of the program, plainly, and your mileage may vary. Another point to consider: Few of the films on display at Indiefest will play again in Bay Area theaters, so avail yourself of the opportunity.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>S.F. Indiefest unspools Thursday, Feb. 7 through Wednesday, Feb. 20, 2008 at the Castro, Roxie and Victoria Theatres. For \u003ca href=\"http://www.sfindie.com/indiefest08/tickets.html\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a> visit sfindie.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Of all the movie shindigs in the Bay Area, the San Francisco Independent Film Festival — aka SF Indiefest — is the funkiest. The vibe is casual, but the energy is high. The program, which commences tonight with the quasi-biblical Arkansas yarn \u003cb>Shotgun Stories\u003c/b>, has a lot to do with it, of course, for truly independent movies have a handmade, anything-goes quality. But the real wild card is the audience: hordes of moviegoers in their 20s eager to embrace the unknown, the unheralded and the uncompromising.\u003c/p>\n\u003cp>The typical Indiefest feature has no stars, which may have hurt its shot at getting into Sundance and certainly doomed its chances for theatrical distribution. But no-name actors aren’t a turnoff for the fest’s fan base, which doesn’t confuse commercial prospects with quality. On the documentary side, the fest favors colorful characters and outré situations to investigative journalism — hyperrealism over realism — and audiences have long endorsed that emphasis on entertainment.\u003c/p>\n\u003cp>Based on the chunk of the lineup that I previewed, here are some picks to click.\u003c/p>\n\u003cp>\u003cb>Local Heroes:\u003c/b>\u003cbr>\nRhyming is cool, fool, with hip-hop inspiring a wave of talented teens of color to compete in poetry slams. Carl Brown’s \u003cb>2nd Verse — The Rebirth of Poetry\u003c/b> starts out as a profile of several hard-writing Bay Area teenagers, then shifts its focus to the annual throwdown among kids from around the country sponsored by the S.F. organization Youth Speaks. Adults will be gratified to see young people deriving enormous power from words, but the film’s greatest impact will be on middle and high school students.\u003c/p>\n\u003cp>\u003cb>Free Spirits:\u003c/b>\u003cbr>\nCatch a wave, Brian Wilson said, and you’re sitting on top of the world. \u003cb>Sliding Liberia\u003c/b> is a lovely and mesmerizing film, but what is it that Stanford students Britton Caillouette and Nicholai Lidow have made, exactly? Is it a surfing video, an art film, a promotional piece for the Liberian tourist office or a social-issue snapshot? If you guessed (e) all of the above, go to the head of the class.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Exercise Fanatics:\u003c/b>\u003cbr>\n\u003cb>Row Hard No Excuses\u003c/b> is a record of two middle-aged underachievers, John Ziegler and Tom Mailhot, racing from the Canary Islands to Barbados in a two-man rowboat. I wish filmmaker Luke Wolbach had kept us confined with his subjects for the duration, as claustrophobic and brutal as that would have been, instead of providing countless cutaways. The film fulfils our vicarious desire to experience isolation and independence in the middle of the Atlantic, but ultimately it doesn’t cut much deeper than a Discovery Channel travelogue.\u003c/p>\n\u003cp>\u003cb>Mama’s Boys:\u003c/b>\u003cbr>\nIf Bryan Friedman’s estranged father was still a corporate lawyer, we’d likely be less than interested in the Canadian filmmaker’s pallid attempt to rebuild their relationship. But Pop is a 59-year-old, world-class bodybuilder in training for the annual competition. Like every other sports movie with at least a semi-sympathetic main character, \u003cb>The Bodybuilder and I\u003c/b> keeps us intrigued all the way through the judges’ decision. But it could have been a truly wrenching experience, if the director had been more vulnerable.\u003c/p>\n\u003cp>\u003cb>Opening Night Fireworks:\u003c/b>\u003cbr>\nIndiefest’s slate of narrative dramas is toplined by Jeff Nichols’s \u003cb>Shotgun Stories\u003c/b>, a winningly executed slice of white trash life. A man (now sober and Christian) dies in southeast Arkansas, leaving two sets of sons. These half-brothers have never had any use for each other, and violence is in the air. The plot breaks little new ground, but Nichols’ feel for the landscape, his minimal dialogue and the unhurried pace combine to transport us to a faraway place.\u003c/p>\n\u003cp>\u003cb>Date Movie:\u003c/b>\u003cbr>\nOversexed singles are no doubt lining up as we speak for Michael Knowles’s mesmerizing and intimate \u003cb>One Night\u003c/b>, which follows the up-and-down romantic entanglements of a dozen-plus exceptionally attractive New Yorkers on a sultry summer night. The film is best appreciated as an actors’ showcase, though the script will play like Dostoyevsky to the twenty-somethings in the crowd.\u003c/p>\n\u003cp>\u003cb>Beautiful Boys:\u003c/b>\u003cbr>\nGus Van Sant (\u003cb>My Own Private Idaho\u003c/b>, \u003cb>Last Days\u003c/b>) is in his mid-50s, but he remains as obsessed as ever with guileless teenage boys whose goodness and purity cannot survive this world. \u003cb>Paranoid Park\u003c/b> is his latest successful foray into fragmented cinema, and it is filled with sensual pleasures such as Christopher Doyle’s fluid cinematography. The amorphous story revolves around a skateboarder who may have been involved in a crime, and who realizes that adulthood is closer than he thought.\u003c/p>\n\u003cp>This is a random sample of the program, plainly, and your mileage may vary. Another point to consider: Few of the films on display at Indiefest will play again in Bay Area theaters, so avail yourself of the opportunity.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>S.F. Indiefest unspools Thursday, Feb. 7 through Wednesday, Feb. 20, 2008 at the Castro, Roxie and Victoria Theatres. For \u003ca href=\"http://www.sfindie.com/indiefest08/tickets.html\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a> visit sfindie.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The experimental documentary \u003cb>de Young\u003c/b> is a portrait of the museum’s building in San Francisco. Focusing on the art contained within the grounds as well as the interaction between visitors and the architecture, this film was created by Peter Max Lawrence while working as an artist-in-residence under Ian McDonald during April 2007.\u003c/p>\n\u003cp>The music for this film was composed by pianist David Moore, who has released four albums to date: two for solo piano and two with his ensemble Bing & Ruth. He currently lives and works in Brooklyn, NY.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The experimental documentary \u003cb>de Young\u003c/b> is a portrait of the museum’s building in San Francisco. Focusing on the art contained within the grounds as well as the interaction between visitors and the architecture, this film was created by Peter Max Lawrence while working as an artist-in-residence under Ian McDonald during April 2007.\u003c/p>\n\u003cp>The music for this film was composed by pianist David Moore, who has released four albums to date: two for solo piano and two with his ensemble Bing & Ruth. He currently lives and works in Brooklyn, NY.