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"content": "\u003cp>The pioneering San Francisco video artist and filmmaker Lynn Hershman has made the most flat-out accessible work of her career with the Kafkaesque documentary \u003cb>Strange Culture\u003c/b>. “Accessible” is often criticspeak for “sellout,” but not in this case. For one thing, the relentlessly intellectually probing Hershman is frankly incapable of serving up lollipops for the mainstream. But she realized that the urgency of her subject — the Federal government’s chilling prosecution/persecution of respected East Coast artist/professor Steve Kurtz — made it imperative that \u003cb>Strange Culture\u003c/b> be seen by as many people as possible. That the film succeeds as both an iconoclastic piece of art and as compelling drama, is rather amazing.\u003c/p>\n\u003cp>Hershman’s previous films, \u003cb>Conceiving Ada\u003c/b> and \u003cb>Teknolust\u003c/b>, both starring Tilda Swinton, were visionary but emotionally remote tales of human beings grappling with the possibilities and limitations of futuristic technology. \u003cb>Strange Culture\u003c/b> has an immeasurably warmer center, in the persons of Steve and Hope Kurtz, the 40-something cofounders of the widely respected \u003ca href=\"http://www.critical-art.net/\" target=\"offsite\" rel=\"noopener\">Critical Art Ensemble\u003c/a> (CAE). Conceptual artists with a solid grounding in science — or to put it another way, academicians with the ability to hit people where they lived — the Ensemble infused its writings and shows with extraordinary rigor.\u003c/p>\n\u003cp>In 2004, the Kurtzes were researching and assembling an installation for the Massachusetts Museum of Contemporary Art that exposed and questioned biotechnology’s pervasive influence on food production. Steve’s nightmare began when he awoke one morning and found Hope dead. In shock, he called 911. One would expect with the death of a comparatively young woman that the paramedics would be alert to any hints of homicide; one would not anticipate, even in post-9/11 America, that the sight of Petri dishes and scientific equipment would send famously blasé EMT boys into a haz-mat panic. The FBI were summoned, and they quickly sealed off the house and bagged and seized all kinds of materials.\u003c/p>\n\u003cp>Steve Kurtz was indicted on various charges by an amped-up DA who refused to see reason even after Kurtz’s credentials (his day job is associate professor of art at SUNY/Buffalo) and CAE activities were made public. \u003cb>Strange Culture\u003c/b> makes a powerful argument that the case has very little to do with broken laws or public safety, but is part of the coordinated attack on free speech and civil liberties that the Bush Administration has carried out over the last six years.\u003c/p>\n\u003cp>Steve Kurtz’s saga may sound reasonably straightforward, albeit horrifically nightmarish, but Hershman was constrained in how to tell it on film. Because the case is still crawling through the courts, Kurtz is prevented from speaking about various aspects. Hope is not here, of course, and the only relevant extant footage is the simplistic news coverage broadcast by local stations.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hershman solved her dilemma by casting Tilda Swinton and Thomas Jay Ryan (Henry Fool in Hal Hartley’s \u003cb>Henry Fool\u003c/b>) to play Hope and Steve. She staged recreations of conversations and scenes, and intercut them with the news footage and interviews with the real Steve. In a nod to postmodernist self-reflexism and a wink at her audience, Hershman even includes a joint interview with Kurtz and Ryan (out of character).\u003c/p>\n\u003cp>Swinton’s legion of local fans will lap up the softest, most casual performance she’s given since \u003cb>The Deep End\u003c/b> in 2001. (The brittle lawyer she plays in the George Clooney vehicle, \u003cb>Michael Clayton\u003c/b>, is the latest example of directors tapping into her aloof jitteriness.) Ryan’s unshowy acting takes a bit longer to work on us, mostly because we have the real Kurtz right there to compare him to. But Ryan evokes a commitment and humanity that allows us to believe that a couple of his students would be inspired to takes a gutsy stand against the clampdown.\u003c/p>\n\u003cp>As is the norm with documentaries, \u003cb>Strange Culture\u003c/b> (which had its local premiere at the S.F. International Film Festival) will attract moviegoers with its content rather than its form. The average filmgoer will simply appreciate that Hershman’s technique doesn’t obscure the story. But those with a taste for experimentation, and a shared appreciation for an artist’s refusal to surrender to the conventional, will get substantial pleasure from watching Hershman challenge herself.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Strange Culture\u003c/b> plays Sept. 21-28, 2007 at the Roxie New College Film Center.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The pioneering San Francisco video artist and filmmaker Lynn Hershman has made the most flat-out accessible work of her career with the Kafkaesque documentary \u003cb>Strange Culture\u003c/b>. “Accessible” is often criticspeak for “sellout,” but not in this case. For one thing, the relentlessly intellectually probing Hershman is frankly incapable of serving up lollipops for the mainstream. But she realized that the urgency of her subject — the Federal government’s chilling prosecution/persecution of respected East Coast artist/professor Steve Kurtz — made it imperative that \u003cb>Strange Culture\u003c/b> be seen by as many people as possible. That the film succeeds as both an iconoclastic piece of art and as compelling drama, is rather amazing.\u003c/p>\n\u003cp>Hershman’s previous films, \u003cb>Conceiving Ada\u003c/b> and \u003cb>Teknolust\u003c/b>, both starring Tilda Swinton, were visionary but emotionally remote tales of human beings grappling with the possibilities and limitations of futuristic technology. \u003cb>Strange Culture\u003c/b> has an immeasurably warmer center, in the persons of Steve and Hope Kurtz, the 40-something cofounders of the widely respected \u003ca href=\"http://www.critical-art.net/\" target=\"offsite\" rel=\"noopener\">Critical Art Ensemble\u003c/a> (CAE). Conceptual artists with a solid grounding in science — or to put it another way, academicians with the ability to hit people where they lived — the Ensemble infused its writings and shows with extraordinary rigor.\u003c/p>\n\u003cp>In 2004, the Kurtzes were researching and assembling an installation for the Massachusetts Museum of Contemporary Art that exposed and questioned biotechnology’s pervasive influence on food production. Steve’s nightmare began when he awoke one morning and found Hope dead. In shock, he called 911. One would expect with the death of a comparatively young woman that the paramedics would be alert to any hints of homicide; one would not anticipate, even in post-9/11 America, that the sight of Petri dishes and scientific equipment would send famously blasé EMT boys into a haz-mat panic. The FBI were summoned, and they quickly sealed off the house and bagged and seized all kinds of materials.\u003c/p>\n\u003cp>Steve Kurtz was indicted on various charges by an amped-up DA who refused to see reason even after Kurtz’s credentials (his day job is associate professor of art at SUNY/Buffalo) and CAE activities were made public. \u003cb>Strange Culture\u003c/b> makes a powerful argument that the case has very little to do with broken laws or public safety, but is part of the coordinated attack on free speech and civil liberties that the Bush Administration has carried out over the last six years.\u003c/p>\n\u003cp>Steve Kurtz’s saga may sound reasonably straightforward, albeit horrifically nightmarish, but Hershman was constrained in how to tell it on film. Because the case is still crawling through the courts, Kurtz is prevented from speaking about various aspects. Hope is not here, of course, and the only relevant extant footage is the simplistic news coverage broadcast by local stations.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hershman solved her dilemma by casting Tilda Swinton and Thomas Jay Ryan (Henry Fool in Hal Hartley’s \u003cb>Henry Fool\u003c/b>) to play Hope and Steve. She staged recreations of conversations and scenes, and intercut them with the news footage and interviews with the real Steve. In a nod to postmodernist self-reflexism and a wink at her audience, Hershman even includes a joint interview with Kurtz and Ryan (out of character).\u003c/p>\n\u003cp>Swinton’s legion of local fans will lap up the softest, most casual performance she’s given since \u003cb>The Deep End\u003c/b> in 2001. (The brittle lawyer she plays in the George Clooney vehicle, \u003cb>Michael Clayton\u003c/b>, is the latest example of directors tapping into her aloof jitteriness.) Ryan’s unshowy acting takes a bit longer to work on us, mostly because we have the real Kurtz right there to compare him to. But Ryan evokes a commitment and humanity that allows us to believe that a couple of his students would be inspired to takes a gutsy stand against the clampdown.\u003c/p>\n\u003cp>As is the norm with documentaries, \u003cb>Strange Culture\u003c/b> (which had its local premiere at the S.F. International Film Festival) will attract moviegoers with its content rather than its form. The average filmgoer will simply appreciate that Hershman’s technique doesn’t obscure the story. But those with a taste for experimentation, and a shared appreciation for an artist’s refusal to surrender to the conventional, will get substantial pleasure from watching Hershman challenge herself.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Strange Culture\u003c/b> plays Sept. 21-28, 2007 at the Roxie New College Film Center.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“A chronicle of enterprising demises,” the \u003ca href=\"http://www.darwinawards.com\" target=\"offsite\" rel=\"noopener\">Darwin Awards\u003c/a> are given out to real life characters who “improve the gene pool by accidentally removing themselves from it.” Started online in 1993, The Darwin Awards collects and verifies stories of people who have managed to kill themselves through outlandish (and often very stupid) accidents.