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"content": "\u003cp>As much as theaters are humming right now, with \u003ca href=\"https://www.kqed.org/arts/13968348/wicked-defies-gravity-if-not-time\">\u003cem>Wicked\u003c/em>\u003c/a> and \u003cem>Moana 2\u003c/em> bringing moviegoers by the droves, it’s been a fairly bruising movie year.\u003c/p>\n\u003cp>In between the blockbusters, though, the challenge of not just capturing the attention of audiences but of simply getting to the screen feels more perilous than ever. The year was marked by filmmakers who wagered everything from a $120 million pile (Francis Ford Coppola’s \u003ca href=\"https://www.kqed.org/arts/13965555/megalopolis-francis-ford-coppola-review\">\u003cem>Megalopolis\u003c/em>\u003c/a>) to their life (the dissident Iranian filmmaker Mohammad Rasoulof’s \u003cem>The Seed of the Sacred Fig\u003c/em>).\u003c/p>\n\u003cp>[aside postid='arts_13968679']Considering the paths of the \u003cem>The Apprentice\u003c/em> (about Donald Trump’s rise in New York) or the Israeli occupation documentary \u003cem>No Other Land\u003c/em> (which still lacks a distributor), the question of what gets released was a common and chilling refrain.\u003c/p>\n\u003cp>That also made the movies that managed their way through — the ones that told urgent stories or dazzled with originality at a time of sequel stranglehold — all the more worth celebrating.\u003c/p>\n\u003cp>Here are The Associated Press’ Film Writers Jake Coyle and Lindsey Bahr’s picks for the best movies of 2024:\u003c/p>\n\u003ch2>Jake Coyle’s top movies of 2024\u003c/h2>\n\u003ch2>1. ‘\u003ca href=\"https://www.kqed.org/arts/13968437/all-we-imagine-as-light-movie-review-india-mumbai\">All We Imagine As Light\u003c/a>’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=2mgQcpmYr_A\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Was this a great year for movies? The consensus seems to be no, and that may be true. But it did produce some stone-cold masterpieces, none more so than Payal Kapadia’s sublime tale of three women in modern Mumbai. It’s a grittily real movie graced, in equally parts, by keen-eyed documentary and dreamy poetry. Beguilingly, \u003cem>All We Imagine As Light\u003c/em> grows more profound as it cleaves further from reality. In theaters.\u003c/p>\n\u003ch2>2. ‘Nickel Boys’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=-2qZ429rUZw\u003c/p>\n\u003cp>Like Kapadia, RaMell Ross started out in documentary before bringing a singular eye to narrative film. His adaptation of Colson Whitehead’s Pulitzer Prize–winning novel, about two Black teenagers at an abusive reform school in the Jim Crow South, is shot mostly from the two boys’ first-person perspective. The result is one of the most visually inventive American films of the decade and, just as certainly, one of the richest in empathy. Opens in theaters Dec. 13.\u003c/p>\n\u003ch2>3. ‘\u003ca href=\"https://www.kqed.org/arts/13967226/anora-movie-review-sean-baker-mikey-madison\">Anora\u003c/a>’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=08sR1MY2wpU\u003c/p>\n\u003cp>So many of the reasons to go to the movies — to laugh at a clattering comic set piece, to witness the breakthrough of a young performer, to be devastated by something tragic — are contained within the thrillingly kitchen-sink \u003cem>Anora\u003c/em>. It’s a concoction that only Sean Baker could conceive, let alone execute. (And, by the way, if you liked Yura Borisov’s performance alongside Mikey Madison, seek out 2021’s \u003cem>Compartment No. 6\u003c/em>.) In theaters.\u003c/p>\n\u003ch2>4. ‘\u003ca href=\"https://www.kqed.org/arts/13957217/bold-audacious-i-saw-the-tv-glow-explores-fandom-identity-and-the-way-we-remember\">I Saw the TV Glow\u003c/a>’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=kymDzCgPwj0&t=41s\u003c/p>\n\u003cp>Jane Schoenbrun’s sophomore feature — a dramatic leap forward for filmmaker and a transfixing trans parable — is a chilling 1990s coming of age in which a \u003cem>Buffy the Vampire Slayer\u003c/em>-like series called \u003cem>The Pink Opaque\u003c/em> offers a possible portal out of drab suburban life and other suffocations. It feels chillingly, beautifully ripped out of Schoenbrun’s soul — and it’s got a killer soundtrack. Streaming on Max, available for digital rental.\u003c/p>\n\u003ch2>5. ‘Green Border’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=4Q2cNooTO0w\u003c/p>\n\u003cp>The fury of Agnieszka Holland’s searing migrant drama is suitably calibrated to the crisis. Along the Poland-Belarus border, a small band of migrants from Syria and Afghanistan are sent back and forth across a wooded borderland — sometimes they’re even literally tossed — in a grim game of “not in my backyard.” It’s not an easy movie to watch, nor should it be. To keep up with the times, more uncomfortable movies like this may be needed. Streaming on Kino Film Collection, available for digital rental.\u003c/p>\n\u003ch2>6. ‘\u003ca href=\"https://www.kqed.org/arts/13956892/the-fall-guy-remake-movie-review-ryan-gosling-emily-blunt\">The Fall Guy\u003c/a>’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=j7jPnwVGdZ8&t=105s\u003c/p>\n\u003cp>We also need more big, fun movies with Ryan Gosling. David Leitch’s affectionate ode to stunt performers manages to celebrate behind-the-scenes crew members while simultaneously being completely carried by two of our most winning movie stars in Gosling and Emily Blunt. The societal value of watching Gosling cry to Taylor Swift’s “All Too Well” should not be underestimated. Streaming on Peacock, available for digital rental.\u003c/p>\n\u003ch2>7. ‘The Seed of the Sacred Fig’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=TV3Sk2zwqK4\u003c/p>\n\u003cp>The way the Iranian filmmaker Mohammad Rasoulof, who was forced into exile while editing this, condenses real-life social upheaval into a family drama makes this a uniquely disquieting film. Like Kurosawa’s \u003cem>Stray Dog\u003c/em>, Rasoulof’s movie centers around a lost handgun. The subsequent search reveals just how deeply the Iranian government’s policies have seeped into the most intimate relationships. In theaters.\u003c/p>\n\u003ch2>8. ‘Ghostlight’ and ‘\u003ca href=\"https://www.kqed.org/arts/13961106/sing-sing-movie-review-colman-domingo-prison-theater-program\">Sing Sing\u003c/a>’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=R1TycuGX4Mw\u003c/p>\n\u003cp>We had not one but two movies this year that captured the therapeutic properties of theater. Each, almost unbelievably, deftly eludes tipping into cliche thanks to abiding compassion and authenticity in the performances. Alex Thompson and Kelly O’Sullivan’s \u003cem>Ghostlight\u003c/em> is about a grieving father, a construction worker (an exceptional Keith Kupferer), who reluctantly joins a local production of \u003cem>Romeo and Juliet\u003c/em>. \u003cem>Sing Sing\u003c/em> dramatizes a real rehabilitation prison program. Its screening at Sing Sing Correctional, where many of its performers were once incarcerated, was easily the most moving moviegoing experience of the year for me. \u003cem>Ghostlight\u003c/em> is available for digital rental. \u003cem>Sing Sing\u003c/em> returns to theaters Jan. 17.\u003c/p>\n\u003ch2>9. ‘\u003ca href=\"https://www.kqed.org/arts/13964403/a-dying-father-brings-his-three-daughters-together-in-a-sharply-written-film\">His Three Daughters\u003c/a>’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=K0jwAP2fS1E\u003c/p>\n\u003cp>In Azazel Jacobs’ funny, tender and raw family drama, a flawless cast of Carrie Coon, Elizabeth Olsen and Natasha Lyonne play three sisters caring for their dying father. In close quarters and with death looming, it all comes out. Streaming on Netflix.\u003c/p>\n\u003ch2>10. ‘Made in England: The Films of Powell and Pressburger’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=BcXCsE3KB7k\u003c/p>\n\u003cp>In between large, lengthy epics, Martin Scorsese has made some of his most interesting and personal films. In this, Scorsese narrates for director David Hinton his lifetime journey with the films of Powell and Pressburger, the great filmmakers of \u003cem>The Red Shoes\u003c/em>, \u003cem>I Know Where I’m Going!\u003c/em> and \u003cem>Black Narcissus\u003c/em>. As an expression of movie love — of the power of film to transfix you, to change your life, to live alongside you as you grow older — \u003cem>Made in England\u003c/em> could hardly be more effusive. Such insightful, passionate testimonies are an increasingly necessary lifeblood in a film culture where algorithms are typically blind to the treasures of cinema’s past. Streaming on WatchTCM and available for digital rental.\u003c/p>\n\u003cp>Also: \u003cem>Grand Tour, Ernest Cole: Lost and Found, No Other Land, Rebel Ridge, The Brutalist, Between the Temples, Evil Does Not Exist, Universal Language, Daughters\u003c/em>\u003c/p>\n\u003ch2>Lindsey Bahr’s top movies of 2024\u003c/h2>\n\u003ch2>1. ‘\u003ca href=\"https://www.kqed.org/arts/13967528/steve-mcqueen-wwii-drama-blitz-movie-review-appletv-saoirse-ronan-elliott-heffernan\">Blitz\u003c/a>’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=iZwykQK9aZo\u003c/p>\n\u003cp>Steve McQueen tells a different kind of World War II story in \u003cem>Blitz\u003c/em>, a powerful and clear-eyed odyssey through London during the German bombing raid. Structured around a 9-year-old boy (Elliott Heffernan) trying to make his way back to his mother (Saoirse Ronan), it is a sneakily revolutionary glimpse into and poignant elegy for worlds unexplored and stories untold. Streaming on Apple TV+.\u003c/p>\n\u003ch2>2. ‘\u003ca href=\"https://www.kqed.org/arts/13968437/all-we-imagine-as-light-movie-review-india-mumbai\">All We Imagine as Light\u003c/a>’\u003c/h2>\n\u003cp>Poetic and transportive, Kapadia’s Mumbai-set film explores the vibrations of a thrilling but brutally impersonal metropolis, the lives of three women in different stages and predicaments (forbidden love, loneliness, eviction) and delicacy of female friendships.\u003c/p>\n\u003ch2>3. ‘\u003ca href=\"https://www.kqed.org/arts/13960032/thelma-movie-review-june-squibb-delightful-revenge-comedy\">Thelma\u003c/a>’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=t3iETKRp24c\u003c/p>\n\u003cp>Josh Margolin’s debut feature about a 90-something (played by the incomparable June Squibb) on a mission to get $10,000 back from a scammer is so modest in scope and effortlessly enjoyable that it’s easy to undervalue. This independent film feels as sharp and put-together as a yesteryear studio comedy. It’s pure joy and one of those movies you could recommend to anyone. Streaming on Hulu.\u003c/p>\n\u003ch2>4. ‘\u003ca href=\"https://www.kqed.org/arts/13967226/anora-movie-review-sean-baker-mikey-madison\">Anora\u003c/a>’\u003c/h2>\n\u003cp>It takes a special kind of movie to transcend the echo chamber of arthouse cinephelia and become a cultural moment, but Baker’s \u003cem>Anora\u003c/em> did it. A classic in waiting, Baker and his star Mikey Madison, who lifts the streetwise stripper trope, take audiences on an unforgettable ride in this fairy tale that falls apart in spectacular fashion.\u003c/p>\n\u003ch2>5. ‘Nickel Boys’\u003c/h2>\n\u003cp>Ross transforms Whitehead’s Pulitzer-winning novel about the abuses and generational trauma of a reform school in the Jim Crow South for the screen by employing first-person point-of-view. It’s a bold choice that pays off, transporting you into the heartbreaking reality of Elwood and Turner, two characters you won’t soon forget.\u003c/p>\n\u003ch2>6. ‘\u003ca href=\"https://www.kqed.org/arts/13952684/dune-part-two-sustains-the-dystopian-dream-of-part-one\">Dune: Part Two\u003c/a>’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=Way9Dexny3w\u003c/p>\n\u003cp>Decades of dreaming about a film does not always seem to benefit said film, but Denis Villeneuve was able to translate his passion for Frank Herbert’s opus into pure cinematic spectacle, and doom, about the rise of a leader. It’s a grand and thrilling adventure that could make sci-fi nerds out of us all. Streaming on MAX.