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The Alameda author, historian and raconteur Eddie Muller displayed a touch of genius when he elbowed the annual Noir City festival onto the January movie calendar. Winter in San Francisco is a damp, dank, spirit-snuffing affair that corresponds perfectly to the noir view of the world as an uncaring wasteland. Furthermore, our winters encourage people to go out and practice a kind of awkward communalism –- in bars, mostly, but also for 10 days at the Castro –- that’s near impossible in cities with snowdrifts and sub-freezing temperatures. But surely it’s more than dreary but passable weather that makes Noir City (opening Friday night, Jan. 25) one of the most popular film festivals in town, and San Francisco the noir capital of America.\u003c/p>\n\u003cp>The typical rap is that San Franciscans are more cynical, or more jaded, than the denizens of New York, Los Angeles or Chicago. I don’t buy it. I might suggest, however, that we’re more realistic. Manhattan and L.A. are full of ambitious achievers and overachievers, Type A characters with plenty of room to push their way to the top. But anybody who succeeds here is merely a big fish in a little pond –- and anyone who claims bragging rights in a pond looks ridiculous. Or have you forgotten Willie Brown?\u003c/p>\n\u003cp>So if you moved here, or were born here and didn’t head for one of the major cities, you knowingly opted out of that singular American dream called grab as much as you can. You were tuned in to the big lie, and the fixed game, and the high- and low-level corruption, and you turned on and dropped out. Moreover, and here’s where film noir comes in, you empathize with so-called losers, the mopes with bad judgment, bad timing and bad luck. (Am I saying that liberals love noir? I guess I am.)\u003c/p>\n\u003cp>The common thread in the postwar, low-budget, black-and-white crime stories and revenge flicks we call film noir is that most, if not all, of the characters are doomed. Hence, most folks I know simply attend every Noir City program they can squeeze into their schedule without regard to title, star, director or plotline. On any given night, they’re assured the menu will include criminal behavior, requited lust, crack dialogue, brutal beatings and double-breasted suits.\u003c/p>\n\u003cp>That’s not to minimize the effort Muller expends every year to track down obscure films that have never been released on VHS or DVD, and to shine the Castro spotlight on gracious actresses who long ago delivered their last line to a camera. So the opening night double bill of \u003cb>Repeat Performance\u003c/b> and \u003cb>The Hard Way\u003c/b>, sandwiched around an onstage interview with nice gal Joan Leslie up from L.A., promises to be the most upbeat and electric night at Noir City.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The mood darkens on Saturday with two all-time doozies scripted by Dalton Trumbo, \u003cb>The Prowler\u003c/b> and \u003cb>Gun Crazy\u003c/b>. As a bonus, Muller caps the night with the world premiere of his 20-minute short film, \u003cb>The Grand Inquisitor\u003c/b>, starring the quintessential tough cookie Marsha Hunt. The late Gail Russell, who died way too young, is saluted on Sunday with \u003cb>Moonrise\u003c/b> and \u003cb>Night Has 1000 Eyes\u003c/b>.\u003c/p>\n\u003cp>On the male side of the cast sheet, a couple of genuine roughnecks are fondly remembered at the bar at the dark end of the street. Alan K. Rode’s excellent new biography, \u003cb>Charles McGraw: Biography of a Film Noir Tough Guy \u003c/b>, provides the excuse (as if one is needed) to showcase the actor’s stellar work in \u003cb>Reign of Terror\u003c/b> and \u003cb>Border Incident\u003c/b> Wed., Jan. 30. Richard Widmark serves up last call in the festival’s closing shows, \u003cb>Roadhouse\u003c/b> and \u003cb>Night and the City\u003c/b> Sun., Feb. 3.\u003c/p>\n\u003cp>This is just a sample of what’s on tap at Noir City, the only film festival in town that isn’t in the business of educating moviegoers about the world. See, we already know that (small-time) crime doesn’t pay, a sucker never gets an honest break, dames will always disappoint and you can’t ever get what you want. The pleasure is in sitting in a theater with several hundred other wise guys and gals, watching some poor sap up on the screen learn the score.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Noir City 6 runs Friday, Jan. 25 through Sunday, Feb. 3, 2008 at the Castro Theatre. For \u003ca href=\"http://noircity.com/noircity.html\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a> visit noircity.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Alameda author, historian and raconteur Eddie Muller displayed a touch of genius when he elbowed the annual Noir City festival onto the January movie calendar. Winter in San Francisco is a damp, dank, spirit-snuffing affair that corresponds perfectly to the noir view of the world as an uncaring wasteland. Furthermore, our winters encourage people to go out and practice a kind of awkward communalism –- in bars, mostly, but also for 10 days at the Castro –- that’s near impossible in cities with snowdrifts and sub-freezing temperatures. But surely it’s more than dreary but passable weather that makes Noir City (opening Friday night, Jan. 25) one of the most popular film festivals in town, and San Francisco the noir capital of America.\u003c/p>\n\u003cp>The typical rap is that San Franciscans are more cynical, or more jaded, than the denizens of New York, Los Angeles or Chicago. I don’t buy it. I might suggest, however, that we’re more realistic. Manhattan and L.A. are full of ambitious achievers and overachievers, Type A characters with plenty of room to push their way to the top. But anybody who succeeds here is merely a big fish in a little pond –- and anyone who claims bragging rights in a pond looks ridiculous. Or have you forgotten Willie Brown?\u003c/p>\n\u003cp>So if you moved here, or were born here and didn’t head for one of the major cities, you knowingly opted out of that singular American dream called grab as much as you can. You were tuned in to the big lie, and the fixed game, and the high- and low-level corruption, and you turned on and dropped out. Moreover, and here’s where film noir comes in, you empathize with so-called losers, the mopes with bad judgment, bad timing and bad luck. (Am I saying that liberals love noir? I guess I am.)\u003c/p>\n\u003cp>The common thread in the postwar, low-budget, black-and-white crime stories and revenge flicks we call film noir is that most, if not all, of the characters are doomed. Hence, most folks I know simply attend every Noir City program they can squeeze into their schedule without regard to title, star, director or plotline. On any given night, they’re assured the menu will include criminal behavior, requited lust, crack dialogue, brutal beatings and double-breasted suits.\u003c/p>\n\u003cp>That’s not to minimize the effort Muller expends every year to track down obscure films that have never been released on VHS or DVD, and to shine the Castro spotlight on gracious actresses who long ago delivered their last line to a camera. So the opening night double bill of \u003cb>Repeat Performance\u003c/b> and \u003cb>The Hard Way\u003c/b>, sandwiched around an onstage interview with nice gal Joan Leslie up from L.A., promises to be the most upbeat and electric night at Noir City.