\u003c/p>\n\u003cp>Joseph Feinnes stars as Michael Burrows, a police profiler so obsessed with Darwin Awards cases that he may be at risk of becoming one. Of course, the obsessive-compulsive Burrows has a few issues of his own, not the least being his hematophobia — he faints at the site of blood — which gets him suspended from the San Francisco police force. Worse still, his fainting spell is caught on tape by a filmmaker shooting his thesis project, a documentary about the San Francisco police, whose main subject is Burrows. Using his unique skill set to land a job with an insurance company, Burrows promises to create a personality profile that would screen out those most likely to wind up on the Darwin Awards, thereby saving the company millions. (This set up, by the way, takes place mostly BEFORE the opening credits, which should provide a sense of the film’s antic pace.)\u003c/p>\n\u003cp>Enter Winona Ryder as Siri Taylor, the insurance company’s best field investigator and Michael Burrows’ new partner. The two drive across the country together investigating the most outlandish insurance claims, with Burrows’ personal documentarian in tow. That the film ends up ultimately being a love story is not a surprise. Of course Taylor and Burrows are opposites — she’s tough, he’s vulnerable. She has been investigating insurance claims for ten years and has developed a thick skin viewing the inevitable results of the freak accidents in which she specializes. Winona Ryder brings a very particular angularity to the role. She doesn’t exactly crack wise, but she certainly pushes Burrows outside his comfort zone, challenging his ideas and pointing out how similar he is to the Darwin Awards winners that are his obsession.\u003c/p>\n\u003cp>I’ve always liked Winona Ryder, from the beginning of her career as the goth teen in \u003cb>Beetlejuice\u003c/b> and the murderous mean girl in \u003cb>Heathers\u003c/b>, she brings a brittle charm and an offbeat intelligence to every role. This plays beautifully against Joseph Feinnes’ cuddly kookiness. Something about this combination really WORKS. They are like Tracy and Hepburn or Burns and Allen, with the sexes reversed. He’s the one with the wacky philosophy, and ideas that are so crazy they turn out to be true. From the first case Burrows and Taylor investigate together — she has to revive him from a faint — we know they will overcome their differences. But the rest of the film — with its diversions through various tales of Darwin Award “winners” that include David Arquette, Chris Penn (in his last film role), Lukas Haas and an almost unrecognizable Julianna Margulies (as a Brit who has an unfortunate “run in” with a dentist, played by our very own Josh Kornbluth) — is wacky, smart fun.\u003c/p>\n\u003cp>One can trace the origins of local boy, Finn Taylor’s \u003cb>The Darwin Awards\u003c/b> back through the works of Jim Carrey, Will Ferrel, Adam Sandler and their ilk. In fact, that lineage runs face first into the two \u003cb>Jackass\u003c/b> movies, which are as close to filmed segments of the Darwin Awards as anyone would hope to get — and even spawned re-enactments by \u003cb>Jackass\u003c/b>-influenced Award hopefuls. What’s different here is that Taylor (through Burrows) ponders the motivations behind the resultant deaths. Burrows’ gift for reading human behavior helps us to see how a rich man’s greed might cause him to be crushed by a vending machine or how a gas station attendant’s need for speed might result in a crash landing on a desert hillside. Finn Taylor’s Darwin Awards contenders are real, fleshed out men, with real hopes and dreams, whose lives have taken a terrible (though hardly unforeseen) turn — and they are played with manic brilliance by a wildly talented supporting cast.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s fun to see these dim bulbs played intelligently, and almost more for pathos than for laughs — though there are many of those. \u003cb>The Darwin Awards\u003c/b> isn’t one of those cut and paste films about a man-child on a rampage. What’s scary is that there is a special kind of logic just visible behind some of their crackpot schemes. When David Arquette spies an old jet engine in an army surplus junkyard, or Chris Penn suggests ice fishing with explosives, one can almost see the 50-watt bulb flicker on briefly over each actor’s head. Ultimately the film is a bizarre celebration of a uniquely San Francisco mentality. It’s a paean to the misfit and the outsider. Midway through the film, Burrows wonders aloud, “How do people have normal lives?” I’ve asked myself that very question countless times. \u003cb>The Darwin Awards\u003c/b> celebrates those who haven’t a clue.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“A chronicle of enterprising demises,” the \u003ca href=\"http://www.darwinawards.com\" target=\"offsite\" rel=\"noopener\">Darwin Awards\u003c/a> are given out to real life characters who “improve the gene pool by accidentally removing themselves from it.” Started online in 1993, The Darwin Awards collects and verifies stories of people who have managed to kill themselves through outlandish (and often very stupid) accidents.\u003c/p>\n\u003cp>Joseph Feinnes stars as Michael Burrows, a police profiler so obsessed with Darwin Awards cases that he may be at risk of becoming one. Of course, the obsessive-compulsive Burrows has a few issues of his own, not the least being his hematophobia — he faints at the site of blood — which gets him suspended from the San Francisco police force. Worse still, his fainting spell is caught on tape by a filmmaker shooting his thesis project, a documentary about the San Francisco police, whose main subject is Burrows. Using his unique skill set to land a job with an insurance company, Burrows promises to create a personality profile that would screen out those most likely to wind up on the Darwin Awards, thereby saving the company millions. (This set up, by the way, takes place mostly BEFORE the opening credits, which should provide a sense of the film’s antic pace.)\u003c/p>\n\u003cp>Enter Winona Ryder as Siri Taylor, the insurance company’s best field investigator and Michael Burrows’ new partner. The two drive across the country together investigating the most outlandish insurance claims, with Burrows’ personal documentarian in tow. That the film ends up ultimately being a love story is not a surprise. Of course Taylor and Burrows are opposites — she’s tough, he’s vulnerable. She has been investigating insurance claims for ten years and has developed a thick skin viewing the inevitable results of the freak accidents in which she specializes. Winona Ryder brings a very particular angularity to the role. She doesn’t exactly crack wise, but she certainly pushes Burrows outside his comfort zone, challenging his ideas and pointing out how similar he is to the Darwin Awards winners that are his obsession.\u003c/p>\n\u003cp>I’ve always liked Winona Ryder, from the beginning of her career as the goth teen in \u003cb>Beetlejuice\u003c/b> and the murderous mean girl in \u003cb>Heathers\u003c/b>, she brings a brittle charm and an offbeat intelligence to every role. This plays beautifully against Joseph Feinnes’ cuddly kookiness. Something about this combination really WORKS. They are like Tracy and Hepburn or Burns and Allen, with the sexes reversed. He’s the one with the wacky philosophy, and ideas that are so crazy they turn out to be true. From the first case Burrows and Taylor investigate together — she has to revive him from a faint — we know they will overcome their differences. But the rest of the film — with its diversions through various tales of Darwin Award “winners” that include David Arquette, Chris Penn (in his last film role), Lukas Haas and an almost unrecognizable Julianna Margulies (as a Brit who has an unfortunate “run in” with a dentist, played by our very own Josh Kornbluth) — is wacky, smart fun.\u003c/p>\n\u003cp>One can trace the origins of local boy, Finn Taylor’s \u003cb>The Darwin Awards\u003c/b> back through the works of Jim Carrey, Will Ferrel, Adam Sandler and their ilk. In fact, that lineage runs face first into the two \u003cb>Jackass\u003c/b> movies, which are as close to filmed segments of the Darwin Awards as anyone would hope to get — and even spawned re-enactments by \u003cb>Jackass\u003c/b>-influenced Award hopefuls. What’s different here is that Taylor (through Burrows) ponders the motivations behind the resultant deaths. Burrows’ gift for reading human behavior helps us to see how a rich man’s greed might cause him to be crushed by a vending machine or how a gas station attendant’s need for speed might result in a crash landing on a desert hillside. Finn Taylor’s Darwin Awards contenders are real, fleshed out men, with real hopes and dreams, whose lives have taken a terrible (though hardly unforeseen) turn — and they are played with manic brilliance by a wildly talented supporting cast.\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>It’s fun to see these dim bulbs played intelligently, and almost more for pathos than for laughs — though there are many of those. \u003cb>The Darwin Awards\u003c/b> isn’t one of those cut and paste films about a man-child on a rampage. What’s scary is that there is a special kind of logic just visible behind some of their crackpot schemes. When David Arquette spies an old jet engine in an army surplus junkyard, or Chris Penn suggests ice fishing with explosives, one can almost see the 50-watt bulb flicker on briefly over each actor’s head. Ultimately the film is a bizarre celebration of a uniquely San Francisco mentality. It’s a paean to the misfit and the outsider. Midway through the film, Burrows wonders aloud, “How do people have normal lives?” I’ve asked myself that very question countless times. \u003cb>The Darwin Awards\u003c/b> celebrates those who haven’t a clue.