\u003c/p>\n\u003ch2>7. ‘\u003ca href=\"https://www.kqed.org/arts/13967522/kieran-culkin-shines-in-jesse-eisenbergs-deft-accomplished-a-real-pain\">A Real Pain\u003c/a>’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=b2et8Vpu7Ls&t=3s\u003c/p>\n\u003cp>Jesse Eisenberg grapples with modern and historical trauma in the disarmingly entertaining road trip film \u003cem>A Real Pain\u003c/em>, which he wrote, directed and stars in alongside Kieran Culkin as cousins on a Holocaust tour in Poland. In theaters.\u003c/p>\n\u003ch2>8. ‘\u003ca href=\"https://www.kqed.org/arts/13965970/the-outrun-movie-review-saoirse-ronan-amy-liptrot-memoir\">The Outrun\u003c/a>’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=pFv-v_wFsK8\u003c/p>\n\u003cp>Saoirse Ronan delivered one of the year’s absolute best performances as an alcoholic who goes further and further into seclusion in the Orkney Islands in an attempt to start life anew. Films about addiction are hardly novel, and yet Nora Fingscheidt captures the wild highs, lows and in-betweens of the human condition with unapologetic honesty. Available for digital rental.\u003c/p>\n\u003ch2>9. ‘\u003ca href=\"https://www.kqed.org/arts/13957223/evil-does-not-exist-movie-review-ryusuke-hamaguchi-nature-film\">Evil Does Not Exist\u003c/a>’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=zVY4lWfrbME\u003c/p>\n\u003cp>Ryûsuke Hamaguchi’s follow-up to \u003ca href=\"https://www.kqed.org/arts/13906968/drive-my-car-may-be-the-most-absorbing-ride-you-take-all-year\">\u003cem>Drive My Car\u003c/em>\u003c/a> takes us to a small mountain village in Japan, where residents are hesitant to welcome a big city company with plans to set up a glamping site. It’s a slow-burn kind of experience, with community debates about mountain streams and septic tanks that might not sound terribly exciting and yet it’s one of the year’s most haunting and effective. Streaming on Criterion Channel, available for digital rental.\u003c/p>\n\u003ch2>10. ‘\u003ca href=\"https://www.kqed.org/arts/13962259/delicate-and-powerful-good-one-is-one-of-the-years-indie-breakouts\">Good One\u003c/a>’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=RGZNT7qgeG4\u003c/p>\n\u003cp>It was a great year for first-time directors, including India Donaldson whose quietly brilliant character study of a teenage girl on a camping trip with her dad and his friend resonates even a year later. Streaming on Apple TV+.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Also: \u003cem>The Taste of Things, Green Border, Challengers, Beetlejuice Beetlejuice, La Cocina, Will & Harper, Conclave, Maria, Young Woman and the Sea, Tuesday, Lee\u003c/em>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As much as theaters are humming right now, with \u003ca href=\"https://www.kqed.org/arts/13968348/wicked-defies-gravity-if-not-time\">\u003cem>Wicked\u003c/em>\u003c/a> and \u003cem>Moana 2\u003c/em> bringing moviegoers by the droves, it’s been a fairly bruising movie year.\u003c/p>\n\u003cp>In between the blockbusters, though, the challenge of not just capturing the attention of audiences but of simply getting to the screen feels more perilous than ever. The year was marked by filmmakers who wagered everything from a $120 million pile (Francis Ford Coppola’s \u003ca href=\"https://www.kqed.org/arts/13965555/megalopolis-francis-ford-coppola-review\">\u003cem>Megalopolis\u003c/em>\u003c/a>) to their life (the dissident Iranian filmmaker Mohammad Rasoulof’s \u003cem>The Seed of the Sacred Fig\u003c/em>).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Considering the paths of the \u003cem>The Apprentice\u003c/em> (about Donald Trump’s rise in New York) or the Israeli occupation documentary \u003cem>No Other Land\u003c/em> (which still lacks a distributor), the question of what gets released was a common and chilling refrain.\u003c/p>\n\u003cp>That also made the movies that managed their way through — the ones that told urgent stories or dazzled with originality at a time of sequel stranglehold — all the more worth celebrating.\u003c/p>\n\u003cp>Here are The Associated Press’ Film Writers Jake Coyle and Lindsey Bahr’s picks for the best movies of 2024:\u003c/p>\n\u003ch2>Jake Coyle’s top movies of 2024\u003c/h2>\n\u003ch2>1. ‘\u003ca href=\"https://www.kqed.org/arts/13968437/all-we-imagine-as-light-movie-review-india-mumbai\">All We Imagine As Light\u003c/a>’\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/2mgQcpmYr_A'\n title='//www.youtube.com/embed/2mgQcpmYr_A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Was this a great year for movies? The consensus seems to be no, and that may be true. But it did produce some stone-cold masterpieces, none more so than Payal Kapadia’s sublime tale of three women in modern Mumbai. It’s a grittily real movie graced, in equally parts, by keen-eyed documentary and dreamy poetry. Beguilingly, \u003cem>All We Imagine As Light\u003c/em> grows more profound as it cleaves further from reality. In theaters.\u003c/p>\n\u003ch2>2. ‘Nickel Boys’\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/-2qZ429rUZw'\n title='//www.youtube.com/embed/-2qZ429rUZw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Like Kapadia, RaMell Ross started out in documentary before bringing a singular eye to narrative film. His adaptation of Colson Whitehead’s Pulitzer Prize–winning novel, about two Black teenagers at an abusive reform school in the Jim Crow South, is shot mostly from the two boys’ first-person perspective. The result is one of the most visually inventive American films of the decade and, just as certainly, one of the richest in empathy. Opens in theaters Dec. 13.\u003c/p>\n\u003ch2>3. ‘\u003ca href=\"https://www.kqed.org/arts/13967226/anora-movie-review-sean-baker-mikey-madison\">Anora\u003c/a>’\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/08sR1MY2wpU'\n title='//www.youtube.com/embed/08sR1MY2wpU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>So many of the reasons to go to the movies — to laugh at a clattering comic set piece, to witness the breakthrough of a young performer, to be devastated by something tragic — are contained within the thrillingly kitchen-sink \u003cem>Anora\u003c/em>. It’s a concoction that only Sean Baker could conceive, let alone execute. (And, by the way, if you liked Yura Borisov’s performance alongside Mikey Madison, seek out 2021’s \u003cem>Compartment No. 6\u003c/em>.) In theaters.\u003c/p>\n\u003ch2>4. ‘\u003ca href=\"https://www.kqed.org/arts/13957217/bold-audacious-i-saw-the-tv-glow-explores-fandom-identity-and-the-way-we-remember\">I Saw the TV Glow\u003c/a>’\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/kymDzCgPwj0'\n title='//www.youtube.com/embed/kymDzCgPwj0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jane Schoenbrun’s sophomore feature — a dramatic leap forward for filmmaker and a transfixing trans parable — is a chilling 1990s coming of age in which a \u003cem>Buffy the Vampire Slayer\u003c/em>-like series called \u003cem>The Pink Opaque\u003c/em> offers a possible portal out of drab suburban life and other suffocations. It feels chillingly, beautifully ripped out of Schoenbrun’s soul — and it’s got a killer soundtrack. Streaming on Max, available for digital rental.\u003c/p>\n\u003ch2>5. ‘Green Border’\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/4Q2cNooTO0w'\n title='//www.youtube.com/embed/4Q2cNooTO0w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The fury of Agnieszka Holland’s searing migrant drama is suitably calibrated to the crisis. Along the Poland-Belarus border, a small band of migrants from Syria and Afghanistan are sent back and forth across a wooded borderland — sometimes they’re even literally tossed — in a grim game of “not in my backyard.” It’s not an easy movie to watch, nor should it be. To keep up with the times, more uncomfortable movies like this may be needed. Streaming on Kino Film Collection, available for digital rental.\u003c/p>\n\u003ch2>6. ‘\u003ca href=\"https://www.kqed.org/arts/13956892/the-fall-guy-remake-movie-review-ryan-gosling-emily-blunt\">The Fall Guy\u003c/a>’\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/j7jPnwVGdZ8'\n title='//www.youtube.com/embed/j7jPnwVGdZ8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We also need more big, fun movies with Ryan Gosling. David Leitch’s affectionate ode to stunt performers manages to celebrate behind-the-scenes crew members while simultaneously being completely carried by two of our most winning movie stars in Gosling and Emily Blunt. The societal value of watching Gosling cry to Taylor Swift’s “All Too Well” should not be underestimated. Streaming on Peacock, available for digital rental.\u003c/p>\n\u003ch2>7. ‘The Seed of the Sacred Fig’\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/TV3Sk2zwqK4'\n title='//www.youtube.com/embed/TV3Sk2zwqK4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The way the Iranian filmmaker Mohammad Rasoulof, who was forced into exile while editing this, condenses real-life social upheaval into a family drama makes this a uniquely disquieting film. Like Kurosawa’s \u003cem>Stray Dog\u003c/em>, Rasoulof’s movie centers around a lost handgun. The subsequent search reveals just how deeply the Iranian government’s policies have seeped into the most intimate relationships. In theaters.\u003c/p>\n\u003ch2>8. ‘Ghostlight’ and ‘\u003ca href=\"https://www.kqed.org/arts/13961106/sing-sing-movie-review-colman-domingo-prison-theater-program\">Sing Sing\u003c/a>’\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/R1TycuGX4Mw'\n title='//www.youtube.com/embed/R1TycuGX4Mw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We had not one but two movies this year that captured the therapeutic properties of theater. Each, almost unbelievably, deftly eludes tipping into cliche thanks to abiding compassion and authenticity in the performances. Alex Thompson and Kelly O’Sullivan’s \u003cem>Ghostlight\u003c/em> is about a grieving father, a construction worker (an exceptional Keith Kupferer), who reluctantly joins a local production of \u003cem>Romeo and Juliet\u003c/em>. \u003cem>Sing Sing\u003c/em> dramatizes a real rehabilitation prison program. Its screening at Sing Sing Correctional, where many of its performers were once incarcerated, was easily the most moving moviegoing experience of the year for me. \u003cem>Ghostlight\u003c/em> is available for digital rental. \u003cem>Sing Sing\u003c/em> returns to theaters Jan. 17.\u003c/p>\n\u003ch2>9. ‘\u003ca href=\"https://www.kqed.org/arts/13964403/a-dying-father-brings-his-three-daughters-together-in-a-sharply-written-film\">His Three Daughters\u003c/a>’\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/K0jwAP2fS1E'\n title='//www.youtube.com/embed/K0jwAP2fS1E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In Azazel Jacobs’ funny, tender and raw family drama, a flawless cast of Carrie Coon, Elizabeth Olsen and Natasha Lyonne play three sisters caring for their dying father. In close quarters and with death looming, it all comes out. Streaming on Netflix.\u003c/p>\n\u003ch2>10. ‘Made in England: The Films of Powell and Pressburger’\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/BcXCsE3KB7k'\n title='//www.youtube.com/embed/BcXCsE3KB7k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In between large, lengthy epics, Martin Scorsese has made some of his most interesting and personal films. In this, Scorsese narrates for director David Hinton his lifetime journey with the films of Powell and Pressburger, the great filmmakers of \u003cem>The Red Shoes\u003c/em>, \u003cem>I Know Where I’m Going!\u003c/em> and \u003cem>Black Narcissus\u003c/em>. As an expression of movie love — of the power of film to transfix you, to change your life, to live alongside you as you grow older — \u003cem>Made in England\u003c/em> could hardly be more effusive. Such insightful, passionate testimonies are an increasingly necessary lifeblood in a film culture where algorithms are typically blind to the treasures of cinema’s past. Streaming on WatchTCM and available for digital rental.