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The mood darkens on Saturday with two all-time doozies scripted by Dalton Trumbo, \u003cb>The Prowler\u003c/b> and \u003cb>Gun Crazy\u003c/b>. As a bonus, Muller caps the night with the world premiere of his 20-minute short film, \u003cb>The Grand Inquisitor\u003c/b>, starring the quintessential tough cookie Marsha Hunt. The late Gail Russell, who died way too young, is saluted on Sunday with \u003cb>Moonrise\u003c/b> and \u003cb>Night Has 1000 Eyes\u003c/b>.\u003c/p>\n\u003cp>On the male side of the cast sheet, a couple of genuine roughnecks are fondly remembered at the bar at the dark end of the street. Alan K. Rode’s excellent new biography, \u003cb>Charles McGraw: Biography of a Film Noir Tough Guy \u003c/b>, provides the excuse (as if one is needed) to showcase the actor’s stellar work in \u003cb>Reign of Terror\u003c/b> and \u003cb>Border Incident\u003c/b> Wed., Jan. 30. Richard Widmark serves up last call in the festival’s closing shows, \u003cb>Roadhouse\u003c/b> and \u003cb>Night and the City\u003c/b> Sun., Feb. 3.\u003c/p>\n\u003cp>This is just a sample of what’s on tap at Noir City, the only film festival in town that isn’t in the business of educating moviegoers about the world. See, we already know that (small-time) crime doesn’t pay, a sucker never gets an honest break, dames will always disappoint and you can’t ever get what you want. The pleasure is in sitting in a theater with several hundred other wise guys and gals, watching some poor sap up on the screen learn the score.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Noir City 6 runs Friday, Jan. 25 through Sunday, Feb. 3, 2008 at the Castro Theatre. For \u003ca href=\"http://noircity.com/noircity.html\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a> visit noircity.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Pablo Picasso was an asshole — kids, wives, lovers, even a pop song agree. So was \u003ca href=\"http://en.wikipedia.org/wiki/Philip_Guston\">Philip Guston\u003c/a>. Or at least a terribly self-centered artist and an absentee father, Musa Mayer wrote in the semi-bitter \u003ca href=\"http://www.amazon.com/Night-Studio-Memoir-Philip-Guston/dp/030680767X/ref=sr_1_6?ie=UTF8&s=books&qid=1200599248&sr=1-6\" target=\"offsite\" rel=\"noopener\">memoir\u003c/a> of her painter dad.\u003c/p>\n\u003cp>Until recently, most artists who made it into the pantheon of art history were male, they got there in large part through the support of their all-sacrificing wives. The women were there working jobs to support the family, raising the kids (if they could afford to have any) and tolerating the art world while the men painted.\u003c/p>\n\u003cp>Dad’s a painter/genius/asshole. Mom’s the long-suffering martyr in the kitchen. Alice Neel was both saint and sinner to her children.\u003c/p>\n\u003cp>With the documentary \u003ca href=\"http://www.aliceneelfilm.com/\" target=\"offsite\" rel=\"noopener\">Alice Neel\u003c/a>, Andrew Neel, her grandson, has crafted an amazingly complex and heartfelt portrait of a woman who bucked the tide — painting hundreds of portraits (many of them brilliant), successfully raising a family of two sons (as a single mom), and garnering big success in the contemporary art world (late in life). All at a tremendous cost, as her grandson reveals. Skip a generation and the emotional bonfires tend to turn into embers of curiosity.\u003c/p>\n\u003cp>Midway through the movie is archival footage of young Andrew, probably around age eight, posing nude for his grandma. Unable to contain himself, he starts bitching to her about how his penis looks on the canvas and then starts doing a naked war dance around her, at one point even bending over and waving his butt at her. All she can do is laugh. \u003cb>Alice Neel\u003c/b> is far from a love letter to grandma.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Instead, it is something even better. Andrew has baked a sort of two-layer cake out of his grandmother’s life. With an intimate knowledge and seemingly unlimited access to her sons, but lacking the fire of a direct relationship with her, he layers Neel’s personal and private selves together. On one level of the film, numerous culturati — including \u003ca href=\"http://http://en.wikipedia.org/wiki/Robert_Storr\" target=\"offsite\" rel=\"noopener\">Robert Storr\u003c/a>, \u003ca href=\"http://www.chuckclose.coe.uh.edu/\" target=\"offsite\" rel=\"noopener\">Chuck Close\u003c/a>, \u003ca href=\"http://www.postmedia.net/dumas/dumas.htm\" target=\"offsite\" rel=\"noopener\">Marlene Dumas\u003c/a>, and \u003ca href=\"http://en.wikipedia.org/wiki/Linda_Nochlin\" target=\"offsite\" rel=\"noopener\">Linda Nochlin \u003c/a> — chatter about Alice Neel’s work and her impact. Their dialogue is full of love and admiration (except for \u003ca href=\"http://en.wikipedia.org/wiki/Alex_Katz\" target=\"offsite\" rel=\"noopener\">Alex Katz\u003c/a> who reveals more about himself than about Neel when he calls her an “angry housewife.”)\u003c/p>\n\u003cp>For the foundation of the movie, Andrew talks to his father, Hartley, and his uncle, Hartley’s half-brother, Richard. Though Alice gave them as much as she could (Hartley is a doctor, Richard a lawyer), waves of resentment pour forth. Hartley is full of anger, often talking down to his son. Richard ebbs emotional damage.\u003c/p>\n\u003cp>In much of the archival footage, Alice comes off as tremendously self-absorbed. But what makes \u003ca href=\"http://images.google.com/images?q=alice+neel&hl=en&safe=off&client=firefox-a&rls=org.mozilla:en-US:official&hs=H2F&pwst=1&um=1&ie=UTF-8&sa=X&oi=images&ct=title\" target=\"offsite\" rel=\"noopener\">her portraits\u003c/a> so fantastically moving is the way she has observed her sitter, both inside and out. Neel certainly had her eye on the real world. So the question arises, did she consciously know that she was putting her children through hell?\u003c/p>\n\u003cp>At a time when it was still immoral to be a single mother, Neel did not marry the dads of either of her boys. Richard was born first, fathered by a Puerto Rican nightclub singer. Hartley’s father was Sam Boyd, a white documentary filmmaker, who abused Richard, physically and emotionally. Alice looked the other way because Boyd was supportive of her art. Andrew didn’t need to dig deep to bring the horrors of having a boho mom to light.\u003c/p>\n\u003cp>While offering an honest and troubling look at the life of a single mom with ambitions for more, the film gets a little fuzzy when it comes to its accounting of Alice’s career. Andrew suggests that his grandmother was off the map of New York’s rather insular art world. The truth is, Neel was always a part of the art world. In the ’60s, she showed in numerous New York galleries, as well as the \u003ca href=\"http://local.sanfrancisco.com/Maxwell+Galleries.327667.96763501.home.html\" target=\"offsite\" rel=\"noopener\">Maxwell Gallery\u003c/a> in San Francisco, and was even reviewed by \u003ci>Newsweek\u003c/i>. In the early 1970s, her portraits (like that of \u003ca href=\"http://en.wikipedia.org/wiki/Kate_Millett\" target=\"offsite\" rel=\"noopener\">Kate Millett\u003c/a>) were well-known enough to be used as cover art for \u003ci>Time\u003c/i> magazine. Neel even painted a number of Warhol’s superstars and the \u003ca href=\"http://en.wikipedia.org/wiki/Andy_warhol\" target=\"offsite\" rel=\"noopener\">White-wigged Knight himself\u003c/a> in 1970.