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On the title track of his 1984 album \u003cb>Voice of America\u003c/b>, the unabashedly political rocker Little Steven (aka “Miami” Steve of the E Street Band, aka Silvio Dante on \u003cb>The Sopranos\u003c/b>, aka Steve Van Zandt) demanded, “Can you hear me, wake up/Where’s the voice of America?” Alas, he had little success rousing the Reagan-era silent majority against such outrages as the murders of innocents (with our help) in Chile, Argentina and Nicaragua. (Not the standard stuff of rock lyrics, which might explain why Van Zandt’s solo career was abbreviated.) Two decades later, in the midst of a disastrous and unpopular war, America’s conscience is still hibernating. This is the climate, or condition, if you prefer, that spawned \u003cb>Revolution Summer\u003c/b>.\u003c/p>\n\u003cp>Local filmmaker Miles Matthew Montalbano’s impressionistic and bravely ambiguous debut feature, which had its world premiere in May at the S.F. International Film Festival and opens Friday at the Roxie, centers on three singles in their 20s laboring under an unseen weight. The cross Montalbano wants them to bear is the crucible of personal responsibility, a sense of moral obligation to rise up against the neo-fascists in far-off Washington who are lowering the hammer on civil liberties even in the abandoned industrial backwaters of Oakland.\u003c/p>\n\u003cp>This is all implied, I hasten to add; almost nothing is spelled out. Montalbano has said in interviews that he doesn’t think it’s the filmmaker’s place to offer political answers, but rather to prompt discussion. So \u003cb>Revolution Summer\u003c/b> is made for a certain type of filmgoer, one who is more numerous in Paris than here. That is, someone who embraces a film as the starting point for a passionate debate and not a diversion to fill the time before a bite and bed. A moviegoer who relishes filling in the gaps and the backstory, and interpreting the behavior, the motivations and even the dialogue of the characters.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cb>Revolution Summer\u003c/b> revolves to a large degree around Hope (Mackenzie Firgens), a lithe, lovely woman struggling silently to find some purpose in life beyond getting wasted and hit on. Her pal Francine (Lauren Fox) can’t comprehend this existential dilemma so long as the supply of pot, whisky and attractive, scruffy men is uninterrupted. When Hope meets Frankie, a friendly, easygoing guy who has secretly joined a cell that’s planning to plant a bomb at some unnamed building, she catches a glimpse of what real political commitment looks like.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Fans of the three-act screenplay, crystal-clear motives, obvious consequences and carefully escalated tension will find \u003cb>Revolution Summer\u003c/b> a frustrating experience. Montalbano doesn’t always let us know where we are, nor does he identify several of the people who cross — and derail — the main characters’ paths. What he does, though, is nail the unsettling fear of approaching 30 with no idea of what’s important or what one stands for. That’s what drives Hope and Frankie, along with the nagging feeling that complacency and inertia just don’t cut it any more.\u003c/p>\n\u003cp>Plenty of movies have used a woman’s biological clock or a man’s loss of friends to marriage and parenthood as catalysts for a belated maturation process. \u003cb>Revolution Summer\u003c/b> makes such concerns seem shallow and banal, simply by repeated reminders that the ship of state is sinking and all hands are needed on deck. The film’s most obvious concern is the erasure of civil liberties, but it’s impossible not to also be reminded that, um, we’re in the middle of a pointless, dishonest war. Frankly, it’s remarkable to encounter that level of political consciousness in an independent film.\u003c/p>\n\u003cp>As much as I admire \u003cb>Revolution Summer\u003c/b> for its big-picture awareness, and for having the courage of its convictions, what I’ll always remember is Mackenzie Firgens as Hope. Drifting aimlessly around her apartment, tracked by a handheld camera, looking for some opening through which she can escape her malaise and powerlessness, she is a haunting image of American privilege, beauty and soul on ice. Girl, you’re a desperado.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Revolution Summer\u003c/b> plays Aug. 31-Sept. 6, 2007 at the Roxie New College Film Center.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On the title track of his 1984 album \u003cb>Voice of America\u003c/b>, the unabashedly political rocker Little Steven (aka “Miami” Steve of the E Street Band, aka Silvio Dante on \u003cb>The Sopranos\u003c/b>, aka Steve Van Zandt) demanded, “Can you hear me, wake up/Where’s the voice of America?” Alas, he had little success rousing the Reagan-era silent majority against such outrages as the murders of innocents (with our help) in Chile, Argentina and Nicaragua. (Not the standard stuff of rock lyrics, which might explain why Van Zandt’s solo career was abbreviated.) Two decades later, in the midst of a disastrous and unpopular war, America’s conscience is still hibernating. This is the climate, or condition, if you prefer, that spawned \u003cb>Revolution Summer\u003c/b>.\u003c/p>\n\u003cp>Local filmmaker Miles Matthew Montalbano’s impressionistic and bravely ambiguous debut feature, which had its world premiere in May at the S.F. International Film Festival and opens Friday at the Roxie, centers on three singles in their 20s laboring under an unseen weight. The cross Montalbano wants them to bear is the crucible of personal responsibility, a sense of moral obligation to rise up against the neo-fascists in far-off Washington who are lowering the hammer on civil liberties even in the abandoned industrial backwaters of Oakland.\u003c/p>\n\u003cp>This is all implied, I hasten to add; almost nothing is spelled out. Montalbano has said in interviews that he doesn’t think it’s the filmmaker’s place to offer political answers, but rather to prompt discussion. So \u003cb>Revolution Summer\u003c/b> is made for a certain type of filmgoer, one who is more numerous in Paris than here. That is, someone who embraces a film as the starting point for a passionate debate and not a diversion to fill the time before a bite and bed. A moviegoer who relishes filling in the gaps and the backstory, and interpreting the behavior, the motivations and even the dialogue of the characters.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cb>Revolution Summer\u003c/b> revolves to a large degree around Hope (Mackenzie Firgens), a lithe, lovely woman struggling silently to find some purpose in life beyond getting wasted and hit on. Her pal Francine (Lauren Fox) can’t comprehend this existential dilemma so long as the supply of pot, whisky and attractive, scruffy men is uninterrupted. When Hope meets Frankie, a friendly, easygoing guy who has secretly joined a cell that’s planning to plant a bomb at some unnamed building, she catches a glimpse of what real political commitment looks like.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fans of the three-act screenplay, crystal-clear motives, obvious consequences and carefully escalated tension will find \u003cb>Revolution Summer\u003c/b> a frustrating experience. Montalbano doesn’t always let us know where we are, nor does he identify several of the people who cross — and derail — the main characters’ paths. What he does, though, is nail the unsettling fear of approaching 30 with no idea of what’s important or what one stands for. That’s what drives Hope and Frankie, along with the nagging feeling that complacency and inertia just don’t cut it any more.\u003c/p>\n\u003cp>Plenty of movies have used a woman’s biological clock or a man’s loss of friends to marriage and parenthood as catalysts for a belated maturation process. \u003cb>Revolution Summer\u003c/b> makes such concerns seem shallow and banal, simply by repeated reminders that the ship of state is sinking and all hands are needed on deck. The film’s most obvious concern is the erasure of civil liberties, but it’s impossible not to also be reminded that, um, we’re in the middle of a pointless, dishonest war. Frankly, it’s remarkable to encounter that level of political consciousness in an independent film.\u003c/p>\n\u003cp>As much as I admire \u003cb>Revolution Summer\u003c/b> for its big-picture awareness, and for having the courage of its convictions, what I’ll always remember is Mackenzie Firgens as Hope. Drifting aimlessly around her apartment, tracked by a handheld camera, looking for some opening through which she can escape her malaise and powerlessness, she is a haunting image of American privilege, beauty and soul on ice. Girl, you’re a desperado.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Revolution Summer\u003c/b> plays Aug. 31-Sept. 6, 2007 at the Roxie New College Film Center.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>I find celluloid film to be an intensely physical medium of limitless possibilities. In \u003cb>Pump\u003c/b> I bring an awareness of this physicality, and a dedication to exploring the malleability of celluloid. The emphasis I place on the importance of exploration fosters new and exciting ways of seeing.\u003c/p>\n\u003cp>This being said, I have always worked to couple the aesthetic experimentation of my films with political and ethical goals. I have made the bicycle and its potential as a counter-cultural tool, as well as a new aesthetic perspective, the focus of my intentions. \u003cb>Pump\u003c/b> is an experimental short that involved mounting a Super 8 camera to various parts of a fixed gear bicycle and riding around the city of San Francisco. Inspired by the city symphonies of Dziga Vertov, I have molded the urban energy of their compositions with a more visceral moving perspective. I believe the physicality of a bicycle offers a personal viewpoint that humanizes movement through industrial spaces and hybridizes traditions of hand-held and automotive camera movement.