\u003c/p>\n\u003cp>Also: \u003cem>Grand Tour, Ernest Cole: Lost and Found, No Other Land, Rebel Ridge, The Brutalist, Between the Temples, Evil Does Not Exist, Universal Language, Daughters\u003c/em>\u003c/p>\n\u003ch2>Lindsey Bahr’s top movies of 2024\u003c/h2>\n\u003ch2>1. ‘\u003ca href=\"https://www.kqed.org/arts/13967528/steve-mcqueen-wwii-drama-blitz-movie-review-appletv-saoirse-ronan-elliott-heffernan\">Blitz\u003c/a>’\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/iZwykQK9aZo'\n title='//www.youtube.com/embed/iZwykQK9aZo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Steve McQueen tells a different kind of World War II story in \u003cem>Blitz\u003c/em>, a powerful and clear-eyed odyssey through London during the German bombing raid. Structured around a 9-year-old boy (Elliott Heffernan) trying to make his way back to his mother (Saoirse Ronan), it is a sneakily revolutionary glimpse into and poignant elegy for worlds unexplored and stories untold. Streaming on Apple TV+.\u003c/p>\n\u003ch2>2. ‘\u003ca href=\"https://www.kqed.org/arts/13968437/all-we-imagine-as-light-movie-review-india-mumbai\">All We Imagine as Light\u003c/a>’\u003c/h2>\n\u003cp>Poetic and transportive, Kapadia’s Mumbai-set film explores the vibrations of a thrilling but brutally impersonal metropolis, the lives of three women in different stages and predicaments (forbidden love, loneliness, eviction) and delicacy of female friendships.\u003c/p>\n\u003ch2>3. ‘\u003ca href=\"https://www.kqed.org/arts/13960032/thelma-movie-review-june-squibb-delightful-revenge-comedy\">Thelma\u003c/a>’\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/t3iETKRp24c'\n title='//www.youtube.com/embed/t3iETKRp24c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Josh Margolin’s debut feature about a 90-something (played by the incomparable June Squibb) on a mission to get $10,000 back from a scammer is so modest in scope and effortlessly enjoyable that it’s easy to undervalue. This independent film feels as sharp and put-together as a yesteryear studio comedy. It’s pure joy and one of those movies you could recommend to anyone. Streaming on Hulu.\u003c/p>\n\u003ch2>4. ‘\u003ca href=\"https://www.kqed.org/arts/13967226/anora-movie-review-sean-baker-mikey-madison\">Anora\u003c/a>’\u003c/h2>\n\u003cp>It takes a special kind of movie to transcend the echo chamber of arthouse cinephelia and become a cultural moment, but Baker’s \u003cem>Anora\u003c/em> did it. A classic in waiting, Baker and his star Mikey Madison, who lifts the streetwise stripper trope, take audiences on an unforgettable ride in this fairy tale that falls apart in spectacular fashion.\u003c/p>\n\u003ch2>5. ‘Nickel Boys’\u003c/h2>\n\u003cp>Ross transforms Whitehead’s Pulitzer-winning novel about the abuses and generational trauma of a reform school in the Jim Crow South for the screen by employing first-person point-of-view. It’s a bold choice that pays off, transporting you into the heartbreaking reality of Elwood and Turner, two characters you won’t soon forget.\u003c/p>\n\u003ch2>6. ‘\u003ca href=\"https://www.kqed.org/arts/13952684/dune-part-two-sustains-the-dystopian-dream-of-part-one\">Dune: Part Two\u003c/a>’\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Way9Dexny3w'\n title='//www.youtube.com/embed/Way9Dexny3w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Decades of dreaming about a film does not always seem to benefit said film, but Denis Villeneuve was able to translate his passion for Frank Herbert’s opus into pure cinematic spectacle, and doom, about the rise of a leader. It’s a grand and thrilling adventure that could make sci-fi nerds out of us all. Streaming on MAX.\u003c/p>\n\u003ch2>7. ‘\u003ca href=\"https://www.kqed.org/arts/13967522/kieran-culkin-shines-in-jesse-eisenbergs-deft-accomplished-a-real-pain\">A Real Pain\u003c/a>’\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/b2et8Vpu7Ls'\n title='//www.youtube.com/embed/b2et8Vpu7Ls'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jesse Eisenberg grapples with modern and historical trauma in the disarmingly entertaining road trip film \u003cem>A Real Pain\u003c/em>, which he wrote, directed and stars in alongside Kieran Culkin as cousins on a Holocaust tour in Poland. In theaters.\u003c/p>\n\u003ch2>8. ‘\u003ca href=\"https://www.kqed.org/arts/13965970/the-outrun-movie-review-saoirse-ronan-amy-liptrot-memoir\">The Outrun\u003c/a>’\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/pFv-v_wFsK8'\n title='//www.youtube.com/embed/pFv-v_wFsK8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Saoirse Ronan delivered one of the year’s absolute best performances as an alcoholic who goes further and further into seclusion in the Orkney Islands in an attempt to start life anew. Films about addiction are hardly novel, and yet Nora Fingscheidt captures the wild highs, lows and in-betweens of the human condition with unapologetic honesty. Available for digital rental.\u003c/p>\n\u003ch2>9. ‘\u003ca href=\"https://www.kqed.org/arts/13957223/evil-does-not-exist-movie-review-ryusuke-hamaguchi-nature-film\">Evil Does Not Exist\u003c/a>’\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/zVY4lWfrbME'\n title='//www.youtube.com/embed/zVY4lWfrbME'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Ryûsuke Hamaguchi’s follow-up to \u003ca href=\"https://www.kqed.org/arts/13906968/drive-my-car-may-be-the-most-absorbing-ride-you-take-all-year\">\u003cem>Drive My Car\u003c/em>\u003c/a> takes us to a small mountain village in Japan, where residents are hesitant to welcome a big city company with plans to set up a glamping site. It’s a slow-burn kind of experience, with community debates about mountain streams and septic tanks that might not sound terribly exciting and yet it’s one of the year’s most haunting and effective. Streaming on Criterion Channel, available for digital rental.\u003c/p>\n\u003ch2>10. ‘\u003ca href=\"https://www.kqed.org/arts/13962259/delicate-and-powerful-good-one-is-one-of-the-years-indie-breakouts\">Good One\u003c/a>’\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/RGZNT7qgeG4'\n title='//www.youtube.com/embed/RGZNT7qgeG4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It was a great year for first-time directors, including India Donaldson whose quietly brilliant character study of a teenage girl on a camping trip with her dad and his friend resonates even a year later. Streaming on Apple TV+.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Also: \u003cem>The Taste of Things, Green Border, Challengers, Beetlejuice Beetlejuice, La Cocina, Will & Harper, Conclave, Maria, Young Woman and the Sea, Tuesday, Lee\u003c/em>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Today, Alamo Drafthouse Cinema announced plans to expand beyond their San Francisco theater location and open two new theaters in the South Bay. The theaters, which will be located in Mountain View and Santa Clara, will open by the summer of 2025, marking the 10 year anniversary of Alamo’s presence in the Bay Area. \u003c/p>\n\u003cp>[aside tag='movie-theaters-we-have-lost']Alamo Drafthouse New Mission Theater opened in San Francisco in 2015 — the first new movie theater in the city since — \u003ca href=\"https://www.kqed.org/arts/11132205/new-kids-in-town-alamo-drafthouse-reopens-new-mission-theater\">our critic hazarded at the time\u003c/a> — 1999. In the years since, a number of beloved theaters and film programs have shut down across the Bay Area, even as audiences’ appetite for \u003ca href=\"https://www.kqed.org/arts/13951535/screen-slate-sf-bay-area-film-listings-castro\">high quality in-person moviegoing\u003c/a> seems to have grown. \u003c/p>\n\u003cp>“We’re always looking for new locations that feel like great fits,” said John Smith, Alamo Drafthouse’s West Coast marketing director. “It’s really awesome that we’re able to continue that momentum and head down to the South Bay.” \u003c/p>\n\u003cp>The new theaters will take over former ShowPlace ICON locations at The Village at San Antonio Center and Westfield Valley Fair. \u003c/p>\n\u003cp>Today’s news comes six months after Sony Pictures Entertainment \u003ca href=\"https://variety.com/2024/film/news/sony-pictures-buys-alamo-drafthouse-cinemas-1236035292/\">purchased\u003c/a> the Alamo Drafthouse franchise. When asked if there would be changes to any of Alamo Drafthouse’s programming as a result of the new ownership, Smith offered reassurance that there’s no intention of implementing any major changes.\u003c/p>\n\u003cfigure id=\"attachment_13968958\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Alamo_Drafthouse_Valley_Fair.jpg\" alt=\"movie theater name on glass facade with people entering lobby\" width=\"1600\" height=\"900\" class=\"size-full wp-image-13968958\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Alamo_Drafthouse_Valley_Fair.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Alamo_Drafthouse_Valley_Fair-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Alamo_Drafthouse_Valley_Fair-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Alamo_Drafthouse_Valley_Fair-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Alamo_Drafthouse_Valley_Fair-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Alamo_Drafthouse_Valley_Fair-1536x864.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of Alamo Drafthouse Westfield Valley Fair in Santa Clara. \u003ccite>(Courtesy of Alamo Drafthouse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’re going to continue being the best place to see not just big blockbuster films like \u003ci>Wicked\u003c/i>, but mainstream specialties like \u003ci>Nosferatu\u003c/i>, independent films like \u003ci>The Substance\u003c/i>, [and] also to see the best films that have ever been made back on the big screen [like] \u003ci>Lord of the Rings\u003c/i>,” Smith told KQED. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“That flexibility and ability to serve audiences that are in these communities with a great mix of film and experiences is essential to Alamo,” he added. “I don’t think anything’s going to change.” \u003c/p>\n\u003cp>As in-person entertainment continues to bounce back from the impacts of the COVID-19 pandemic, Smith says the timing for Alamo Drafthouse’s new locations couldn’t be better. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Film is alive,” Smith said. “There’s audiences for all sorts of films, and … we’ll be there to reach out to them, and give them a sanctuary to come experience film.” \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Today, Alamo Drafthouse Cinema announced plans to expand beyond their San Francisco theater location and open two new theaters in the South Bay. The theaters, which will be located in Mountain View and Santa Clara, will open by the summer of 2025, marking the 10 year anniversary of Alamo’s presence in the Bay Area. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Alamo Drafthouse New Mission Theater opened in San Francisco in 2015 — the first new movie theater in the city since — \u003ca href=\"https://www.kqed.org/arts/11132205/new-kids-in-town-alamo-drafthouse-reopens-new-mission-theater\">our critic hazarded at the time\u003c/a> — 1999. In the years since, a number of beloved theaters and film programs have shut down across the Bay Area, even as audiences’ appetite for \u003ca href=\"https://www.kqed.org/arts/13951535/screen-slate-sf-bay-area-film-listings-castro\">high quality in-person moviegoing\u003c/a> seems to have grown. \u003c/p>\n\u003cp>“We’re always looking for new locations that feel like great fits,” said John Smith, Alamo Drafthouse’s West Coast marketing director. “It’s really awesome that we’re able to continue that momentum and head down to the South Bay.” \u003c/p>\n\u003cp>The new theaters will take over former ShowPlace ICON locations at The Village at San Antonio Center and Westfield Valley Fair. \u003c/p>\n\u003cp>Today’s news comes six months after Sony Pictures Entertainment \u003ca href=\"https://variety.com/2024/film/news/sony-pictures-buys-alamo-drafthouse-cinemas-1236035292/\">purchased\u003c/a> the Alamo Drafthouse franchise. When asked if there would be changes to any of Alamo Drafthouse’s programming as a result of the new ownership, Smith offered reassurance that there’s no intention of implementing any major changes.