\u003c/p>\n\u003cp>By the mid-70s, the institutional art world (i.e. museums) had been sufficiently bombarded by feminists to begin opening their doors to women, and in came Alice. In 1974, she was the subject of a retrospective at the Whitney, which Andrew would have you believe came out of nowhere. The success that followed included a visit to \u003cb>The Tonight Show\u003c/b>, NEA grants and more gallery shows. \u003ca href=\"http://www.villagevoice.com/art/0029,saltz,16499,13.html\" target=\"offsite\" rel=\"noopener\">Another retrospective at the Whitney\u003c/a> in 2000 buttressed the fruits of her seven-decade struggle.\u003c/p>\n\u003cp>Andrew’s mother Ginny finally asks the question that is central to the film “If Alice hadn’t made it, would it have been worth the cost?”\u003c/p>\n\u003cp>For most of her life, Alice lived at poverty level or below. Raising her boys on relief, in miserable ghetto apartments. When she could come up with any extra money it always went for her paint and canvases. Mid-way through the movie, Richard says, with an edge of bitterness, that he would not wish the bohemian life on anybody. Yet, liked the kicked dog that keeps coming back, Richard still maintains Alice’s last apartment as a place to get in touch with the spirit of his mother. The horrible irony is that, yes Alice was eventually able to enjoy the fruits of her labor (the first Whitney exhibition happened when she was 74), but by then Hartley and Richard had become full formed adult professionals, having missed out on the stability that acclaim offered.\u003c/p>\n\u003cp>After all, even though Hartley and Richard suffered right alongside their mother, the label beside the painting in the museum only says Alice Neel.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Alice Neel\u003c/b> opens January 25, 2008 at the \u003ca href=\"http://www.roxie.com/\" target=\"offsite\" rel=\"noopener\">Roxie Film Center\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Instead, it is something even better. Andrew has baked a sort of two-layer cake out of his grandmother’s life. With an intimate knowledge and seemingly unlimited access to her sons, but lacking the fire of a direct relationship with her, he layers Neel’s personal and private selves together. On one level of the film, numerous culturati — including \u003ca href=\"http://http://en.wikipedia.org/wiki/Robert_Storr\" target=\"offsite\" rel=\"noopener\">Robert Storr\u003c/a>, \u003ca href=\"http://www.chuckclose.coe.uh.edu/\" target=\"offsite\" rel=\"noopener\">Chuck Close\u003c/a>, \u003ca href=\"http://www.postmedia.net/dumas/dumas.htm\" target=\"offsite\" rel=\"noopener\">Marlene Dumas\u003c/a>, and \u003ca href=\"http://en.wikipedia.org/wiki/Linda_Nochlin\" target=\"offsite\" rel=\"noopener\">Linda Nochlin \u003c/a> — chatter about Alice Neel’s work and her impact. Their dialogue is full of love and admiration (except for \u003ca href=\"http://en.wikipedia.org/wiki/Alex_Katz\" target=\"offsite\" rel=\"noopener\">Alex Katz\u003c/a> who reveals more about himself than about Neel when he calls her an “angry housewife.”)\u003c/p>\n\u003cp>For the foundation of the movie, Andrew talks to his father, Hartley, and his uncle, Hartley’s half-brother, Richard. Though Alice gave them as much as she could (Hartley is a doctor, Richard a lawyer), waves of resentment pour forth. Hartley is full of anger, often talking down to his son. Richard ebbs emotional damage.\u003c/p>\n\u003cp>In much of the archival footage, Alice comes off as tremendously self-absorbed. But what makes \u003ca href=\"http://images.google.com/images?q=alice+neel&hl=en&safe=off&client=firefox-a&rls=org.mozilla:en-US:official&hs=H2F&pwst=1&um=1&ie=UTF-8&sa=X&oi=images&ct=title\" target=\"offsite\" rel=\"noopener\">her portraits\u003c/a> so fantastically moving is the way she has observed her sitter, both inside and out. Neel certainly had her eye on the real world. So the question arises, did she consciously know that she was putting her children through hell?\u003c/p>\n\u003cp>At a time when it was still immoral to be a single mother, Neel did not marry the dads of either of her boys. Richard was born first, fathered by a Puerto Rican nightclub singer. Hartley’s father was Sam Boyd, a white documentary filmmaker, who abused Richard, physically and emotionally. Alice looked the other way because Boyd was supportive of her art. Andrew didn’t need to dig deep to bring the horrors of having a boho mom to light.\u003c/p>\n\u003cp>While offering an honest and troubling look at the life of a single mom with ambitions for more, the film gets a little fuzzy when it comes to its accounting of Alice’s career. Andrew suggests that his grandmother was off the map of New York’s rather insular art world. The truth is, Neel was always a part of the art world. In the ’60s, she showed in numerous New York galleries, as well as the \u003ca href=\"http://local.sanfrancisco.com/Maxwell+Galleries.327667.96763501.home.html\" target=\"offsite\" rel=\"noopener\">Maxwell Gallery\u003c/a> in San Francisco, and was even reviewed by \u003ci>Newsweek\u003c/i>. In the early 1970s, her portraits (like that of \u003ca href=\"http://en.wikipedia.org/wiki/Kate_Millett\" target=\"offsite\" rel=\"noopener\">Kate Millett\u003c/a>) were well-known enough to be used as cover art for \u003ci>Time\u003c/i> magazine. Neel even painted a number of Warhol’s superstars and the \u003ca href=\"http://en.wikipedia.org/wiki/Andy_warhol\" target=\"offsite\" rel=\"noopener\">White-wigged Knight himself\u003c/a> in 1970.\u003c/p>\n\u003cp>By the mid-70s, the institutional art world (i.e. museums) had been sufficiently bombarded by feminists to begin opening their doors to women, and in came Alice. In 1974, she was the subject of a retrospective at the Whitney, which Andrew would have you believe came out of nowhere. The success that followed included a visit to \u003cb>The Tonight Show\u003c/b>, NEA grants and more gallery shows. \u003ca href=\"http://www.villagevoice.com/art/0029,saltz,16499,13.html\" target=\"offsite\" rel=\"noopener\">Another retrospective at the Whitney\u003c/a> in 2000 buttressed the fruits of her seven-decade struggle.\u003c/p>\n\u003cp>Andrew’s mother Ginny finally asks the question that is central to the film “If Alice hadn’t made it, would it have been worth the cost?”\u003c/p>\n\u003cp>For most of her life, Alice lived at poverty level or below. Raising her boys on relief, in miserable ghetto apartments. When she could come up with any extra money it always went for her paint and canvases. Mid-way through the movie, Richard says, with an edge of bitterness, that he would not wish the bohemian life on anybody. Yet, liked the kicked dog that keeps coming back, Richard still maintains Alice’s last apartment as a place to get in touch with the spirit of his mother. The horrible irony is that, yes Alice was eventually able to enjoy the fruits of her labor (the first Whitney exhibition happened when she was 74), but by then Hartley and Richard had become full formed adult professionals, having missed out on the stability that acclaim offered.\u003c/p>\n\u003cp>After all, even though Hartley and Richard suffered right alongside their mother, the label beside the painting in the museum only says Alice Neel.