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp> Hard-boiled French director Jean Pierre Melville has enjoyed an unexpected posthumous revival in recent years with the rediscovery and re-release of the ’50s and ’60s underworld masterpieces \u003cb>Bob le Flambeur\u003c/b>, \u003cb>Le Samourai\u003c/b> and \u003cb>Army of Shadows\u003c/b>. Just in case the crime-doesn’t-pay maxim somehow hasn’t penetrated our dense craniums, \u003cb>Le Doulos\u003c/b>, another shimmeringly gorgeous and defiantly grim tale, comes our way this Friday for a week-long stay at the Castro Theatre.\u003c/p>\n\u003cp>Melville’s milieu is the shadowy, nocturnal world of crooks, cops and informers. Betrayal is a recurring theme, revealing and ridiculing the paradox of “honor among thieves.” (A line of dialogue explicitly addresses the so-called criminal code.) A thief named Maurice (Serge Reggiani), fresh out of prison after four years, drops by the flat of a fellow heist artist in the brilliantly photographed opening scene. Gilbert is a solid pal, helpful in every way, and yet their reunion ends badly. In Melville’s world, no good deed goes unpunished. It’s film noir with a French twist.\u003c/p>\n\u003cp>The wild card in this nest of vipers is Silien (Jean-Paul Belmondo), a tall, bony raven who’s secretly a double agent; that is, he’s a crook and a double-dealer who sells out his erstwhile buddies to the police. The plot he concocts to stay a step ahead of everyone — and to save his miserable hide — provides the crux of the film.\u003c/p>\n\u003cp>\u003cb>Le Doulos\u003c/b> is a minor work compared to the best of Melville, but it is still impeccably crafted, utterly mesmerizing from the first shot to the last and shockingly, effectively violent (even after 45 subsequent years of movie-makers refining — and wallowing in — the depiction of murder and mayhem). Melville’s use of black-and-white is consistently exquisite, with every single frame a lustrous, suitable-for-framing, silver nitrate composition. There’s a wonderful lengthy interrogation/negotiation scene between Belmondo and some detectives down at the station that Melville shoots in a single uninterrupted take; he seems to be looking back to \u003cb>The Big Sleep\u003c/b> and ahead to \u003cb>Goodfellas\u003c/b>, but he doesn’t call attention to himself.\u003c/p>\n\u003cp>As fabulous as the cinematography is, the soundtrack is equally outstanding — and perhaps more important to the film’s impact. There’s precious little of the witty, empty banter favored by Scorsese and Tarantino’s wise guys; Maurice and Silien talk only when they have a purpose, namely when they’re running a scam on somebody. The judicious, occasionally minimalist use of both dialogue and music serves a crucial function; When a gun goes off, it blows a hole in the theater.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The cognoscenti and pop-culture mavens will lap up the Melvilleisms that dot the picture — Silien drives a big-finned American car (an homage to Belmondo’s ride in \u003cb>Breathless\u003c/b>, perhaps); the ticket slid into the band when Silien checks his chapeau at a club is #13 — but this is serious adult entertainment. Every shooting raises the stakes, and the criminals do not reserve their ruthless brutality only for men. It might seem odd to release \u003cb>Le Doulos \u003c/b> during the dog days of summer, but in fact the timing is perfect. With one sharp stroke, Melville erases the manic insipidness of a summer’s worth of Hollywood blockbusters from our dense craniums.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb> Le Doulos\u003c/b> plays August 17-23, 2007 at the Castro Theatre, Castro at Market, San Francisco.\u003c/p>\n\n",
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"content": "\u003cp>When Pascal Arnold and Jean-Marc Barr’s \u003cem>One to Another\u003c/em> was over, I couldn’t help but think, “Sheesh, could this film be any more FRENCH?” It’s filled with the kind of casual nudity and offhand sexuality that has been associated with French film since the glory days of Brigitte Bardot, when they were called “Art Films” in the U.S. and considered just a cut above porn. The gorgeous teens at the film’s center dance, have sex and experience existential malaise, Gitanes hanging from their pouty lips. Lizzie Brocheré, the female lead trains her huge eyes on the camera, projecting that distinctive mania and unpredictability often associated with the wild French ingénue.\u003c/p>\n\u003cp>In \u003cem>One to Another\u003c/em> sexuality comes in many forms and the characters are found in various combinations throughout. Brother and sister, Pierre (Arthur Dupont) and Lucie (Lizzie Brochere) are as close as two siblings can get. Lucie is a year older than Pierre and, like everyone who comes into contact with him, is enamored with her younger brother, who is a bit of a narcissist. Based on a true story, the film is narrated by Lucie from a mental hospital, where she ends up some time after her brother Pierre first disappears and then is found murdered. Her wild eyes convey the borderline state she is in, somewhere between complete collapse and manic desperation. She is first driven to find Pierre and then to uncover who has killed him.\u003c/p>\n\u003cp>The film effectively uses flashbacks to convey how haunted Lucie has become by her memories of Pierre, and how her mind keeps rummaging through their shared history searching for clues to what happened to her brother. Somewhere in the middle of the film we discover Pierre’s secret sexual history — he is not only the bi-sexual center of his and Lucie’s tight-knit group of friends, but he has also become a hustler. To feel alive, Pierre must engage his body sexually. He says that “some engage their bodies politically by blowing themselves up. Their bodies are their sole power. No more ideas and words.”\u003c/p>\n\u003cp>\u003cem>One to Another\u003c/em> reminded me a little of J.G. Ballard’s novel, \u003cem>Running Wild\u003c/em>, a detective story that unfolds when the adults in a gated community are found murdered, their teenage children disappeared. It soon becomes obvious that the missing children are their parents’ murderers gone underground, leaving the book’s narrator, a stuffy British police psychiatrist to circle the question of why these pampered children have become feral.\u003c/p>\n\u003cp>Certainly the kids in \u003cem>One to Another\u003c/em> are left to their own devices, their parents just stunned onlookers unable or unwilling to bring them under control. More likely the adults are vicariously enjoying the wildness of youth through their children. And the youths are wild. The casual way they treat their bodies, tearing off their clothes at the drop of a belt and diving naked into life, reminded me how uptight America and American film still are about sex and sexuality. \u003cem>One to Another\u003c/em> felt distinctively French, maybe even titillatingly, shockingly so, but perhaps that was just the callousness of youth. Young bodies in motion, casually unclothed, they turn themselves into weapons against the world and against each other.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>One to Another\u003c/em> opens Friday, August 3, 2007.\u003c/p>\n\n",
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"content": "\u003cp>On November 2, 2004, Dutch filmmaker \u003ca href=\"http://en.wikipedia.org/wiki/Theo_van_Gogh_(film_director)\" target=\"offsite\" rel=\"noopener\">Theo van Gogh\u003c/a> (the grand-nephew of Vincent, the famous painter) was murdered by a religious extremist on a street in Amsterdam. The murderer shot van Gogh several times, slit his throat and then attached a five page note to the filmmaker’s chest with a knife. The grisly murder set off a series of attacks and counter-attacks between Christians and Muslims and rocked the foundations of Dutch society, which is famous for its unusual tolerance.\u003c/p>\n\u003cp>Van Gogh was a provocative writer, a newspaper columnist, a television personality and a film director, who made thirteen features. Before his death, van Gogh had decided to remake three of his films in English; \u003cb>Interview\u003c/b> is the first in the \u003cb>Triple Theo\u003c/b> series. (The others are \u003cb>Blind Date\u003c/b> directed by Stanly Tucci, starring Tucci and Patricia Clarkson and \u003cb>06\u003c/b>, which will be directed by John Turturro.)\u003c/p>\n\u003cp>\u003cb>Interview\u003c/b> seems more like an adaptation of a stage play than of another movie. It is a two-character drama, which takes place mostly in a New York loft apartment. Sienna Miller plays Katya, a tabloid starlet doing a round of interviews to publicize her latest exploitation flick. Everyone, it seems, just loves Katya. She’s the current “It” girl, on the cover of every magazine and interviewed so often she can answer the usual mundane questions in her sleep.\u003c/p>\n\u003cp>Steve Buscemi, who also directs, plays Pierre Peders, a world-weary, veteran news reporter who has been assigned to interview the starlet, a task he believes — and takes no pains to hide — is monumentally beneath him. Peders is obviously washed up. At the start of the film, he is angling with his editor to get reassigned to a big, breaking political news story unfolding in Washington, D.C., but is rebuffed. Naturally Katya is late for the interview and Peders is well into his cups by the time she arrives.\u003c/p>\n\u003cp>As the film progresses, the interview becomes increasingly adversarial, peppered with emotional revelations and quiet retreats. Sometimes the character tropes work, sometimes they don’t. The characters are both tired of the claustrophobic roles they have constructed for themselves and of the ones they are expected to play, but they just plod on anyway. It’s a little suffocating.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I guess I don’t really GET Sienna Miller. I thought she was terrible as Edie Sedgewick in \u003cb>Factory Girl\u003c/b>, but that film was so poorly conceived and directed that one could hardly blame her for the lack. However, in \u003cb>Interview\u003c/b> she plays essentially the same character, a very bright, but frivolous manipulator — an up and coming starlet (which isn’t that much of a stretch) — and still I don’t buy it. Here there is a double whammy, she is an actress ACTING a half-hearted seduction, so it should feel a little forced, a little disingenuous — and it does. Pierre is supposed to look like a fool when he falls for the half-hearted come on. But COME ON! Perhaps the problem with that scenario is that it is just — soooo — YAWN!