\u003c/p>\n\u003cfigure id=\"attachment_13968958\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Alamo_Drafthouse_Valley_Fair.jpg\" alt=\"movie theater name on glass facade with people entering lobby\" width=\"1600\" height=\"900\" class=\"size-full wp-image-13968958\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Alamo_Drafthouse_Valley_Fair.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Alamo_Drafthouse_Valley_Fair-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Alamo_Drafthouse_Valley_Fair-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Alamo_Drafthouse_Valley_Fair-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Alamo_Drafthouse_Valley_Fair-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Alamo_Drafthouse_Valley_Fair-1536x864.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of Alamo Drafthouse Westfield Valley Fair in Santa Clara. \u003ccite>(Courtesy of Alamo Drafthouse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’re going to continue being the best place to see not just big blockbuster films like \u003ci>Wicked\u003c/i>, but mainstream specialties like \u003ci>Nosferatu\u003c/i>, independent films like \u003ci>The Substance\u003c/i>, [and] also to see the best films that have ever been made back on the big screen [like] \u003ci>Lord of the Rings\u003c/i>,” Smith told KQED. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“That flexibility and ability to serve audiences that are in these communities with a great mix of film and experiences is essential to Alamo,” he added. “I don’t think anything’s going to change.” \u003c/p>\n\u003cp>As in-person entertainment continues to bounce back from the impacts of the COVID-19 pandemic, Smith says the timing for Alamo Drafthouse’s new locations couldn’t be better. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Film is alive,” Smith said. “There’s audiences for all sorts of films, and … we’ll be there to reach out to them, and give them a sanctuary to come experience film.” \u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "best-2024-christmas-movies-hanukkah-hot-frosty-netflix-lifetime-hallmark",
"title": "Our 2024 Holiday Movie Guide, With Hanukkah, ‘Hot Frosty’ and All",
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"content": "\u003cp>As is tradition, we find ourselves once again in the heart of holiday movie season. This year’s installments include everything from a snowman who “comes to life,” shirtless Chad Michael Murray, Jack Black as Satan, and two Donna Kelce cameos. An exhaustive list would be prohibitive for both my editorial resources and your patience, but holiday movies are too dear to too many people to skip an update about what’s shaking in this particular glittery snow globe.\u003c/p>\n\u003cp>Here, we’ve broken down the highlights of the season, from the heavy-hitters to new franchise installments and goofy titles. There are casting surprises (like stars of \u003cem>The Office\u003c/em>), and Hanukkah movies on the way. Many of these TV movies are out as of Thanksgiving, but we’ve noted the premiere dates of those yet to come.\u003c/p>\n\u003cp>Let’s take a tour through some highlights.\u003c/p>\n\u003ch2>High-profile entries\u003c/h2>\n\u003cp>Every year, a few holiday TV movies poke their heads above the sea of films made for the die-hards — the people who can tell you off the tops of their heads exactly which frequent lead starred opposite Brandon Routh in \u003cem>The Nine Lives of Christmas\u003c/em> — and become known to the wider population.\u003c/p>\n\u003cp>(It was Kimberley Sustad, obviously. She’s not only been a great lead for Hallmark, but she’s now writing for them, too.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Here are a few that may reach you even if you are not a close follower of this space. They lean toward Netflix, simply because of its size and reach, as well as the fact that Netflix makes fewer movies and makes a bigger deal out of each of them than some of the other providers.\u003c/p>\n\u003ch2>‘Hot Frosty’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=Dmi794YO-0w\u003c/p>\n\u003cp>Social media may have given you the lowdown on \u003cem>Hot Frosty\u003c/em>, which ran for many days at the very top of Netflix’s list of hottest movies. But just in case: \u003cem>Hot Frosty \u003c/em>stars Lacey Chabert (of \u003cem>Party of Five\u003c/em>, \u003cem>Mean Girls\u003c/em>, and roughly 15 prior Christmas movies by my count) and Dustin Milligan (\u003cem>Schitt’s Creek\u003c/em>). She plays a woman who puts a magic scarf on a very realistic snowman who comes to life; he plays the “comes to life.”\u003c/p>\n\u003cp>What follows is a very, very silly — but fortunately self-aware — little comedy also starring Craig Robinson and Joe Lo Truglio (in a \u003cem>Brooklyn Nine-Nine\u003c/em> reunion) as local law enforcement. They are in pursuit of the snowman because they believe him to be a dangerous streaker. That’s right: a dangerous streaker. I mean, he did come to life without pants on.\u003c/p>\n\u003ch2>‘The Merry Gentlemen’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=G80Q8-MJM1A\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>Speaking of coming to life without pants on: I’ve always thought the holiday movie market needs more exotic dancers. Netflix comes through with \u003cem>The Merry Gentlemen\u003c/em>, in which Chad Michael Murray (of \u003cem>One Tree Hill\u003c/em>) and some other shirtless fellows save Christmas. He meets a woman, played by Britt Robertson, who wants desperately to save her parents’ struggling small music venue, The Rhythm Room (!).\u003c/p>\n\u003cp>She comes up with an idea: a PG-13 all-male revue featuring hot men she happens to know in her personal life. My favorite supporting Merry Gentleman: a local played by Maxwell Caulfield, who looked great in \u003cem>Grease 2 \u003c/em>when he was in his early 20s and looks great in this in his 60s. You go, Maxwell Caulfield. Don’t you let them touch your chest hair, either. (This, by the way, is the film that has dethroned \u003cem>Hot Frosty \u003c/em>atop the Netflix Top 10 list as of this writing.)\u003c/p>\n\u003ch2>‘Holiday Touchdown: A Chiefs Love Story’\u003c/h2>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>https://www.youtube.com/watch?v=syuN4M-wa9s\u003c/p>\n\u003cp>When Hallmark announced \u003cem>Holiday Touchdown: A Chiefs Love Story \u003c/em>(Nov. 30) over the summer, it seemed perfectly clear that its intent was to capitalize on the whole Taylor Swift-and-Travis Kelce thing. And don’t get me wrong: That’s true. (Donna Kelce has a cameo — although hilariously, she also has one in Hallmark’s \u003cem>Christmas on Call\u003c/em>, which takes place in Philadelphia. No favoritism for Mama Kelce!) \u003cem>Holiday Touchdown\u003c/em> was also made as a partnership with the team, much like Hallmark partnerships that have existed in the past with locations like Dollywood (\u003cem>\u003ca href=\"https://www.hallmarkchannel.com/christmas-at-dollywood\">Christmas at Dollywood\u003c/a>\u003c/em>), the Plaza Hotel (\u003cem>\u003ca href=\"https://www.hallmarkchannel.com/christmas-at-the-plaza/about-christmas-at-the-plaza\">Christmas at the Plaza\u003c/a>\u003c/em>) and the Biltmore Estate (\u003cem>\u003ca href=\"https://www.hallmarkchannel.com/a-biltmore-christmas\">A Biltmore Christmas\u003c/a>\u003c/em>).\u003c/p>\n\u003cp>[aside postid='arts_13921477']But \u003cem>Holiday Touchdown\u003c/em> is not directly inspired by the Travis/Taylor story. It’s about a woman (Hunter King) whose family is obsessed with the Kansas City Chiefs, and they’re being considered as part of the team’s Fan Of The Year contest. (… Sure.) She meets a guy (Tyler Hynes) who works for the team and becomes the family’s handler for the contest while also falling for her (an enormous conflict of interest, tssk). There’s a magic hat (sure!), there are many (many many) Kansas City cameos and references, and there is an avalanche of Chiefs branding. This one might be a B for regular Hallmark-ers, but it’s an A for Kansas City locals and anybody who’s ever shared a sports team obsession with people they love.\u003c/p>\n\u003cp>And here’s the twist! There \u003cem>is\u003c/em> a movie that looks directly Travis/Taylor inspired, and it’s over on Lifetime. Called \u003cem>\u003ca href=\"https://play.mylifetime.com/movies/christmas-in-the-spotlight/preview-christmas-in-the-spotlight\">Christmas in the Spotlight\u003c/a>\u003c/em>, it is about a pop megastar and a football player — he’s just not a Chiefs player. Glad we could clear this up.\u003c/p>\n\u003ch2>‘Our Little Secret’\u003c/h2>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>https://www.youtube.com/watch?v=fcc9G9PXTEE\u003c/p>\n\u003cp>Lindsay Lohan was very charming in last year’s \u003ca href=\"https://www.kqed.org/arts/13921477/lindsay-lohan-christmas-movie-netflix-falling-for-christmas\">\u003cem>Falling for Christmas \u003c/em>\u003c/a>on Netflix; this year, she’s back with \u003cem>Our Little Secret\u003c/em>, in which she plays a woman who goes to spend the holidays with the family of her new boyfriend and runs into — dun! — her old boyfriend, who’s dating her new boyfriend’s sister. Kristin Chenoweth has the time of her life as the prospective mother-in-law, and Lindsay Lohan is, yet again, a durably charismatic lead who’s still got her comedy chops.\u003c/p>\n\u003ch2>Franchises and sequels\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=IO2Vov72T3Q\u003c/p>\n\u003cp>You may remember 2022’s \u003cem>Three Wise Men and a Baby\u003c/em>, starring three of Hallmark’s top leading men — Andrew Walker, Tyler Hynes and Paul Campbell, or as I admit I knew them for a long time while thoroughly enjoying their work, “that one guy,” “that other guy,” and “oh sure that guy.”\u003c/p>\n\u003cp>[aside postid='arts_13939153']They were brothers stuck caring for a baby over the holidays. Naturally, we now get the sequel titled \u003cem>Three Wiser Men and a Boy\u003c/em>. This is mostly a straight-up family comedy; it’s one of several Hallmark is doing this year that are not really romcoms even if they have romance elements. And, driven by the charm of the three leads, it’s a lot of fun. (These stories are co-written by Campbell and … Kimberley Sustad!)\u003c/p>\n\u003cp>As a side note, it’s been interesting to see Hallmark lean into the popularity of their male leads, who, for a long time, were treated as largely interchangeable partners for higher-profile actresses. They’re even airing a reality show this year called \u003cem>Finding Mr. Christmas\u003c/em>, hosted by Jonathan Bennett, in which men compete for a spot in a Hallmark movie called \u003cem>Happy Howlidays\u003c/em>\u003cem>,\u003c/em> which will then air on Dec. 21.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=j94E_7uwYPI\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>Also up: BET+’s \u003cem>Brewster’s Millions: Christmas \u003c/em>(Dec. 5), a sequel about the niece of Montgomery Brewster, played by Richard Pryor in the 1985 movie. Perhaps not the sequel we were expecting this year, but hey — long waits before stories get picked up again are the norm at this point.\u003c/p>\n\u003cp>We should also note a momentous franchise retirement: Between 2018 and 2023, Hallmark made the loosely connected films \u003cem>Time for Me to Come Home for Christmas\u003c/em>, \u003cem>Time for You to Come Home for Christmas\u003c/em>, \u003cem>Time for Him to Come Home for Christmas\u003c/em>, \u003cem>Time for Her to Come Home for Christmas\u003c/em>, \u003cem>Time for Them to Come Home for Christmas\u003c/em>, and \u003cem>Time for Us to Come Home for Christmas\u003c/em>. Perhaps owing to their exhaustion of the most familiar personal pronouns, they have seemingly completed this series.