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Alice Neel\u003c/b> opens January 25, 2008 at the \u003ca href=\"http://www.roxie.com/\" target=\"offsite\" rel=\"noopener\">Roxie Film Center\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On a cold, grey day, I walked into the Berkeley Art Museum to get out of the rain, and to see Joan Jonas’s video installation piece, \u003cb>The Shape, The Scent, The Feel of Things\u003c/b>. Jonas began making media-based art in the 1960s, often combining performance, dance, film, and sculpture in the same piece. \u003cb>The Shape, The Scent, The Feel of Things\u003c/b> has two parts — a video projection and a video installation. The piece is loosely based on the German art historian Aby Warburg’s travels in Arizona between 1895 and 1896.\u003c/p>\n\u003cp>Jonas first visited the Southwest in the 1960s, and like Warburg, she found herself mesmerized by Hopi rituals, especially the Snake Dance. In Jonas’s installation, the snake appears in a variety of forms, as does the coyote. Jonas treats the relationship between body and landscape in symbolic, mythical terms. She describes the piece as a “mythopoetic” exploration of the Southwest. Both Warburg and Jonas were seduced by the power and intensity of these ritual dances. \u003cb>The Shape\u003c/b> is an attempt to create ritual dances for a postmodern world.\u003c/p>\n\u003cp>Jonas’s installation is initially overwhelming. In a dark, cavernous space, jumbled, fragmented images surround the viewer, lights and colors shift quickly, seemingly without reason. After the initial sensory overload, I began to notice that certain motifs repeat. Jonas fetishizes the Southwest’s folkloric, primitive side. Here, we find mysticism without irony. Dancers in rough, shapeless costumes hold gawky, awkward poses, appearing almost amateurish. Jonas scraped the polish from her dancers, to better position them as “primitives.”\u003c/p>\n\u003cp>The first room contains four video projections, three small ones and one enormous wall-sized projection that serves as a backdrop for the rest. On one screen, a woman wearing a coyote head dances, her body superimposed over flashing Vegas neon. On another, a woman dressed in white robes plays with a coyote-like dog. The second room contains a single wall-sized video projection. Short vignettes, based on Jonas’s performances at the Renaissance Society in Chicago, play on the wall. The entire installation is suffused with a slow, dreamy quality.\u003c/p>\n\u003cp>Despite the piece’s scale and complexity, there’s a sense that we’ve seen this all before. Jonas was a mainstay of the ’70s art scene, and her work is infused with that flavor, retaining her generation’s love for heavy, lilting voice-overs and for layering bodies (flat as a cookie-cutter cut-out) on top of landscapes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In \u003cb>The Shape\u003c/b>, Southwestern kitsch meets conceptual art. The piece is occasionally successful, occasionally pedantic. For example, Jonas juxtaposes a “lightning dance” (featuring a black-clad dancer with arms spread out like wings) with a lyric sequence exploring settlement and urbanization in the Southwest. \u003cb>The Shape, The Scent, The Feel of Things\u003c/b> reveals what Easterners see when they imagine the West — a place suffused with primitive mysticism, a place that’s moved from Manifest Destiny to ruin and devastation. In one of Jonas’s vignettes, two female dancers hold a large map of the Southwest, while images of abandoned buildings, covered with graffiti, play over it. Above all, the piece is a morality play, with Westernization playing the villain and the Southwest playing the part of the pure, unknowable Other.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Joan Jonas’s \u003cb>The Shape, The Scent, The Feel of Things\u003c/b> is on view at the Berkeley Art Museum through July 20, 2008.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a cold, grey day, I walked into the Berkeley Art Museum to get out of the rain, and to see Joan Jonas’s video installation piece, \u003cb>The Shape, The Scent, The Feel of Things\u003c/b>. Jonas began making media-based art in the 1960s, often combining performance, dance, film, and sculpture in the same piece. \u003cb>The Shape, The Scent, The Feel of Things\u003c/b> has two parts — a video projection and a video installation. The piece is loosely based on the German art historian Aby Warburg’s travels in Arizona between 1895 and 1896.\u003c/p>\n\u003cp>Jonas first visited the Southwest in the 1960s, and like Warburg, she found herself mesmerized by Hopi rituals, especially the Snake Dance. In Jonas’s installation, the snake appears in a variety of forms, as does the coyote. Jonas treats the relationship between body and landscape in symbolic, mythical terms. She describes the piece as a “mythopoetic” exploration of the Southwest. Both Warburg and Jonas were seduced by the power and intensity of these ritual dances. \u003cb>The Shape\u003c/b> is an attempt to create ritual dances for a postmodern world.\u003c/p>\n\u003cp>Jonas’s installation is initially overwhelming. In a dark, cavernous space, jumbled, fragmented images surround the viewer, lights and colors shift quickly, seemingly without reason. After the initial sensory overload, I began to notice that certain motifs repeat. Jonas fetishizes the Southwest’s folkloric, primitive side. Here, we find mysticism without irony. Dancers in rough, shapeless costumes hold gawky, awkward poses, appearing almost amateurish. Jonas scraped the polish from her dancers, to better position them as “primitives.”\u003c/p>\n\u003cp>The first room contains four video projections, three small ones and one enormous wall-sized projection that serves as a backdrop for the rest. On one screen, a woman wearing a coyote head dances, her body superimposed over flashing Vegas neon. On another, a woman dressed in white robes plays with a coyote-like dog. The second room contains a single wall-sized video projection. Short vignettes, based on Jonas’s performances at the Renaissance Society in Chicago, play on the wall. The entire installation is suffused with a slow, dreamy quality.\u003c/p>\n\u003cp>Despite the piece’s scale and complexity, there’s a sense that we’ve seen this all before. Jonas was a mainstay of the ’70s art scene, and her work is infused with that flavor, retaining her generation’s love for heavy, lilting voice-overs and for layering bodies (flat as a cookie-cutter cut-out) on top of landscapes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It’s hard to watch \u003cb>Persepolis\u003c/b> without thinking about the Bush Administration’s apparent itch to wage war on Iran. Even though the film, black and white — and animated — was produced in a manner that emphasizes the timelessness of its themes, one is greatly aware of the frame that has been set, at least in America, by which we ponder all things Iranian.\u003c/p>\n\u003cp>\u003cb>Persepolis\u003c/b> is a personal account of Iran in the 1970s and ’80s, during the period when the Shah was deposed and Iran became engulfed in one of the first, and most visible (to American eyes, at least) modern, Islamic revolutions. The portrait of a society in transition from one oppressive regime to another, worse one is heartrending. It’s as if Marjane Satrapi’s memoir is a piece of propaganda; its release perfectly timed to tug our heart strings as American destroyers tangle with Iranian speed boats in the Strait of Hormuz. But, of course, that’s absurd.