\u003c/p>\n\u003cp>I wish I had seen the original \u003cb>Interview\u003c/b>. Buscemi describes Theo van Gogh as a “bit of a surrealist.” He says, “His \u003cb>Interview\u003c/b> reminded me a little of a Buñuel film where opposing characters are trapped in a room with each other and mysteriously unable to separate.” Buscemi’s version has that feeling of being trapped, but the characters are only a little vicious and the stakes aren’t really all that high. They aren’t hard enough, aren’t damaging enough to make the experience really worthwhile. Just as Katya pretends to be one character type after another, \u003cb>Interview\u003c/b> hits each well-worn note with the same amount of professional artifice to keep us interested, but there’s nothing much left when the struggle stops and the argument fades away.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Interview\u003c/b> now playing.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On November 2, 2004, Dutch filmmaker \u003ca href=\"http://en.wikipedia.org/wiki/Theo_van_Gogh_(film_director)\" target=\"offsite\" rel=\"noopener\">Theo van Gogh\u003c/a> (the grand-nephew of Vincent, the famous painter) was murdered by a religious extremist on a street in Amsterdam. The murderer shot van Gogh several times, slit his throat and then attached a five page note to the filmmaker’s chest with a knife. The grisly murder set off a series of attacks and counter-attacks between Christians and Muslims and rocked the foundations of Dutch society, which is famous for its unusual tolerance.\u003c/p>\n\u003cp>Van Gogh was a provocative writer, a newspaper columnist, a television personality and a film director, who made thirteen features. Before his death, van Gogh had decided to remake three of his films in English; \u003cb>Interview\u003c/b> is the first in the \u003cb>Triple Theo\u003c/b> series. (The others are \u003cb>Blind Date\u003c/b> directed by Stanly Tucci, starring Tucci and Patricia Clarkson and \u003cb>06\u003c/b>, which will be directed by John Turturro.)\u003c/p>\n\u003cp>\u003cb>Interview\u003c/b> seems more like an adaptation of a stage play than of another movie. It is a two-character drama, which takes place mostly in a New York loft apartment. Sienna Miller plays Katya, a tabloid starlet doing a round of interviews to publicize her latest exploitation flick. Everyone, it seems, just loves Katya. She’s the current “It” girl, on the cover of every magazine and interviewed so often she can answer the usual mundane questions in her sleep.\u003c/p>\n\u003cp>Steve Buscemi, who also directs, plays Pierre Peders, a world-weary, veteran news reporter who has been assigned to interview the starlet, a task he believes — and takes no pains to hide — is monumentally beneath him. Peders is obviously washed up. At the start of the film, he is angling with his editor to get reassigned to a big, breaking political news story unfolding in Washington, D.C., but is rebuffed. Naturally Katya is late for the interview and Peders is well into his cups by the time she arrives.\u003c/p>\n\u003cp>As the film progresses, the interview becomes increasingly adversarial, peppered with emotional revelations and quiet retreats. Sometimes the character tropes work, sometimes they don’t. The characters are both tired of the claustrophobic roles they have constructed for themselves and of the ones they are expected to play, but they just plod on anyway. It’s a little suffocating.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I guess I don’t really GET Sienna Miller. I thought she was terrible as Edie Sedgewick in \u003cb>Factory Girl\u003c/b>, but that film was so poorly conceived and directed that one could hardly blame her for the lack. However, in \u003cb>Interview\u003c/b> she plays essentially the same character, a very bright, but frivolous manipulator — an up and coming starlet (which isn’t that much of a stretch) — and still I don’t buy it. Here there is a double whammy, she is an actress ACTING a half-hearted seduction, so it should feel a little forced, a little disingenuous — and it does. Pierre is supposed to look like a fool when he falls for the half-hearted come on. But COME ON! Perhaps the problem with that scenario is that it is just — soooo — YAWN!\u003c/p>\n\u003cp>I wish I had seen the original \u003cb>Interview\u003c/b>. Buscemi describes Theo van Gogh as a “bit of a surrealist.” He says, “His \u003cb>Interview\u003c/b> reminded me a little of a Buñuel film where opposing characters are trapped in a room with each other and mysteriously unable to separate.” Buscemi’s version has that feeling of being trapped, but the characters are only a little vicious and the stakes aren’t really all that high. They aren’t hard enough, aren’t damaging enough to make the experience really worthwhile. Just as Katya pretends to be one character type after another, \u003cb>Interview\u003c/b> hits each well-worn note with the same amount of professional artifice to keep us interested, but there’s nothing much left when the struggle stops and the argument fades away.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Interview\u003c/b> now playing.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The first Edward Burtynsky photograph I ever saw took my breath away — twice. It was a very large format color print of rust colored scratches across a white marbled surface, the scratches (or were they gashes?) criss-crossed one another, intersecting to create rough, square shapes. The horizontal lines seemed to bleed or melt vertically, like they had been scrubbed roughly with something hard, something metal. A pool of bright green liquid glowed at the bottom of the frame — or at least this is how I remember it — an amazingly lovely color, not found in nature. It was the grace of the composition that took my breath away, at least at first. I was overwhelmed by the art of the image, by its aesthetic appeal and then I realized what I was actually looking at, something very large and very real. And it was that realization that took my breath the second time. This beautiful thing was actually something quite ugly. It was an image of an old quarry, all of that beauty just toxic remains.\u003c/p>\n\u003cp>Filmmaker Jennifer Baichwal is wise to use similar techniques in \u003cb>Manufactured Landscapes\u003c/b>, her documentary about Canadian photographer Edward Burtynsky. It’s necessarily a slow moving film, with the camera fixating on an “abstract” image and waiting for the viewer’s mind to catch up. You are not staring at a gorgeous painting of tiny circles and squares, but at a mountain of computer parts taller than a man. I would normally say this is a documentary about Burtynsky’s “work,” but it somehow seems more than that, more like a mission or an obsession. I cannot imagine anyone dragging himself, as Burtynsky does, across the scarred face of the planet to capture ever larger examples of the consequences of man’s industry — or is it hubris?\u003c/p>\n\u003cp>Most of the film takes place in China, where the people’s revolution has turned its citizens into tiny colorful cogs in the wheels of capitalism. There they are a disciplined part of a very oily machine that leaks toxins, but also seems to gather and reuse the whole world’s refuse. \u003cb>Manufactured Landscapes\u003c/b> takes us from what must be the world’s largest factory ever — it seems like the first ten minutes of the film are just one tracking shot along that factory’s floor — to the Three Gorges Dam, the world’s largest and, like the Great Wall, seen from space. (Filling it caused a measurable wobble in the Earth’s rotation!) Then it’s off again with Burtynsky to photograph a (literal) mountain of coal and so on and so on. \u003c/p>\n\u003cp>I wish that \u003cb>Manufactured Landscapes\u003c/b> had told me more about Burtynsky, about what makes him tick. Similar to \u003cb>Rivers and Tides\u003c/b>, the Andy Goldsworthy documentary, the film offers lots of process, capturing the photographer in action as he frames his horrific subjects, but the soundtrack is filled with very little talk, very little about the artist’s philosophy and how he copes. As an observer of the work, as someone who will only experience the images that this film and this artist bring back, you really would like to know — how to cope. \u003c/p>\n\u003cp>Ultimately, we have to admire someone like Burtynsky who can look at this kind of activity and destruction with a clear eyed gaze and see something special. It is the real artist who can turn the world’s ugliness into things of beauty, into images so lush you can’t look away, even while they communicate whole newspapers full of bad, very bad news. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Manufactured Landscapes\u003c/b> is now playing in the SF Bay Area.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first Edward Burtynsky photograph I ever saw took my breath away — twice. It was a very large format color print of rust colored scratches across a white marbled surface, the scratches (or were they gashes?) criss-crossed one another, intersecting to create rough, square shapes. The horizontal lines seemed to bleed or melt vertically, like they had been scrubbed roughly with something hard, something metal. A pool of bright green liquid glowed at the bottom of the frame — or at least this is how I remember it — an amazingly lovely color, not found in nature. It was the grace of the composition that took my breath away, at least at first. I was overwhelmed by the art of the image, by its aesthetic appeal and then I realized what I was actually looking at, something very large and very real. And it was that realization that took my breath the second time. This beautiful thing was actually something quite ugly. It was an image of an old quarry, all of that beauty just toxic remains.