\u003c/p>\n\u003ch2>What is that title?\u003c/h2>\n\u003cp>Sometimes, the most enjoyable part of previewing holiday movies is looking ahead to the titles that will quite understandably make you wonder whether you are hallucinating — and then assuring you that you are not. Here are some of my favorite titles of 2024.\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>A Very Merry Beauty Salon\u003cbr>\n\u003c/em>\u003c/strong>\u003cspan style=\"font-size: 16px;font-weight: 400\">Lifetime, Dec. 7\u003c/span>\u003c/h2>\n\u003cp>Tia Mowry plays a salon owner who is preparing for a charity ball, and she meets a dashing wine CEO, and what’s not to like about that?\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>The Holiday Junkie\u003cbr>\n\u003c/em>\u003c/strong>\u003cspan style=\"font-size: 16px;font-weight: 400\">Lifetime, Dec. 14\u003c/span>\u003c/h2>\n\u003cp>Jennifer Love Hewitt co-wrote, directed and stars in this story about a woman who works with her mother as a decorator with a special fondness for Christmas. After her mom dies, she meets a Grinchy man who can perhaps help her deal with grief and also kissing.\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>A ’90s Christmas\u003cbr>\n\u003c/em>\u003c/strong>\u003cspan style=\"font-size: 16px;font-weight: 400\">Hallmark, Nov. 29\u003c/span>\u003c/h2>\n\u003cp>I am deeply wounded by the suggestion that the ’90s are ready for their nostalgia run (I know, I know, you don’t have to tell me how the math plays out), but here we are. This one is about a woman who seemingly goes back to 1999 with the help of … an enchanted Uber? (The description says “a mysterious rideshare experience.” I think that means “enchanted Uber.”)\u003c/p>\n\u003ch2>Fun with casting\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=91L4X-XNBzU\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>\u003cem>Confessions of a Christmas Letter \u003c/em>(Hallmark) is about a mom played by Angela Kinsey (of \u003cem>The Office\u003c/em>) who loves her family very much but struggles with her desire to write a competitively braggy Christmas letter about them. Her ultimate goal? To impress the man at the post office who keeps a “Hall of Fame” of Christmas letters. He is played by Brian Baumgartner (who played Kevin on \u003cem>The Office\u003c/em>). So she hires a novelist to spend two weeks writing one for her (uh, I am AVAILABLE FOR THIS GIG). While sparks do fly between said novelist and her daughter, this movie is mostly about this woman’s efforts to accept her imperfect family Christmas as the one that’s perfect for them.\u003c/p>\n\u003cp>\u003cem>Holiday Mismatch \u003c/em>(Hallmark) features two moms who don’t get along, who accidentally set up their adult children and then have to try to get them to break up. The moms are played by Beth Broderick and Caroline Rhea, who spent years playing the two aunts on \u003cem>Sabrina The Teenage Witch\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3n1GUmAhoTs\u003c/p>\n\u003cp>Something quite different: Jack Black’s holiday movie highlight up to this point might be, well, \u003cem>The Holiday\u003c/em>. But this season, on Paramount+, in \u003cem>Dear Santa\u003c/em>, he shows up as Satan (yep), after a kid’s misspelling accidentally summons the wrong higher power at Christmas. Also around for this one: Keegan-Michael Key and Post Malone. In some ways, it’s mostly surprising that Jack Black hasn’t played Satan before now.\u003c/p>\n\u003ch2>What about Hanukkah?\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=Tohd6NlQDXc\u003c/p>\n\u003cp>When the big purveyors of holiday movies do Hanukkah, the results can be mixed, to say the least. BUT. Hallmark made an excellent Hanukkah one last year called \u003cem>Round and Round\u003c/em>, so I have higher hopes for these entries than I used to. This year, Hallmark has two. One, called \u003cem>Leah’s Perfect Gift\u003c/em> (Dec. 8), is about a Jewish woman who loves Christmas (though she doesn’t celebrate it) and welcomes the chance to participate with her boyfriend’s family, only to find things are more complicated than they might seem. It sounds like a tough premise to get perfectly right, but also maybe like a chance for some interesting storytelling.\u003c/p>\n\u003cp>More straightforward-sounding is \u003cem>Hanukkah on the Rocks \u003c/em>(Dec. 13), in which a corporate lawyer ends up bartending for “quirky regulars” at a Chicago bar, goes on a quest for Hanukkah candles, and that’s about the size of that.\u003c/p>\n\u003ch2>Also of note\u003c/h2>\n\u003cp>Most Hallmark Christmas movies have until very recently had a pretty consistent soft-rom-com tone, but it feels like they’re starting to branch out a little. I enjoyed \u003cem>The Christmas Charade\u003c/em>, which is about a woman who gets wrapped up in a spy operation. It reminded me of ’80s shows I adored like \u003cem>Remington Steele\u003c/em>, where beautiful and well-dressed people have adventures while flirting. More of this, say I!\u003c/p>\n\u003cp>\u003cem>The 5-Year Christmas Party \u003c/em>(Hallmark) floats on the outstanding chemistry between Katie Findlay and Jordan Fisher, who play old friends who keep being tempted to make out all the time. It’s lovely and quite funny, and while I was watching this one, I had the thought: “It’s nice that women characters in Hallmark movies are sometimes allowed to have short hair now.”\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>https://www.youtube.com/watch?v=6ooAi6la7xU\u003c/p>\n\u003cp>To say that Hallmark has a sketchy relationship with diversity is an understatement, but I liked \u003cem>Christmas with the Singhs\u003c/em>, which tries to engage with difference in a more straightforward way than their past TV movies. This one is about what it’s like to try to manage families with different holiday traditions when they’re joined by marriage.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CdW5MdKk_-s\u003c/p>\n\u003cp>As a person with a long history of watching \u003cem>The Amazing Race\u003c/em>, I had a great time with \u003cem>Jingle Bell Run \u003c/em>(Hallmark), which follows two people thrown together on a team for what amounts to a Christmas-themed \u003cem>Amazing Race\u003c/em>. Obviously they fall in love, and it’s super-charming. It stars Ashley Williams and Andrew Walker, who are two of the bigger stars in the Hallmark firmament, and it even gently acknowledges once or twice that they’re getting older, which is very welcome. (I mean, it happens.)\u003c/p>\n\u003cp>[aside postid='arts_13922004']If you like Finland, or dogs, perhaps you’re up for \u003cem>The Finnish Line\u003c/em> (Hallmark, Dec. 1), which is about dogsledding. As a person who has parasocial relationships with many internet dogs, including some sled dogs, this spoke to me personally. (Although I don’t think its grasp on the realities of mushing is terribly firm.)\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>So grab a blanket, grab your cocoa, grab a snuggly person or pet or just your warmest sweater, and enjoy some of the standard and not-so-standard offerings of the holiday season.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As is tradition, we find ourselves once again in the heart of holiday movie season. This year’s installments include everything from a snowman who “comes to life,” shirtless Chad Michael Murray, Jack Black as Satan, and two Donna Kelce cameos. An exhaustive list would be prohibitive for both my editorial resources and your patience, but holiday movies are too dear to too many people to skip an update about what’s shaking in this particular glittery snow globe.\u003c/p>\n\u003cp>Here, we’ve broken down the highlights of the season, from the heavy-hitters to new franchise installments and goofy titles. There are casting surprises (like stars of \u003cem>The Office\u003c/em>), and Hanukkah movies on the way. Many of these TV movies are out as of Thanksgiving, but we’ve noted the premiere dates of those yet to come.\u003c/p>\n\u003cp>Let’s take a tour through some highlights.\u003c/p>\n\u003ch2>High-profile entries\u003c/h2>\n\u003cp>Every year, a few holiday TV movies poke their heads above the sea of films made for the die-hards — the people who can tell you off the tops of their heads exactly which frequent lead starred opposite Brandon Routh in \u003cem>The Nine Lives of Christmas\u003c/em> — and become known to the wider population.\u003c/p>\n\u003cp>(It was Kimberley Sustad, obviously. She’s not only been a great lead for Hallmark, but she’s now writing for them, too.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Here are a few that may reach you even if you are not a close follower of this space. They lean toward Netflix, simply because of its size and reach, as well as the fact that Netflix makes fewer movies and makes a bigger deal out of each of them than some of the other providers.\u003c/p>\n\u003ch2>‘Hot Frosty’\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Dmi794YO-0w'\n title='//www.youtube.com/embed/Dmi794YO-0w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Social media may have given you the lowdown on \u003cem>Hot Frosty\u003c/em>, which ran for many days at the very top of Netflix’s list of hottest movies. But just in case: \u003cem>Hot Frosty \u003c/em>stars Lacey Chabert (of \u003cem>Party of Five\u003c/em>, \u003cem>Mean Girls\u003c/em>, and roughly 15 prior Christmas movies by my count) and Dustin Milligan (\u003cem>Schitt’s Creek\u003c/em>). She plays a woman who puts a magic scarf on a very realistic snowman who comes to life; he plays the “comes to life.”\u003c/p>\n\u003cp>What follows is a very, very silly — but fortunately self-aware — little comedy also starring Craig Robinson and Joe Lo Truglio (in a \u003cem>Brooklyn Nine-Nine\u003c/em> reunion) as local law enforcement. They are in pursuit of the snowman because they believe him to be a dangerous streaker. That’s right: a dangerous streaker. I mean, he did come to life without pants on.\u003c/p>\n\u003ch2>‘The Merry Gentlemen’\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/G80Q8-MJM1A'\n title='//www.youtube.com/embed/G80Q8-MJM1A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>Speaking of coming to life without pants on: I’ve always thought the holiday movie market needs more exotic dancers. Netflix comes through with \u003cem>The Merry Gentlemen\u003c/em>, in which Chad Michael Murray (of \u003cem>One Tree Hill\u003c/em>) and some other shirtless fellows save Christmas. He meets a woman, played by Britt Robertson, who wants desperately to save her parents’ struggling small music venue, The Rhythm Room (!).\u003c/p>\n\u003cp>She comes up with an idea: a PG-13 all-male revue featuring hot men she happens to know in her personal life. My favorite supporting Merry Gentleman: a local played by Maxwell Caulfield, who looked great in \u003cem>Grease 2 \u003c/em>when he was in his early 20s and looks great in this in his 60s. You go, Maxwell Caulfield. Don’t you let them touch your chest hair, either. (This, by the way, is the film that has dethroned \u003cem>Hot Frosty \u003c/em>atop the Netflix Top 10 list as of this writing.)\u003c/p>\n\u003ch2>‘Holiday Touchdown: A Chiefs Love Story’\u003c/h2>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/syuN4M-wa9s'\n title='//www.youtube.com/embed/syuN4M-wa9s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When Hallmark announced \u003cem>Holiday Touchdown: A Chiefs Love Story \u003c/em>(Nov. 30) over the summer, it seemed perfectly clear that its intent was to capitalize on the whole Taylor Swift-and-Travis Kelce thing. And don’t get me wrong: That’s true. (Donna Kelce has a cameo — although hilariously, she also has one in Hallmark’s \u003cem>Christmas on Call\u003c/em>, which takes place in Philadelphia. No favoritism for Mama Kelce!) \u003cem>Holiday Touchdown\u003c/em> was also made as a partnership with the team, much like Hallmark partnerships that have existed in the past with locations like Dollywood (\u003cem>\u003ca href=\"https://www.hallmarkchannel.com/christmas-at-dollywood\">Christmas at Dollywood\u003c/a>\u003c/em>), the Plaza Hotel (\u003cem>\u003ca href=\"https://www.hallmarkchannel.com/christmas-at-the-plaza/about-christmas-at-the-plaza\">Christmas at the Plaza\u003c/a>\u003c/em>) and the Biltmore Estate (\u003cem>\u003ca href=\"https://www.hallmarkchannel.com/a-biltmore-christmas\">A Biltmore Christmas\u003c/a>\u003c/em>).