\u003c/p>\n\u003cp>\u003cb>Persepolis\u003c/b> is gorgeous, personal and intimately connected to the history of film. Even though it depicts recent events that still reverberate so strongly, there is a timelessness to the film, a universality to the story of rebellion smothered. It looks like both a German Expressionist and an Italian Neo-realist film — two styles Satrapi mentions as influences. One can sometimes see Japanese Anime-inspired flights of fancy, or dark scenes that look as though Edward Gorey scratched in the background. A couple of times I even flashed on \u003cb>Rebel Without a Cause\u003c/b>.\u003c/p>\n\u003cp>In one scene, young Marjane, wearing her signature “Punk Is Not Dead” jacket over her burka, is threatened by two vicious crones for not conforming to the strictures of Islam. Though she is a rebel, Marjane is also a wide-eyed innocent and this scene perfectly encapsulates the film’s bittersweet story of young hope crushed.\u003c/p>\n\u003cp>Once the Shah is deposed, Iran brims with the hope that his brutal regime will be replaced by a more democratic one. Certainly Satrapi’s relatives, who inhabit the upper middle class and are part of Iran’s intelligentsia, argue among themselves about the promise of a new government, taking to the streets in support of a people’s movement. The Satrapi family’s belief in the wisdom of “the people” is soon dashed when a national referendum replaces the monarchy with an Islamic theocracy, headed by the Supreme Leader, Ayatollah Khomeini.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As the strictures of the revolution tighten, Marjane’s parents deem her natural teen rebellion as dangerous to her safety, and ship their 14-year-old daughter off to study in Vienna. Here, even the concept of freedom becomes a point of contention, as living in a western democracy offers its own challenges for young Marjane. The feeling that without repression, life is somehow less real, intellectual discussions trivial, everyday actions lacking consequence, reminded me of Milan Kundera’s \u003cb>The Unbearable Lightness of Being\u003c/b>. To young Marjane, it was better to live without privacy, to be watched constantly than to be so far away from her roots and not watched at all.\u003c/p>\n\u003cp>For an American audience, \u003cb>Persepolis\u003c/b> is a view from the other side of the mirror. One can’t help but think of the Iranian Hostage Crisis, which kick-started the Reagan Revolution and the rise of fundamentalist Christianity in the U.S. It’s hard to view the film without thinking about the intertwined histories — and possibly destinies — of the two countries.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Persepolis\u003c/b> opens January 11, 2008.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As the strictures of the revolution tighten, Marjane’s parents deem her natural teen rebellion as dangerous to her safety, and ship their 14-year-old daughter off to study in Vienna. Here, even the concept of freedom becomes a point of contention, as living in a western democracy offers its own challenges for young Marjane. The feeling that without repression, life is somehow less real, intellectual discussions trivial, everyday actions lacking consequence, reminded me of Milan Kundera’s \u003cb>The Unbearable Lightness of Being\u003c/b>. To young Marjane, it was better to live without privacy, to be watched constantly than to be so far away from her roots and not watched at all.\u003c/p>\n\u003cp>For an American audience, \u003cb>Persepolis\u003c/b> is a view from the other side of the mirror. One can’t help but think of the Iranian Hostage Crisis, which kick-started the Reagan Revolution and the rise of fundamentalist Christianity in the U.S. It’s hard to view the film without thinking about the intertwined histories — and possibly destinies — of the two countries.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Persepolis\u003c/b> opens January 11, 2008.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It is the rare moviegoer who goes to a German film in search of laughs. That may have less to do with our view of the “Teutonic temperament,” though, than with what distributors think American audiences will accept. We’ll happily watch French romances, costume dramas and comedies of bad manners, but typically the only German films that do well here are Nazi sagas (\u003cb>Downfall\u003c/b>, \u003cb>Sophie Scholl\u003c/b>) or spy dramas (\u003cb>The Lives of Others\u003c/b>). Exceptions such as \u003cb>Run Lola Run\u003c/b> or \u003cb>Mostly Martha\u003c/b> somehow don’t rouse distributors to open the gates for lighter German fare. So the Goethe-Institut, the adventurous cultural office behind the much-loved annual \u003cb>Berlin & Beyond\u003c/b> series of new work from Germany, Austria and Switzerland, deserves props for choosing comedy as one of the themes of this year’s program.\u003c/p>\n\u003cp>I know firsthand that the notion of Berlin belly-laughers is counterintuitive. When I took over as curator and host of the Friday night \u003cb>CinemaLit\u003c/b> program at the Mechanics’ Institute two years ago, one of my first series was a month of German comedies. It was an attention-getting and somewhat perverse choice, and I had to watch a lot of movies spanning a lot of years to come up with four excellent ones. But they do exist.\u003c/p>\n\u003cp>\u003cb>Berlin & Beyond\u003c/b> had only last year’s output to draw on, and the films I happened to check out did not brim with hilarity. Farce does not become the Germans (notwithstanding the lingering echoes of the American-conceived \u003cb>Hogan’s Heroes\u003c/b> and \u003cb>The Producers\u003c/b>), and sweetness isn’t their strength, either. But they are masters of the dryly caustic dig and the cruelly absurd moment, especially when sprung unexpectedly in the middle of a serious drama.\u003c/p>\n\u003cp>I’m tempted to rank the films I previewed — roughly a third of the program – by laughs, but that’s too perverse even by my standards. So let’s do it this way:\u003c/p>\n\u003cp>\u003cb>Opening Night Epiphany:\u003c/b>\u003cbr>Fatih Akin (\u003cb>Head On\u003c/b>), a German-born filmmaker of Turkish ancestry, has made a career of exploring identity, assimilation and coexistence. His latest, \u003cb>The Edge of Heaven\u003c/b>, is warm, clever and ultimately optimistic, but it’s no comedy. Three sets of single parents and adult children cross paths and borders trying to right various wrongs in a gripping drama that captures the prevailing winds of interrelationship. As a bonus, it’s a film you can dance to, like all of Akin’s wonderfully soundtracked work.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Give Me an F:\u003c/b>\u003cbr>Dean Reed was a handsome, second-rate rocker from Colorado who split for South America and East Germany in the early ’60s. He achieved superstardom in Berlin for his opposition to the Vietnam War, and for choosing the idealism of socialism over the decadence of capitalism. He’s a splendid subject for a documentary, and \u003cb>The Red Elvis\u003c/b> holds our attention easily enough by highlighting Reed’s ego and unyielding unknowability.\u003c/p>\n\u003cp>\u003cb>Elder Hostile:\u003c/b>\u003cbr>That’s the attitude a Swiss village takes when the octogenarian heroine of \u003cb>Late Bloomers\u003c/b> opens a store dedicated to her chic, homemade lingerie. Switzerland’s official submission for the Best Foreign Language Film category of the Oscars is too classy and polite to milk its setup for risqué laughs, but it easily engenders smiles and applause for its plucky, resolute coterie of erstwhile Gray Panthers.