\u003c/p>\n\u003cp>Filmmaker Jennifer Baichwal is wise to use similar techniques in \u003cb>Manufactured Landscapes\u003c/b>, her documentary about Canadian photographer Edward Burtynsky. It’s necessarily a slow moving film, with the camera fixating on an “abstract” image and waiting for the viewer’s mind to catch up. You are not staring at a gorgeous painting of tiny circles and squares, but at a mountain of computer parts taller than a man. I would normally say this is a documentary about Burtynsky’s “work,” but it somehow seems more than that, more like a mission or an obsession. I cannot imagine anyone dragging himself, as Burtynsky does, across the scarred face of the planet to capture ever larger examples of the consequences of man’s industry — or is it hubris?\u003c/p>\n\u003cp>Most of the film takes place in China, where the people’s revolution has turned its citizens into tiny colorful cogs in the wheels of capitalism. There they are a disciplined part of a very oily machine that leaks toxins, but also seems to gather and reuse the whole world’s refuse. \u003cb>Manufactured Landscapes\u003c/b> takes us from what must be the world’s largest factory ever — it seems like the first ten minutes of the film are just one tracking shot along that factory’s floor — to the Three Gorges Dam, the world’s largest and, like the Great Wall, seen from space. (Filling it caused a measurable wobble in the Earth’s rotation!) Then it’s off again with Burtynsky to photograph a (literal) mountain of coal and so on and so on. \u003c/p>\n\u003cp>I wish that \u003cb>Manufactured Landscapes\u003c/b> had told me more about Burtynsky, about what makes him tick. Similar to \u003cb>Rivers and Tides\u003c/b>, the Andy Goldsworthy documentary, the film offers lots of process, capturing the photographer in action as he frames his horrific subjects, but the soundtrack is filled with very little talk, very little about the artist’s philosophy and how he copes. As an observer of the work, as someone who will only experience the images that this film and this artist bring back, you really would like to know — how to cope. \u003c/p>\n\u003cp>Ultimately, we have to admire someone like Burtynsky who can look at this kind of activity and destruction with a clear eyed gaze and see something special. It is the real artist who can turn the world’s ugliness into things of beauty, into images so lush you can’t look away, even while they communicate whole newspapers full of bad, very bad news. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Colma: The Musical",
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"content": "\u003cp>Checking out the most recent indie film or a new play can be an uncomfortable experience, a little bit like watching a high-wire act at the circus. Will the rope-walker make it across? Will s/he stumble? Will we laugh or shrink in our seats when s/he hits the ground with an ugly thud?\u003c/p>\n\u003cp>Before I set foot into Opera Plaza’s theaters, I’d heard that \u003cb>Colma: The Musical\u003c/b> had been made on less than a shoestring budget, with the filmmaker paying for much of it himself. I’d been told it was made by college buddies. And I knew its storyline centered on the trials and tribulations of a gaggle of adolescents waxing philosophical in suburbia. This was a musical, mind you. I entered the theater cringing but curious, prepared for a cinematic belly-flop.\u003c/p>\n\u003cp>The story is set in Colma, CA, where heavy fog and one of the nation’s largest collection of cemeteries add a touch of morbid charm to the standard suburban landscape. This town of squat, pastel-colored houses, headstones, stretches of big box stores and car dealerships is the quintessential teenage wasteland. And it’s the perfect location to explore that grey space between The End of High School and the beginning of Whatever Comes Next.\u003c/p>\n\u003cp>Enter the three main characters: Billy Castillo, the mild-mannered thespian with the Kermit-the-Frog voice who’s dead-set on landing a summer job, a girlfriend, and a speaking part in the local theater; Maribel, fun-loving, chic-ly attired partygirl, looking for a lighthearted summer or at least a good lay; and Rodel, the dark, romantic hero, seeking a way out of Colma, and struggling with his identity as a gay Filipino man, with a sense of flair and an acerbic wit that unnerves everyone around him.\u003c/p>\n\u003cp>Much of the film’s action is driven by Rodel’s fall-out with his conservative father, who discovers his son is gay from an ex-boyfriend, and Billy’s relationship hang-ups: he’s stuck between his ex-girlfriend and the possibility of a new relationship.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The film is grainy. At points the frame wobbles. Some of the dialog is a little wooden and the break-out musical numbers are accompanied by a chintzy-sounding electric keyboard. At its opening, the film seems as unstable and awkward as its main characters. Only the sweeping, fog-strewn shots of Colma and the soundtrack — which is amazing throughout — hold it together, allowing the plot to meander along with its wayward cast. To be sure, there are some incredibly inventive scenes early on: An a cappella duet with car alarm; a full-bar, first beer sing-along led by a Hulk Hogan look-a-like; and plenty of wicked one-liners and inside jokes that just barely stumble clear of corny. But it’s not until the film’s end that the musical numbers begin to land like punches, enhancing the storyline and evoking the adolescent angst and wonder of that desolate space after high school.\u003c/p>\n\u003cp>Though it falters here and there, \u003cb>Colma: The Musical\u003c/b> comes through in the end. Part of me wonders whether the stumbling served to heighten the dramatic tension. By the last scenes, you find yourself cheering for the film as much as for its characters, who somehow stumble over the abyss and safely reach the other side. Colma successfully does what any good independent should, taking huge risks on a tight budget and, despite the odds, playfully carrying it all off with an almost artless sense of ease.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More at \u003ca href=\"http://colmafilm.com/\" target=\"offsite\" rel=\"noopener\">colmafilm.com\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Checking out the most recent indie film or a new play can be an uncomfortable experience, a little bit like watching a high-wire act at the circus. Will the rope-walker make it across? Will s/he stumble? Will we laugh or shrink in our seats when s/he hits the ground with an ugly thud?\u003c/p>\n\u003cp>Before I set foot into Opera Plaza’s theaters, I’d heard that \u003cb>Colma: The Musical\u003c/b> had been made on less than a shoestring budget, with the filmmaker paying for much of it himself. I’d been told it was made by college buddies. And I knew its storyline centered on the trials and tribulations of a gaggle of adolescents waxing philosophical in suburbia. This was a musical, mind you. I entered the theater cringing but curious, prepared for a cinematic belly-flop.\u003c/p>\n\u003cp>The story is set in Colma, CA, where heavy fog and one of the nation’s largest collection of cemeteries add a touch of morbid charm to the standard suburban landscape. This town of squat, pastel-colored houses, headstones, stretches of big box stores and car dealerships is the quintessential teenage wasteland. And it’s the perfect location to explore that grey space between The End of High School and the beginning of Whatever Comes Next.\u003c/p>\n\u003cp>Enter the three main characters: Billy Castillo, the mild-mannered thespian with the Kermit-the-Frog voice who’s dead-set on landing a summer job, a girlfriend, and a speaking part in the local theater; Maribel, fun-loving, chic-ly attired partygirl, looking for a lighthearted summer or at least a good lay; and Rodel, the dark, romantic hero, seeking a way out of Colma, and struggling with his identity as a gay Filipino man, with a sense of flair and an acerbic wit that unnerves everyone around him.\u003c/p>\n\u003cp>Much of the film’s action is driven by Rodel’s fall-out with his conservative father, who discovers his son is gay from an ex-boyfriend, and Billy’s relationship hang-ups: he’s stuck between his ex-girlfriend and the possibility of a new relationship.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The film is grainy. At points the frame wobbles. Some of the dialog is a little wooden and the break-out musical numbers are accompanied by a chintzy-sounding electric keyboard. At its opening, the film seems as unstable and awkward as its main characters. Only the sweeping, fog-strewn shots of Colma and the soundtrack — which is amazing throughout — hold it together, allowing the plot to meander along with its wayward cast. To be sure, there are some incredibly inventive scenes early on: An a cappella duet with car alarm; a full-bar, first beer sing-along led by a Hulk Hogan look-a-like; and plenty of wicked one-liners and inside jokes that just barely stumble clear of corny. But it’s not until the film’s end that the musical numbers begin to land like punches, enhancing the storyline and evoking the adolescent angst and wonder of that desolate space after high school.\u003c/p>\n\u003cp>Though it falters here and there, \u003cb>Colma: The Musical\u003c/b> comes through in the end. Part of me wonders whether the stumbling served to heighten the dramatic tension. By the last scenes, you find yourself cheering for the film as much as for its characters, who somehow stumble over the abyss and safely reach the other side. Colma successfully does what any good independent should, taking huge risks on a tight budget and, despite the odds, playfully carrying it all off with an almost artless sense of ease.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More at \u003ca href=\"http://colmafilm.com/\" target=\"offsite\" rel=\"noopener\">colmafilm.com\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Immigration, assimilation, food, the Holocaust, identity, music, Israel and the Palestinians, secularism vs. ultra-religiosity, comedy, social justice, intermarriage and unfettered, full-throated kvetching — that’s the Jewish experience in the 20th Century in a nutshell. Seven years into the new century, I don’t sense any dramatic changes in the recipe. Nor does the San Francisco Jewish Film Festival, which has assembled a hefty, broad and far-reaching program that embraces all the above themes, along with a heaping helping of sex.