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But \u003cem>Holiday Touchdown\u003c/em> is not directly inspired by the Travis/Taylor story. It’s about a woman (Hunter King) whose family is obsessed with the Kansas City Chiefs, and they’re being considered as part of the team’s Fan Of The Year contest. (… Sure.) She meets a guy (Tyler Hynes) who works for the team and becomes the family’s handler for the contest while also falling for her (an enormous conflict of interest, tssk). There’s a magic hat (sure!), there are many (many many) Kansas City cameos and references, and there is an avalanche of Chiefs branding. This one might be a B for regular Hallmark-ers, but it’s an A for Kansas City locals and anybody who’s ever shared a sports team obsession with people they love.\u003c/p>\n\u003cp>And here’s the twist! There \u003cem>is\u003c/em> a movie that looks directly Travis/Taylor inspired, and it’s over on Lifetime. Called \u003cem>\u003ca href=\"https://play.mylifetime.com/movies/christmas-in-the-spotlight/preview-christmas-in-the-spotlight\">Christmas in the Spotlight\u003c/a>\u003c/em>, it is about a pop megastar and a football player — he’s just not a Chiefs player. Glad we could clear this up.\u003c/p>\n\u003ch2>‘Our Little Secret’\u003c/h2>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/fcc9G9PXTEE'\n title='//www.youtube.com/embed/fcc9G9PXTEE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Lindsay Lohan was very charming in last year’s \u003ca href=\"https://www.kqed.org/arts/13921477/lindsay-lohan-christmas-movie-netflix-falling-for-christmas\">\u003cem>Falling for Christmas \u003c/em>\u003c/a>on Netflix; this year, she’s back with \u003cem>Our Little Secret\u003c/em>, in which she plays a woman who goes to spend the holidays with the family of her new boyfriend and runs into — dun! — her old boyfriend, who’s dating her new boyfriend’s sister. Kristin Chenoweth has the time of her life as the prospective mother-in-law, and Lindsay Lohan is, yet again, a durably charismatic lead who’s still got her comedy chops.\u003c/p>\n\u003ch2>Franchises and sequels\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/IO2Vov72T3Q'\n title='//www.youtube.com/embed/IO2Vov72T3Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>You may remember 2022’s \u003cem>Three Wise Men and a Baby\u003c/em>, starring three of Hallmark’s top leading men — Andrew Walker, Tyler Hynes and Paul Campbell, or as I admit I knew them for a long time while thoroughly enjoying their work, “that one guy,” “that other guy,” and “oh sure that guy.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>They were brothers stuck caring for a baby over the holidays. Naturally, we now get the sequel titled \u003cem>Three Wiser Men and a Boy\u003c/em>. This is mostly a straight-up family comedy; it’s one of several Hallmark is doing this year that are not really romcoms even if they have romance elements. And, driven by the charm of the three leads, it’s a lot of fun. (These stories are co-written by Campbell and … Kimberley Sustad!)\u003c/p>\n\u003cp>As a side note, it’s been interesting to see Hallmark lean into the popularity of their male leads, who, for a long time, were treated as largely interchangeable partners for higher-profile actresses. They’re even airing a reality show this year called \u003cem>Finding Mr. Christmas\u003c/em>, hosted by Jonathan Bennett, in which men compete for a spot in a Hallmark movie called \u003cem>Happy Howlidays\u003c/em>\u003cem>,\u003c/em> which will then air on Dec. 21.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/j94E_7uwYPI'\n title='//www.youtube.com/embed/j94E_7uwYPI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>Also up: BET+’s \u003cem>Brewster’s Millions: Christmas \u003c/em>(Dec. 5), a sequel about the niece of Montgomery Brewster, played by Richard Pryor in the 1985 movie. Perhaps not the sequel we were expecting this year, but hey — long waits before stories get picked up again are the norm at this point.\u003c/p>\n\u003cp>We should also note a momentous franchise retirement: Between 2018 and 2023, Hallmark made the loosely connected films \u003cem>Time for Me to Come Home for Christmas\u003c/em>, \u003cem>Time for You to Come Home for Christmas\u003c/em>, \u003cem>Time for Him to Come Home for Christmas\u003c/em>, \u003cem>Time for Her to Come Home for Christmas\u003c/em>, \u003cem>Time for Them to Come Home for Christmas\u003c/em>, and \u003cem>Time for Us to Come Home for Christmas\u003c/em>. Perhaps owing to their exhaustion of the most familiar personal pronouns, they have seemingly completed this series.\u003c/p>\n\u003ch2>What is that title?\u003c/h2>\n\u003cp>Sometimes, the most enjoyable part of previewing holiday movies is looking ahead to the titles that will quite understandably make you wonder whether you are hallucinating — and then assuring you that you are not. Here are some of my favorite titles of 2024.\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>A Very Merry Beauty Salon\u003cbr>\n\u003c/em>\u003c/strong>\u003cspan style=\"font-size: 16px;font-weight: 400\">Lifetime, Dec. 7\u003c/span>\u003c/h2>\n\u003cp>Tia Mowry plays a salon owner who is preparing for a charity ball, and she meets a dashing wine CEO, and what’s not to like about that?\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>The Holiday Junkie\u003cbr>\n\u003c/em>\u003c/strong>\u003cspan style=\"font-size: 16px;font-weight: 400\">Lifetime, Dec. 14\u003c/span>\u003c/h2>\n\u003cp>Jennifer Love Hewitt co-wrote, directed and stars in this story about a woman who works with her mother as a decorator with a special fondness for Christmas. After her mom dies, she meets a Grinchy man who can perhaps help her deal with grief and also kissing.\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>A ’90s Christmas\u003cbr>\n\u003c/em>\u003c/strong>\u003cspan style=\"font-size: 16px;font-weight: 400\">Hallmark, Nov. 29\u003c/span>\u003c/h2>\n\u003cp>I am deeply wounded by the suggestion that the ’90s are ready for their nostalgia run (I know, I know, you don’t have to tell me how the math plays out), but here we are. This one is about a woman who seemingly goes back to 1999 with the help of … an enchanted Uber? (The description says “a mysterious rideshare experience.” I think that means “enchanted Uber.”)\u003c/p>\n\u003ch2>Fun with casting\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/91L4X-XNBzU'\n title='//www.youtube.com/embed/91L4X-XNBzU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>\u003cem>Confessions of a Christmas Letter \u003c/em>(Hallmark) is about a mom played by Angela Kinsey (of \u003cem>The Office\u003c/em>) who loves her family very much but struggles with her desire to write a competitively braggy Christmas letter about them. Her ultimate goal? To impress the man at the post office who keeps a “Hall of Fame” of Christmas letters. He is played by Brian Baumgartner (who played Kevin on \u003cem>The Office\u003c/em>). So she hires a novelist to spend two weeks writing one for her (uh, I am AVAILABLE FOR THIS GIG). While sparks do fly between said novelist and her daughter, this movie is mostly about this woman’s efforts to accept her imperfect family Christmas as the one that’s perfect for them.\u003c/p>\n\u003cp>\u003cem>Holiday Mismatch \u003c/em>(Hallmark) features two moms who don’t get along, who accidentally set up their adult children and then have to try to get them to break up. The moms are played by Beth Broderick and Caroline Rhea, who spent years playing the two aunts on \u003cem>Sabrina The Teenage Witch\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/3n1GUmAhoTs'\n title='//www.youtube.com/embed/3n1GUmAhoTs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Something quite different: Jack Black’s holiday movie highlight up to this point might be, well, \u003cem>The Holiday\u003c/em>. But this season, on Paramount+, in \u003cem>Dear Santa\u003c/em>, he shows up as Satan (yep), after a kid’s misspelling accidentally summons the wrong higher power at Christmas. Also around for this one: Keegan-Michael Key and Post Malone. In some ways, it’s mostly surprising that Jack Black hasn’t played Satan before now.\u003c/p>\n\u003ch2>What about Hanukkah?\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Tohd6NlQDXc'\n title='//www.youtube.com/embed/Tohd6NlQDXc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When the big purveyors of holiday movies do Hanukkah, the results can be mixed, to say the least. BUT. Hallmark made an excellent Hanukkah one last year called \u003cem>Round and Round\u003c/em>, so I have higher hopes for these entries than I used to. This year, Hallmark has two. One, called \u003cem>Leah’s Perfect Gift\u003c/em> (Dec. 8), is about a Jewish woman who loves Christmas (though she doesn’t celebrate it) and welcomes the chance to participate with her boyfriend’s family, only to find things are more complicated than they might seem. It sounds like a tough premise to get perfectly right, but also maybe like a chance for some interesting storytelling.\u003c/p>\n\u003cp>More straightforward-sounding is \u003cem>Hanukkah on the Rocks \u003c/em>(Dec. 13), in which a corporate lawyer ends up bartending for “quirky regulars” at a Chicago bar, goes on a quest for Hanukkah candles, and that’s about the size of that.\u003c/p>\n\u003ch2>Also of note\u003c/h2>\n\u003cp>Most Hallmark Christmas movies have until very recently had a pretty consistent soft-rom-com tone, but it feels like they’re starting to branch out a little. I enjoyed \u003cem>The Christmas Charade\u003c/em>, which is about a woman who gets wrapped up in a spy operation. It reminded me of ’80s shows I adored like \u003cem>Remington Steele\u003c/em>, where beautiful and well-dressed people have adventures while flirting. More of this, say I!\u003c/p>\n\u003cp>\u003cem>The 5-Year Christmas Party \u003c/em>(Hallmark) floats on the outstanding chemistry between Katie Findlay and Jordan Fisher, who play old friends who keep being tempted to make out all the time. It’s lovely and quite funny, and while I was watching this one, I had the thought: “It’s nice that women characters in Hallmark movies are sometimes allowed to have short hair now.”\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/6ooAi6la7xU'\n title='//www.youtube.com/embed/6ooAi6la7xU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>To say that Hallmark has a sketchy relationship with diversity is an understatement, but I liked \u003cem>Christmas with the Singhs\u003c/em>, which tries to engage with difference in a more straightforward way than their past TV movies. This one is about what it’s like to try to manage families with different holiday traditions when they’re joined by marriage.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/CdW5MdKk_-s'\n title='//www.youtube.com/embed/CdW5MdKk_-s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As a person with a long history of watching \u003cem>The Amazing Race\u003c/em>, I had a great time with \u003cem>Jingle Bell Run \u003c/em>(Hallmark), which follows two people thrown together on a team for what amounts to a Christmas-themed \u003cem>Amazing Race\u003c/em>. Obviously they fall in love, and it’s super-charming. It stars Ashley Williams and Andrew Walker, who are two of the bigger stars in the Hallmark firmament, and it even gently acknowledges once or twice that they’re getting older, which is very welcome. (I mean, it happens.