\u003c/p>\n\u003cp>\u003cb>Date Movie, Goth Division:\u003c/b>\u003cbr>\u003cb>Yella\u003c/b> plays out in broad daylight, so you can leave your white makeup at home. But it’s a ghostly little yarn, one best viewed with a friendly wrist within clutching distance. The title character barely escapes her violent husband and their dying town in the former East Germany, and makes a fresh start in the affluent West. It’s a gripping story and Nina Hoss’s haunted performance (which won the acting prize at the Berlin Film Festival) is top drawer. But the final twist, although not unforeseen, makes the film seem slight.\u003c/p>\n\u003cp>\u003cb>Date Movie, Slacker Division:\u003c/b>\u003cbr>Robert Thalheim’s wonderful \u003cb>And Along Come Tourists\u003c/b> unfolds in the Polish town of Oswiecim, better known as the place the Nazis chose to build the death camp of Auschwitz. (What, you’ve never heard of a date movie set near a concentration camp?) An unformed young German arrives to do his civil service, and reluctantly gets life lessons from the Holocaust “survivor-in-residence” and a local Polish girl.\u003c/p>\n\u003cp>\u003cb>Eastern Promises:\u003c/b>\u003cbr>Now that we’ve crossed the border into Poland, it’s a short hop to Austria. Ulrich Seidl’s tough-minded \u003cb>Import Export\u003c/b> follows another directionless young man, though this one’s cutting a boorish swath through Vienna. Meanwhile, a Ukrainian nurse trades her harsh, wintry life for the allure of Austria, instead discovering one degrading job after another. There are a couple of solid chuckles in this outstanding film, but they might get caught in your throat.\u003c/p>\n\u003cp>\u003cb>Domestic Farce:\u003c/b>\u003cbr>When is a farce really a tragedy? Molière and Buñuel aced that question, but it proves a bit stickier for German director Ingo Rasper, whose \u003cb>Fashion Victims\u003c/b> is honored at \u003cb>Berlin & Beyond\u003c/b> as best first feature. When an upstart competitor hijacks his longtime customers, a salesman of women’s clothing panics that the times (and his comfy lifestyle) are passing him by. How funny is that? Reasonably funny, if you can block out all the pain on display. Rasper is slated to appear on the panel “What Makes You Laugh?,” this Sunday, Jan. 13 at 11 a.m. at the Goethe-Institut, that holds every possibility of being neither painful nor tragic.\u003c/p>\n\u003cp>\u003cb>Inside the Actor’s Studio:\u003c/b>\u003cbr>Ulrich Muhe was feted far and wide for his no-frills performance as the Stasi agent in \u003cb>The Lives of Others\u003c/b>, and then passed away only a few months later. He’ll be honored posthumously at \u003cb>Berlin & Beyond\u003c/b> with the award for lifetime achievement in acting, and screenings of \u003cb>Others\u003c/b>, the 1985 costume epic \u003cb>Half of Life\u003c/b> and \u003cb>Funny Games\u003c/b>, Michael Haneke’s harrowing hostage drama that he just remade in English for a March release.\u003c/p>\n\u003cp>At this point, I have the distinct feeling that you aren’t completely convinced that comedy is a central theme of the 2008 edition of \u003cb>Berlin & Beyond\u003c/b>. In that case, revisit Paragraph 1, Sentence 1, and proceed accordingly.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>Berlin & Beyond\u003c/b> runs Jan. 10-16 at the Castro Theatre in San Francisco and Jan. 19 at Point Arena in Mendocino. \u003ca href=\"http://www.berlinandbeyond.com/\" target=\"offsite\" rel=\"noopener\">For tickets and information\u003c/a> visit berlinandbeyond.com.\u003c/p>\n\n",
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"excerpt": "It is the rare moviegoer who goes to a German film in search of laughs. That may have less to do our view of the \"Teutonic temperament,\" though, than with what distributors think American audiences will accept. We'll happily watch French romances, costume dramas and comedies of bad manners, but typically the only German films that do well here are Nazi sagas (\u003cb>Downfall\u003c/b>, \u003cb>Sophie Scholl\u003c/b>) or spy dramas (\u003cb>The Lives of Others\u003c/b>). Exceptions such as \u003cb>Run Lola Run\u003c/b> or \u003cb>Mostly Martha\u003c/b> somehow don't rouse distributors to open the gates for lighter German fare. So the Goethe-Institut, the adventurous cultural office behind the much-loved annual \u003cb>Berlin & Beyond\u003c/b> series of new work from Germany, Austria and Switzerland, deserves props for choosing comedy as one of the themes of this year's program.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It is the rare moviegoer who goes to a German film in search of laughs. That may have less to do with our view of the “Teutonic temperament,” though, than with what distributors think American audiences will accept. We’ll happily watch French romances, costume dramas and comedies of bad manners, but typically the only German films that do well here are Nazi sagas (\u003cb>Downfall\u003c/b>, \u003cb>Sophie Scholl\u003c/b>) or spy dramas (\u003cb>The Lives of Others\u003c/b>). Exceptions such as \u003cb>Run Lola Run\u003c/b> or \u003cb>Mostly Martha\u003c/b> somehow don’t rouse distributors to open the gates for lighter German fare. So the Goethe-Institut, the adventurous cultural office behind the much-loved annual \u003cb>Berlin & Beyond\u003c/b> series of new work from Germany, Austria and Switzerland, deserves props for choosing comedy as one of the themes of this year’s program.\u003c/p>\n\u003cp>I know firsthand that the notion of Berlin belly-laughers is counterintuitive. When I took over as curator and host of the Friday night \u003cb>CinemaLit\u003c/b> program at the Mechanics’ Institute two years ago, one of my first series was a month of German comedies. It was an attention-getting and somewhat perverse choice, and I had to watch a lot of movies spanning a lot of years to come up with four excellent ones. But they do exist.\u003c/p>\n\u003cp>\u003cb>Berlin & Beyond\u003c/b> had only last year’s output to draw on, and the films I happened to check out did not brim with hilarity. Farce does not become the Germans (notwithstanding the lingering echoes of the American-conceived \u003cb>Hogan’s Heroes\u003c/b> and \u003cb>The Producers\u003c/b>), and sweetness isn’t their strength, either. But they are masters of the dryly caustic dig and the cruelly absurd moment, especially when sprung unexpectedly in the middle of a serious drama.\u003c/p>\n\u003cp>I’m tempted to rank the films I previewed — roughly a third of the program – by laughs, but that’s too perverse even by my standards. So let’s do it this way:\u003c/p>\n\u003cp>\u003cb>Opening Night Epiphany:\u003c/b>\u003cbr>Fatih Akin (\u003cb>Head On\u003c/b>), a German-born filmmaker of Turkish ancestry, has made a career of exploring identity, assimilation and coexistence. His latest, \u003cb>The Edge of Heaven\u003c/b>, is warm, clever and ultimately optimistic, but it’s no comedy. Three sets of single parents and adult children cross paths and borders trying to right various wrongs in a gripping drama that captures the prevailing winds of interrelationship. As a bonus, it’s a film you can dance to, like all of Akin’s wonderfully soundtracked work.