\u003c/p>\n\u003cp>As in past years, the lineup of Israeli documentaries is extensive, satisfying the sizable number of Bay Area residents attuned to the ongoing conflict. The narrative films, from France, Mexico, Israel, Germany and the U.S., without exception explore what it means to be a Jew in an era of malleable borders, easy portability, chronic disposability and instant communication. This year’s wild card is a sidebar of boxing films, but resist the temptation to crack jokes about Jews turning the other cheek. It’s a New Testament reference.\u003c/p>\n\u003cp>As has become the accepted (by whom, you may rightly ask) custom at this blog, I’ll avoid the hard work of grouping the films through some clever, well-articulated process and simply list a whole bunch of highlights.\u003c/p>\n\u003cp>\u003cb>Political Junkies:\u003c/b>\u003cbr>\n\u003cb>Hot House\u003c/b> interviews a range of Palestinians in Israeli prisons in a low-key style that chips away at our preconceptions, humanizes its subjects (though not the female suicide bomber) and somehow leaves us both more hopeful and more pessimistic than we were when we walked in. Seeing it at the Castro (or at any of the other three venues) promises to be a quintessential Bay Area movie experience. I haven’t seen \u003cb>9 Star Hotel\u003c/b>, another Israeli doc which examines the plight of a band of Palestinian construction workers in Israel, but it comes highly recommended.\u003c/p>\n\u003cp>\u003cb>Chick Flick:\u003c/b>\u003cbr>\n\u003cb>Gorgeous!\u003c/b> is a frothy, frenetic Parisian farce with a serious case of sex on the brain. The action (pun intended) revolves around a beauty shop, its divorced owner and her Sephardic Jewish cousins and friends. Moviegoers seeking a bit more substance and even more drama are directed to \u003cb>Three Mothers\u003c/b>, an Israeli saga of Egyptian-born sisters that spans five decades and two countries with style, songs and tears to spare.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Dude Flick:\u003c/b>\u003cbr>\nDmitriy Salita is a Russian-born, Brooklyn-based welterweight at the dawn of his pro career whose defining characteristic — in the context of a boxing doc — is that he’s a deeply observant Jew. In \u003cb>Orthodox Stance\u003c/b>, filmmaker Jason Hutt carefully straddles the line between accessible sports movie and unusual character study. For my money he opts for the former a bit too much, but he knows (like Muhammud Ali) that it never hurts to give the people what they want.\u003c/p>\n\u003cp>\u003cb>History Buffs:\u003c/b>\u003cbr>\nLocal filmmaker Judith Schaefer’s \u003cb>So Long Are You Young\u003c/b> premiered at the Mill Valley Film Festival last October, and is entirely deserving of the additional SFJFF screenings. Samuel Ullman was a Jewish Civil War vet and businessman who played a major role in pushing through the first public all-black high school in Birmingham, Alabama, in 1900. Strangely enough, a poem he wrote in his 70s was somehow embraced by the Japanese after World War II as a symbol of hope. Once the doc kicks into gear after the first couple of minutes, it’s a fascinating and moving portrait of an important though largely forgotten life.\u003c/p>\n\u003cp>\u003cb>Hollywood Fans:\u003c/b>\u003cbr>\nThe French trifle \u003cb>Bad Faith\u003c/b> is the closest thing in the festival to the well-meaning, empty-headed fables starring beautiful people that have long been a staple of American movies. Cécile de France plays a Jewish physical therapist and director and co-writer Roschdy Zem portrays a Muslim musician and piano teacher; their lovely four-year romance turns to jelly when she gets pregnant and they have to break the secret — of their relationship, not the impending baby — to their parents.\u003c/p>\n\u003cp>\u003cb>Date Movie:\u003c/b>\u003cbr>\n\u003cb>Bad Faith\u003c/b> fits snugly in this category, too, but let’s tout the Israeli feature \u003cb>The Bubble\u003c/b> (which I also singled out when it played the Frameline fest in June.) It’s got gay sex, straight sex and a solid political backbone– all the ingredients demanded by the evolved, enlightened Bay Area moviegoer. (The film opens theatrically in September, in case the lone fest screening in Berkeley is too much of a shlep.)\u003c/p>\n\u003cp>\u003cb>Dance Number:\u003c/b>\u003cbr>\n\u003cb>Between Two Notes\u003c/b> is a fine title for this mesmerizing travelogue through the Middle East on the trail of great Arabic musicians. \u003cb>Blues For Allah\u003c/b> would have been an even better name, if the Grateful Dead hadn’t gotten there first.\u003c/p>\n\u003cp>\u003cb>Feel-Good Flick:\u003c/b>\u003cbr>\nAnother music doc, \u003cb>Knowledge is the Beginning: Daniel Barenboim and the West-Eastern Divan Orchestra\u003c/b>, follows the development of the young people’s symphony founded by the brilliant Jewish pianist and conductor Barenboim and the late Palestinian intellectual Edward Said. The musicians, drawn from the Arab world and Israel, are a bunch of self-centered prima donnas without a lot of socio-political awareness — they’re typical teenagers, in other words — but the real appeal isn’t their comments, but Barenboim’s.\u003c/p>\n\u003cp>\u003cb>Poetry in Motion:\u003c/b>\u003cbr>\nAlthough he had a wife and a baby, Shlomo Shir’s illness was a solitary, surreal experience. So he kept the camcorder running through his lengthy and excruciating cancer treatment, partly to keep his head together and partly to have some control over what was going on. Given the circumstances, the lack of self-indulgence in \u003cb>Mr. Cortisone, Happy Days\u003c/b> is nothing short of amazing. Instead, there’s a great deal of dry humor, a good deal of love and a few profound, fleeting sequences that convey how great it is to be alive.\u003c/p>\n\u003cp>\u003cb>Adventures in Satire:\u003c/b>\u003cbr>\nSwiss-born, German-based director Dani Levy scored a hit at home with his previous comedy about German Jews, \u003cb>Go For Zucker!\u003c/b> He ups the ante with \u003cb>My Fuehrer: The Truly Truest Truth About Adolf Hitler\u003c/b>, which imagines the evil dictator at such a low point in 1944 that he must summon his one-time acting teacher, a Jew, from a concentration camp. Levy is this year’s recipient of the festival’s Freedom of Expression Award, and he’s an offbeat but completely deserving choice. In the coming years, he’ll be one of the filmmakers who will help us understand the evolving nature of the Jewish experience.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The 2007 San Francisco Jewish Film Festival runs July 19-26 at the Castro Theater, July 28-August 4 at the Roda Theater in Berkeley, July 28-August 2 at the Aquarius in Palo Alto and August 4-6 at the Smith Rafael Film Center in San Rafael. For program and ticket information, visit \u003ca href=\"http://www.sfjff.org\" target=\"offsite\" rel=\"noopener\">www.sfjff.org\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Dude Flick:\u003c/b>\u003cbr>\nDmitriy Salita is a Russian-born, Brooklyn-based welterweight at the dawn of his pro career whose defining characteristic — in the context of a boxing doc — is that he’s a deeply observant Jew. In \u003cb>Orthodox Stance\u003c/b>, filmmaker Jason Hutt carefully straddles the line between accessible sports movie and unusual character study. For my money he opts for the former a bit too much, but he knows (like Muhammud Ali) that it never hurts to give the people what they want.\u003c/p>\n\u003cp>\u003cb>History Buffs:\u003c/b>\u003cbr>\nLocal filmmaker Judith Schaefer’s \u003cb>So Long Are You Young\u003c/b> premiered at the Mill Valley Film Festival last October, and is entirely deserving of the additional SFJFF screenings. Samuel Ullman was a Jewish Civil War vet and businessman who played a major role in pushing through the first public all-black high school in Birmingham, Alabama, in 1900. Strangely enough, a poem he wrote in his 70s was somehow embraced by the Japanese after World War II as a symbol of hope. Once the doc kicks into gear after the first couple of minutes, it’s a fascinating and moving portrait of an important though largely forgotten life.\u003c/p>\n\u003cp>\u003cb>Hollywood Fans:\u003c/b>\u003cbr>\nThe French trifle \u003cb>Bad Faith\u003c/b> is the closest thing in the festival to the well-meaning, empty-headed fables starring beautiful people that have long been a staple of American movies. Cécile de France plays a Jewish physical therapist and director and co-writer Roschdy Zem portrays a Muslim musician and piano teacher; their lovely four-year romance turns to jelly when she gets pregnant and they have to break the secret — of their relationship, not the impending baby — to their parents.\u003c/p>\n\u003cp>\u003cb>Date Movie:\u003c/b>\u003cbr>\n\u003cb>Bad Faith\u003c/b> fits snugly in this category, too, but let’s tout the Israeli feature \u003cb>The Bubble\u003c/b> (which I also singled out when it played the Frameline fest in June.) It’s got gay sex, straight sex and a solid political backbone– all the ingredients demanded by the evolved, enlightened Bay Area moviegoer. (The film opens theatrically in September, in case the lone fest screening in Berkeley is too much of a shlep.)\u003c/p>\n\u003cp>\u003cb>Dance Number:\u003c/b>\u003cbr>\n\u003cb>Between Two Notes\u003c/b> is a fine title for this mesmerizing travelogue through the Middle East on the trail of great Arabic musicians. \u003cb>Blues For Allah\u003c/b> would have been an even better name, if the Grateful Dead hadn’t gotten there first.