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>If you like Finland, or dogs, perhaps you’re up for \u003cem>The Finnish Line\u003c/em> (Hallmark, Dec. 1), which is about dogsledding. As a person who has parasocial relationships with many internet dogs, including some sled dogs, this spoke to me personally. (Although I don’t think its grasp on the realities of mushing is terribly firm.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So grab a blanket, grab your cocoa, grab a snuggly person or pet or just your warmest sweater, and enjoy some of the standard and not-so-standard offerings of the holiday season.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>One of the first real signs that \u003cem>Queer\u003c/em> is going to be an unconventional movie is when Daniel Craig in a linen suit saunters through Mexico City during the early ‘50s and the soundtrack blasts a song by Nirvana.\u003c/p>\n\u003cp>It’s a pretty nifty way to explain this story of a man unmoored by time, geography and himself. Craig plays William Lee, an American hiding out in Mexico who spends his time going from bar to bar, knocking back tequila or mescal.\u003c/p>\n\u003cp>[aside postid='arts_13968738']Why is he hiding out? For one thing, he’s a junkie and Mexico is more permissive about heroin use than the States at this time. He’s also gay when being gay was considered abhorrent and Mexico was, again, more permissive. Lee is part of a wealthy expat contingent that fritters away the days stewed in liquor and gossip.\u003c/p>\n\u003cp>He doesn’t just sound like a William S. Burroughs hero, he’s partly Burroughs himself — \u003cem>Queer\u003c/em> was a confessional novella written long before his breakthrough novel \u003cem>Naked Lunch\u003c/em>. So buckle up. You’re going to see some weird stuff.\u003c/p>\n\u003cp>\u003cem>Queer\u003c/em> is best when it’s a character study of Lee, who in Craig’s hands is charming, selfish, arrogant, abrasive, foppish and sometimes unable to read a room. It’s a million miles from 007, even if Lee carries a pistol. Craig allows us to see the yearning for real love that Lee numbs with shot glasses and needles. That Nirvana song is “Come as You Are.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One day that real love suddenly appears in the form of the younger Eugene Allerton (a superb, icy Drew Starkey), who unlocks something in Lee. Could Eugene be the one to make Lee whole? Could they ride off into the sunset? Don’t be silly. This is a Burroughs story.\u003c/p>\n\u003cp>Eugene is on-again, off-again, sometimes loving Lee and sometimes preferring a woman’s company. Part of Eugene seems to dislike Lee or being seen with him. Lee’s voracious need — shown with vigorous lovemaking scenes — is overpowering.\u003c/p>\n\u003cp>One scene has the two men walking down a street and Eugene subtly shakes off the older man’s hand on his shoulder. “Is he a queer?” Lee asks a friend. “I can’t tell.” One drunken night he approaches his source of adoration and confesses he wants to speak without speaking. He soon will try.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ltinrfX03S4\u003c/p>\n\u003cp>Director Luca Guadagnino and screenwriter Justin Kuritzkes, who teamed up for \u003cem>Challengers\u003c/em>, face enormous challenges in adapting Burroughs’s words to the screen and yet they manage it, lyrically.\u003c/p>\n\u003cp>[aside postid='arts_13968600']There is a single-take scene in which Lee assembles the equipment necessary to inject himself with heroin and the camera watches as he gets high, slowing his body down to become a sort of pathetic statue at the kitchen table.\u003c/p>\n\u003cp>Symbols — a wriggling bug, snakes and mirrors — combine with trippy techniques meant to show Lee’s interior life, like his arm superimposed onto a scene tenderly touching his paramour when, in reality, it is hanging still. And there is a late moment of surreal beauty as the lovers climb into each other’s bodies, hands under the skin.\u003c/p>\n\u003cp>\u003cem>Queer\u003c/em> — broken up into three chapters and an epilogue — gets trippier in the later stages, when Lee and Eugene leave Mexico in search of a South American plant that apparently gives users telepathic powers. Lee is clearly trying to find a shortcut into the soul, bypassing the messiness of human interactions. “You think it can fix things for you,” he is told.\u003c/p>\n\u003cp>But this part isn’t well integrated with the first half, almost like a movie fragment, and the filmmakers fumble an attempt to deal with the death of Burroughs’ wife, Joan Vollmer. Guadagnino seems to unnecessarily channel Stanley Kubrick as the movie wobbles to its end, with scenes filled with deafening sound, then pregnant silence and an artificial momentousness.\u003c/p>\n\u003cp>[aside postid='arts_13968446']The score by Trent Reznor and Atticus Ross is vibrant but it gets a chef’s kiss with the addition of songs by Prince, New Order and Lydia Mendoza, mixed with contemporary songs by Benny Goodman, Eddie Cantor, Frankie Lane and Cole Porter.\u003c/p>\n\u003cp>The weight of it all comes down to Craig, and he’s a wonder in a fedora, dirt stains on his linen pants. \u003cem>Queer\u003c/em> is a reminder of how good an actor he is and how brave he can be — naked, needy and noxious. You’ll be shaken and stirred.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Queer’ opens in Bay Area theaters on Dec. 5, 2024 and nationwide on Dec. 13.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Why is he hiding out? For one thing, he’s a junkie and Mexico is more permissive about heroin use than the States at this time. He’s also gay when being gay was considered abhorrent and Mexico was, again, more permissive. Lee is part of a wealthy expat contingent that fritters away the days stewed in liquor and gossip.\u003c/p>\n\u003cp>He doesn’t just sound like a William S. Burroughs hero, he’s partly Burroughs himself — \u003cem>Queer\u003c/em> was a confessional novella written long before his breakthrough novel \u003cem>Naked Lunch\u003c/em>. So buckle up. You’re going to see some weird stuff.\u003c/p>\n\u003cp>\u003cem>Queer\u003c/em> is best when it’s a character study of Lee, who in Craig’s hands is charming, selfish, arrogant, abrasive, foppish and sometimes unable to read a room. It’s a million miles from 007, even if Lee carries a pistol. Craig allows us to see the yearning for real love that Lee numbs with shot glasses and needles. That Nirvana song is “Come as You Are.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One day that real love suddenly appears in the form of the younger Eugene Allerton (a superb, icy Drew Starkey), who unlocks something in Lee. Could Eugene be the one to make Lee whole? Could they ride off into the sunset? Don’t be silly. This is a Burroughs story.\u003c/p>\n\u003cp>Eugene is on-again, off-again, sometimes loving Lee and sometimes preferring a woman’s company. Part of Eugene seems to dislike Lee or being seen with him. Lee’s voracious need — shown with vigorous lovemaking scenes — is overpowering.\u003c/p>\n\u003cp>One scene has the two men walking down a street and Eugene subtly shakes off the older man’s hand on his shoulder. “Is he a queer?” Lee asks a friend. “I can’t tell.” One drunken night he approaches his source of adoration and confesses he wants to speak without speaking. He soon will try.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ltinrfX03S4'\n title='//www.youtube.com/embed/ltinrfX03S4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Director Luca Guadagnino and screenwriter Justin Kuritzkes, who teamed up for \u003cem>Challengers\u003c/em>, face enormous challenges in adapting Burroughs’s words to the screen and yet they manage it, lyrically.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There is a single-take scene in which Lee assembles the equipment necessary to inject himself with heroin and the camera watches as he gets high, slowing his body down to become a sort of pathetic statue at the kitchen table.\u003c/p>\n\u003cp>Symbols — a wriggling bug, snakes and mirrors — combine with trippy techniques meant to show Lee’s interior life, like his arm superimposed onto a scene tenderly touching his paramour when, in reality, it is hanging still. And there is a late moment of surreal beauty as the lovers climb into each other’s bodies, hands under the skin.\u003c/p>\n\u003cp>\u003cem>Queer\u003c/em> — broken up into three chapters and an epilogue — gets trippier in the later stages, when Lee and Eugene leave Mexico in search of a South American plant that apparently gives users telepathic powers. Lee is clearly trying to find a shortcut into the soul, bypassing the messiness of human interactions. “You think it can fix things for you,” he is told.\u003c/p>\n\u003cp>But this part isn’t well integrated with the first half, almost like a movie fragment, and the filmmakers fumble an attempt to deal with the death of Burroughs’ wife, Joan Vollmer. Guadagnino seems to unnecessarily channel Stanley Kubrick as the movie wobbles to its end, with scenes filled with deafening sound, then pregnant silence and an artificial momentousness.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The score by Trent Reznor and Atticus Ross is vibrant but it gets a chef’s kiss with the addition of songs by Prince, New Order and Lydia Mendoza, mixed with contemporary songs by Benny Goodman, Eddie Cantor, Frankie Lane and Cole Porter.\u003c/p>\n\u003cp>The weight of it all comes down to Craig, and he’s a wonder in a fedora, dirt stains on his linen pants. \u003cem>Queer\u003c/em> is a reminder of how good an actor he is and how brave he can be — naked, needy and noxious. You’ll be shaken and stirred.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Queer’ opens in Bay Area theaters on Dec. 5, 2024 and nationwide on Dec. 13.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Angelina Jolie Is Graceful and Sharp as Opera Star Maria Callas in ‘Maria’",
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"content": "\u003cp>Angelina Jolie glides through the final days of Maria Callas’ short life in Pablo Larraín’s \u003cem>Maria\u003c/em>, a dramatic, evocative elegy to the famed soprano. It’s an affair that’s at turns melancholy, biting and grandly theatrical, an aria for a once in a generation star.\u003c/p>\n\u003cp>Reality is of little consequence on the stage and in \u003cem>Maria\u003c/em>. It’s all about the raw feeling, which serves the movie well, more dream than history lesson about La Callas. Early on, she pops some Mandrax and tells her devoted butler Ferruccio (a simply wonderful Pierfrancesco Favino) that a television crew is on the way. Are they real, he wonders.\u003c/p>\n\u003cp>[aside postid='arts_13968359']“As of this morning, what is real and what is not real is my business,” she says calmly and definitively, making a feast out of Steven Knight’s sharp script. It’s one of many great lines and moments for Jolie, whose intensity and resolve belie her fragile appearance. And it’s a signal to the audience as well: Don’t fret about dull facts or that Jolie doesn’t really resemble Callas all that much. This is a biopic as opera — an emotional journey fitting of the great diva, full of flair, beauty, betrayal, revelations and sorrow.\u003c/p>\n\u003cp>In \u003cem>Maria\u003c/em>, we are the companion to a protagonist with an ever-loosening grip on reality, walking with her through Paris, and her life, for one week in September 1977.\u003c/p>\n\u003cp>The images from cinematographer Ed Lachman, playfully shifting in form and style, take us on a scattershot journey through her triumphs on stage, her scandalous romance with Aristotle Onassis (Haluk Bilginer) and her traumatic youth. In the present, at age 53, she sleeps till midday, drinks the minimal calories she ingests, goes to restaurants where the waiters know her name looking for adulation and has visions of performances staged just for her all around the city.