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Give Me an F:\u003c/b>\u003cbr>Dean Reed was a handsome, second-rate rocker from Colorado who split for South America and East Germany in the early ’60s. He achieved superstardom in Berlin for his opposition to the Vietnam War, and for choosing the idealism of socialism over the decadence of capitalism. He’s a splendid subject for a documentary, and \u003cb>The Red Elvis\u003c/b> holds our attention easily enough by highlighting Reed’s ego and unyielding unknowability.\u003c/p>\n\u003cp>\u003cb>Elder Hostile:\u003c/b>\u003cbr>That’s the attitude a Swiss village takes when the octogenarian heroine of \u003cb>Late Bloomers\u003c/b> opens a store dedicated to her chic, homemade lingerie. Switzerland’s official submission for the Best Foreign Language Film category of the Oscars is too classy and polite to milk its setup for risqué laughs, but it easily engenders smiles and applause for its plucky, resolute coterie of erstwhile Gray Panthers.\u003c/p>\n\u003cp>\u003cb>Date Movie, Goth Division:\u003c/b>\u003cbr>\u003cb>Yella\u003c/b> plays out in broad daylight, so you can leave your white makeup at home. But it’s a ghostly little yarn, one best viewed with a friendly wrist within clutching distance. The title character barely escapes her violent husband and their dying town in the former East Germany, and makes a fresh start in the affluent West. It’s a gripping story and Nina Hoss’s haunted performance (which won the acting prize at the Berlin Film Festival) is top drawer. But the final twist, although not unforeseen, makes the film seem slight.\u003c/p>\n\u003cp>\u003cb>Date Movie, Slacker Division:\u003c/b>\u003cbr>Robert Thalheim’s wonderful \u003cb>And Along Come Tourists\u003c/b> unfolds in the Polish town of Oswiecim, better known as the place the Nazis chose to build the death camp of Auschwitz. (What, you’ve never heard of a date movie set near a concentration camp?) An unformed young German arrives to do his civil service, and reluctantly gets life lessons from the Holocaust “survivor-in-residence” and a local Polish girl.\u003c/p>\n\u003cp>\u003cb>Eastern Promises:\u003c/b>\u003cbr>Now that we’ve crossed the border into Poland, it’s a short hop to Austria. Ulrich Seidl’s tough-minded \u003cb>Import Export\u003c/b> follows another directionless young man, though this one’s cutting a boorish swath through Vienna. Meanwhile, a Ukrainian nurse trades her harsh, wintry life for the allure of Austria, instead discovering one degrading job after another. There are a couple of solid chuckles in this outstanding film, but they might get caught in your throat.\u003c/p>\n\u003cp>\u003cb>Domestic Farce:\u003c/b>\u003cbr>When is a farce really a tragedy? Molière and Buñuel aced that question, but it proves a bit stickier for German director Ingo Rasper, whose \u003cb>Fashion Victims\u003c/b> is honored at \u003cb>Berlin & Beyond\u003c/b> as best first feature. When an upstart competitor hijacks his longtime customers, a salesman of women’s clothing panics that the times (and his comfy lifestyle) are passing him by. How funny is that? Reasonably funny, if you can block out all the pain on display. Rasper is slated to appear on the panel “What Makes You Laugh?,” this Sunday, Jan. 13 at 11 a.m. at the Goethe-Institut, that holds every possibility of being neither painful nor tragic.\u003c/p>\n\u003cp>\u003cb>Inside the Actor’s Studio:\u003c/b>\u003cbr>Ulrich Muhe was feted far and wide for his no-frills performance as the Stasi agent in \u003cb>The Lives of Others\u003c/b>, and then passed away only a few months later. He’ll be honored posthumously at \u003cb>Berlin & Beyond\u003c/b> with the award for lifetime achievement in acting, and screenings of \u003cb>Others\u003c/b>, the 1985 costume epic \u003cb>Half of Life\u003c/b> and \u003cb>Funny Games\u003c/b>, Michael Haneke’s harrowing hostage drama that he just remade in English for a March release.\u003c/p>\n\u003cp>At this point, I have the distinct feeling that you aren’t completely convinced that comedy is a central theme of the 2008 edition of \u003cb>Berlin & Beyond\u003c/b>. In that case, revisit Paragraph 1, Sentence 1, and proceed accordingly.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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},
"closealltabs": {
"id": "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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"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.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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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.",
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"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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"order": 9
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"id": "freakonomics-radio",
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"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/",
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},
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"id": "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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"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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"hidden-brain": {
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"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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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
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"how-i-built-this": {
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"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.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"hyphenacion": {
"id": "hyphenacion",
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"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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"order": 15
},
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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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"order": 18
},
"link": "/podcasts/jerrybrown",
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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/",
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"link": "/radio/program/latino-usa",
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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"
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},
"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": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"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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"meta": {
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"source": "WaitWhat"
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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",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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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"
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"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",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"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",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
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