\u003c/p>\n\u003cp>\u003cb>Feel-Good Flick:\u003c/b>\u003cbr>\nAnother music doc, \u003cb>Knowledge is the Beginning: Daniel Barenboim and the West-Eastern Divan Orchestra\u003c/b>, follows the development of the young people’s symphony founded by the brilliant Jewish pianist and conductor Barenboim and the late Palestinian intellectual Edward Said. The musicians, drawn from the Arab world and Israel, are a bunch of self-centered prima donnas without a lot of socio-political awareness — they’re typical teenagers, in other words — but the real appeal isn’t their comments, but Barenboim’s.\u003c/p>\n\u003cp>\u003cb>Poetry in Motion:\u003c/b>\u003cbr>\nAlthough he had a wife and a baby, Shlomo Shir’s illness was a solitary, surreal experience. So he kept the camcorder running through his lengthy and excruciating cancer treatment, partly to keep his head together and partly to have some control over what was going on. Given the circumstances, the lack of self-indulgence in \u003cb>Mr. Cortisone, Happy Days\u003c/b> is nothing short of amazing. Instead, there’s a great deal of dry humor, a good deal of love and a few profound, fleeting sequences that convey how great it is to be alive.\u003c/p>\n\u003cp>\u003cb>Adventures in Satire:\u003c/b>\u003cbr>\nSwiss-born, German-based director Dani Levy scored a hit at home with his previous comedy about German Jews, \u003cb>Go For Zucker!\u003c/b> He ups the ante with \u003cb>My Fuehrer: The Truly Truest Truth About Adolf Hitler\u003c/b>, which imagines the evil dictator at such a low point in 1944 that he must summon his one-time acting teacher, a Jew, from a concentration camp. Levy is this year’s recipient of the festival’s Freedom of Expression Award, and he’s an offbeat but completely deserving choice. In the coming years, he’ll be one of the filmmakers who will help us understand the evolving nature of the Jewish experience.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>This is a baseball team where you can say it’s three strikes and you’re in.\u003c/p>\n\u003cp>The San Quentin Prison baseball team is the subject of a documentary short called \u003cb>No Angels In the Outfield\u003c/b>. Directed and produced by longtime journalist and filmmaker Larry Warner, the film goes inside the walls of the maximum security prison to show the team, called the Giants, playing ball. \u003c/p>\n\u003cp>Baseball becomes an instrument of rehabilitation through the guidance of Chaplain Earl Smith. It is the rules, discipline, and the nuances of averages within baseball that may help these inmates upon their release back into society.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "Ten Canoes and Rescue Dawn: Offbeat Anti-War Films",
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"content": "\u003cp>In the atypical war movies \u003cb>Ten Canoes\u003c/b> and \u003cb>Rescue Dawn\u003c/b>, nature is ever-present as witness, as accessory, as enemy. The ostensibly primitive people in \u003cb>Ten Canoes\u003c/b>, a marvelous Aboriginal fable directed by Rolf de Heer and set a millennium ago, connect their existence and their spirituality to the land. The hero of Werner Herzog’s gripping P.O.W. escape movie \u003cb>Rescue Dawn\u003c/b>, set 40 years ago in southeast Asia, finds it a tougher challenge surviving the jungle than surmounting his captors.\u003c/p>\n\u003cp>As I watched both films, I couldn’t get Terence Malick’s vision of man’s impact on the environment out of my head. That surprised me, frankly, for I’m not a fan of his World War II flick, \u003cb>The Thin Red Line\u003c/b>, or his John Smith-Pocahontas epic, \u003cb>The New World\u003c/b>. Malick gives us a lot of shots of flora and fauna in those movies, not as eye candy but to show us what will soon become “collateral damage” in the battle for democracy or the march of progress. Nature is not a remote concept in those films but a vital life force, with full and equal claim to the planet.\u003c/p>\n\u003cp>In \u003cb>Ten Canoes\u003c/b>, nature functions as balance itself. The film casts itself as a story within a story within a story, gently pulling us back through time to a world without machines. An elder of the tribe, aware that a young buck covets one of his wives, relates a long cautionary tale about the adverse effects of jealousy on a previous Aborigine. That otherwise fine fellow mistakenly blamed a mysterious stranger for his wife’s disappearance; he then committed an unprovoked and unnecessary act of violence that, in accordance with the laws of society, boomeranged on him.\u003c/p>\n\u003cp>One could read \u003cb>Ten Canoes\u003c/b> as a metaphor for George W. Bush’s rash invasion of Iraq, and the pointless loss of life it precipitated. But the film is so steeped in Aboriginal culture, so authentic to its place and its period, that I don’t think that’s what the filmmakers intended. Its lessons are universal, and are intended for anyone who would let ego, self-righteousness and anger coalesce into violence. If that’s not you, \u003cb>Ten Canoes\u003c/b> is still well worth seeing for its gracefulness, patience and enveloping cinematography of swamps and grasslands.\u003c/p>\n\u003cp>Werner Herzog has never been a political filmmaker; he favors the dreams and will of the individual over the compromise and consensus of institutions and groups. That’s a problem with \u003cb>Rescue Dawn\u003c/b>, which is otherwise of a piece with his enormous oeuvre. Based on actual events, the film recounts the nightmare adventure of Dieter Dengler, a German-born, American-trained Navy pilot who was shot down on his very first mission — the secret bombing of Laos. (Herzog originally told the story in the 1997 documentary, \u003cb>Little Dieter Needs to Fly\u003c/b>.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dengler (Christian Bale) is captured and tortured, then thrown in a rudimentary outdoor prison with a handful of other American and Vietnamese prisoners. (They are played by, among others, the reliably deranged Jeremy Davies and Steve Zahn.) Dengler is the only one obsessed with escaping, and at the end of the movie he is apparently the only one who survives. Once free in the uncaring and unending jungle, Dengler is hopelessly out of place and overmatched, and yet somehow he perseveres.\u003c/p>\n\u003cp>Herzog clearly admires Dengler, and aims to impress us with the man’s extraordinary determination and good humor. But the director never addresses the broader context — Dengler was participating in a covert, illegal mission — nor does he acknowledge the climate in which \u003cb>Rescue Dawn\u003c/b> now opens, namely the ongoing occupation of Iraq.\u003c/p>\n\u003cp>\u003cb>Rescue Dawn\u003c/b> ends with a big ‘ol soppy reunion on the deck of Dengler’s ship, capped by a smiling freeze-frame that would have been considered over-the-top in a ’60s John Wayne picture. It’s a jarring, jingoistic finale that left a bad taste in my mouth. Is Herzog that oblivious? Or does the contrarian in him refuse to make an unambiguous anti-war picture at the precise moment we expect one? Or is it simple tunnel vision, whereby he invites us to celebrate one man’s determination, express our support for the brave, order-following soldiers and pay no mind to the presidents and the advisors and the generals who treat them as pawns?\u003c/p>\n\u003cp>Or perhaps, in this one respect, the unsentimental Herzog is mimicking nature. Nature doesn’t care about presidents and generals, global strategies and political contexts. As Jefferson Airplane sang on one of the lesser-known cuts on \u003cb>Volunteers\u003c/b>, “Say it plainly/The human name/Doesn’t mean shit to a tree.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Ten Canoes\u003c/b> and \u003cb>Rescue Dawn\u003c/b> open Friday, July 13, 2007.\u003c/p>\n\n",
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"order": 9
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"id": "fresh-air",
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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. ",
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"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. ",
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"order": 18
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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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",
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"source": "American Public Media"
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"masters-of-scale": {
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"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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"rss": "https://rss.art19.com/masters-of-scale"
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},
"mindshift": {
"id": "mindshift",
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"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>",
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"meta": {
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"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.",
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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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"order": 11
},
"link": "/podcasts/onourwatch",
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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",
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},
"link": "/radio/program/on-the-media",
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"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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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"
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},
"perspectives": {
"id": "perspectives",
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"order": 14
},
"link": "/perspectives",
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"planet-money": {
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"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",
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},
"link": "/radio/program/planet-money",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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"rss": "https://feeds.npr.org/510289/podcast.xml"
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
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