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Callas is always immaculately dressed and assured, whether reflecting to the imagined news crew (led by Kodi Smit-McPhee) or attempting to find her voice again. Her instrument had famously diminished, leaving her wondering what’s left to live for. The only consistent praise she gets is from her obedient housemaid Bruna (Alba Rohrwacher). It’s no secret that the destination is death. And you suspect that she knows quite well that everything will be a big dimmer when her spotlight is turned off.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_7_ze9palm0\u003c/p>\n\u003cp>Larraín has made a lasting mark on cinema with his unofficial trilogy about these famous women with tragic narratives. With \u003cem>Jackie\u003c/em>, \u003cem>Spencer\u003c/em> and now \u003cem>Maria\u003c/em>, his films are also an unintentional antidote to Ryan Murphy’s stranglehold of the grand dames of recent history, which are all style and scandal and little substance. And yet Larraín’s films are not for everyone. If \u003cem>Jackie\u003c/em> and \u003cem>Spencer\u003c/em> did not speak to you, did not show those women as you hoped they would, \u003cem>Maria\u003c/em> will not turn you into a believer. Three movies in, it seems that audiences are either very on board with his vision or not. There is little room for an in between.\u003c/p>\n\u003cp>And yet it’s hard to deny that his films are incredible showcases for actors. Jolie as a movie star is somehow both omnipresent and elusive, and lately she chooses to step in front of the camera all too infrequently. Sometimes you wish she could just follow in Nicole Kidman’s footsteps, for whom quantity does not seem to ever jeopardize quality, and she seems to be having fun doing it all, all the time. Perhaps it’s because performances like Jolie’s in \u003cem>Maria\u003c/em> look so all-consuming.\u003c/p>\n\u003cp>[aside postid='arts_13968437']In the film, Maria scolds a fan for daring to question that she faked sickness to miss a performance. He doesn’t understand the total commitment of body and soul required to make it look effortless, which is probably true. Jolie is not so dramatic, at least publicly, about what it takes to create art. But here the lines blur: Character and actor blend so seamlessly, so ferociously, that you leave not just with heightened empathy for La Callas but Jolie as well.\u003c/p>\n\u003cp>In one of the film’s few regrettable scenes, she’s put face to face with John F. Kennedy (no fault of Caspar Phillipson), whose wife has caught the greedy eye of Onassis. As a testament to the power of Jolie and the script, you almost forgive yet another JFK impersonation for giving her one of the great brushoffs to utter, romantic and withering all at once. Is it all a little much? Of course, but that’s kind of the point of Maria.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Maria’ is out in Bay Area theaters on Nov. 27, 2024, and begins streaming on Netflix on Dec. 11.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Angelina Jolie glides through the final days of Maria Callas’ short life in Pablo Larraín’s \u003cem>Maria\u003c/em>, a dramatic, evocative elegy to the famed soprano. It’s an affair that’s at turns melancholy, biting and grandly theatrical, an aria for a once in a generation star.\u003c/p>\n\u003cp>Reality is of little consequence on the stage and in \u003cem>Maria\u003c/em>. It’s all about the raw feeling, which serves the movie well, more dream than history lesson about La Callas. Early on, she pops some Mandrax and tells her devoted butler Ferruccio (a simply wonderful Pierfrancesco Favino) that a television crew is on the way. Are they real, he wonders.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“As of this morning, what is real and what is not real is my business,” she says calmly and definitively, making a feast out of Steven Knight’s sharp script. It’s one of many great lines and moments for Jolie, whose intensity and resolve belie her fragile appearance. And it’s a signal to the audience as well: Don’t fret about dull facts or that Jolie doesn’t really resemble Callas all that much. This is a biopic as opera — an emotional journey fitting of the great diva, full of flair, beauty, betrayal, revelations and sorrow.\u003c/p>\n\u003cp>In \u003cem>Maria\u003c/em>, we are the companion to a protagonist with an ever-loosening grip on reality, walking with her through Paris, and her life, for one week in September 1977.\u003c/p>\n\u003cp>The images from cinematographer Ed Lachman, playfully shifting in form and style, take us on a scattershot journey through her triumphs on stage, her scandalous romance with Aristotle Onassis (Haluk Bilginer) and her traumatic youth. In the present, at age 53, she sleeps till midday, drinks the minimal calories she ingests, goes to restaurants where the waiters know her name looking for adulation and has visions of performances staged just for her all around the city.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Callas is always immaculately dressed and assured, whether reflecting to the imagined news crew (led by Kodi Smit-McPhee) or attempting to find her voice again. Her instrument had famously diminished, leaving her wondering what’s left to live for. The only consistent praise she gets is from her obedient housemaid Bruna (Alba Rohrwacher). It’s no secret that the destination is death. And you suspect that she knows quite well that everything will be a big dimmer when her spotlight is turned off.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/_7_ze9palm0'\n title='//www.youtube.com/embed/_7_ze9palm0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Larraín has made a lasting mark on cinema with his unofficial trilogy about these famous women with tragic narratives. With \u003cem>Jackie\u003c/em>, \u003cem>Spencer\u003c/em> and now \u003cem>Maria\u003c/em>, his films are also an unintentional antidote to Ryan Murphy’s stranglehold of the grand dames of recent history, which are all style and scandal and little substance. And yet Larraín’s films are not for everyone. If \u003cem>Jackie\u003c/em> and \u003cem>Spencer\u003c/em> did not speak to you, did not show those women as you hoped they would, \u003cem>Maria\u003c/em> will not turn you into a believer. Three movies in, it seems that audiences are either very on board with his vision or not. There is little room for an in between.\u003c/p>\n\u003cp>And yet it’s hard to deny that his films are incredible showcases for actors. Jolie as a movie star is somehow both omnipresent and elusive, and lately she chooses to step in front of the camera all too infrequently. Sometimes you wish she could just follow in Nicole Kidman’s footsteps, for whom quantity does not seem to ever jeopardize quality, and she seems to be having fun doing it all, all the time. Perhaps it’s because performances like Jolie’s in \u003cem>Maria\u003c/em> look so all-consuming.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In the film, Maria scolds a fan for daring to question that she faked sickness to miss a performance. He doesn’t understand the total commitment of body and soul required to make it look effortless, which is probably true. Jolie is not so dramatic, at least publicly, about what it takes to create art. But here the lines blur: Character and actor blend so seamlessly, so ferociously, that you leave not just with heightened empathy for La Callas but Jolie as well.\u003c/p>\n\u003cp>In one of the film’s few regrettable scenes, she’s put face to face with John F. Kennedy (no fault of Caspar Phillipson), whose wife has caught the greedy eye of Onassis. As a testament to the power of Jolie and the script, you almost forgive yet another JFK impersonation for giving her one of the great brushoffs to utter, romantic and withering all at once. Is it all a little much? Of course, but that’s kind of the point of Maria.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Maria’ is out in Bay Area theaters on Nov. 27, 2024, and begins streaming on Netflix on Dec. 11.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Do you have a someone in your life who plays Vulture’s Cinematrix game every morning? Or maybe they have the kitchen television turned to Turner Classic Movies all day and make a point of organizing Oscar polls at work? Hate to break it to you: They might be a hard-to-please cinephile.\u003c/p>\n\u003cp>But while you might not want to get into a winless debate over the \u003ca href=\"https://www.kqed.org/arts/13967891/juror-2-movie-review-legal-thriller-clint-eastwood-nicholas-hoult\">\u003cem>Juror No. 2\u003c/em>\u003c/a> release or the merits of \u003ca href=\"https://www.kqed.org/arts/13965555/megalopolis-francis-ford-coppola-review\">\u003cem>Megalopolis\u003c/em>\u003c/a> with said person, they don’t have to be hard to buy gifts for. The Associated Press has gathered up some of the best items out there to keep any movie lover stylish and informed.\u003c/p>\n\u003ch2>‘Interstellar’ 4K UHD\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=HYVxnPmb15E\u003c/p>\n\u003cp>While Christopher Nolan dreams up his next film, fans can tide themselves over by revisiting his modern classic \u003cem>Interstellar\u003c/em>, which will be back in IMAX theaters on the weekend of Dec. 6, followed by the home release of a new collector’s edition on 4K Ultra HD and Blu-ray ($59.95). A third disc in the set, available Dec. 10, contains more than two hours of bonus content, like a never-before-seen storyboard sequence, and new interviews with Nolan, producer Emma Thomas and famous fans Peter Jackson and Denis Villeneuve.\u003c/p>\n\u003ch2>A ‘Matrix’ hoodie\u003c/h2>\n\u003cp>The Academy Museum of Motion Pictures has an exclusive new \u003cem>Matrix\u003c/em> sweatshirt for sale in conjunction with its Cyberpunk exhibition. Brain Dead Studios designed and created several items, including the \u003ca href=\"https://academymuseumstore.org/products/the-matrix-hoodie?variant=44461479526577\">black hoodie\u003c/a> ($140), a white rabbit tee ($54) and a pint glass ($18).\u003c/p>\n\u003ch2>An Academy Museum exhibition catalog\u003c/h2>\n\u003cp>If you can’t make it to Los Angeles to check out the \u003cem>Color in Motion\u003c/em> exhibit for yourself, the Academy Museum also has a beautiful new companion book for sale ($55) charting the development of color technology in film and its impact. It includes photos from films like \u003ca href=\"https://www.pbs.org/wnet/gperf/the-red-shoes-about/12909/\">\u003cem>The Red Shoes\u003c/em>\u003c/a>, \u003ca href=\"https://www.kqed.org/pop/11694/10-films-you-need-to-see-to-have-a-conversation-in-san-francisco\">\u003cem>Vertigo\u003c/em>\u003c/a>, \u003ca href=\"https://www.kqed.org/pop/102906/50-years-later-2001-a-space-odyssey-is-still-a-cinematic-landmark\">\u003cem>2001: A Space Odyssey\u003c/em>\u003c/a>, and images of rare prints from the silent era. The Academy Museum Store is having a sale (20% off everything) from Nov. 28 to Dec. 2.\u003c/p>\n\u003ch2>A biography of Elaine May\u003c/h2>\n\u003cfigure id=\"attachment_13968641\" class=\"wp-caption aligncenter\" style=\"max-width: 1363px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968641\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elaine.png\" alt=\"A book cover featuring a black and white photo of a white woman with dark hair, deep in thought.\" width=\"1363\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elaine.png 1363w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elaine-800x1174.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elaine-1020x1497.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elaine-160x235.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elaine-768x1127.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elaine-1047x1536.png 1047w\" sizes=\"(max-width: 1363px) 100vw, 1363px\">\u003cfigcaption class=\"wp-caption-text\">‘Miss May Does Not Exist: The Life and Work of Elaine May, Hollywood’s Hidden Genius,’ by Carrie Courogen. \u003ccite>(St. Martin's Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Elaine May does not give interviews anymore. But thankfully that didn’t deter writer Carrie Courogen, who did a remarkable job stitching together the life of one of our culture’s most fascinating, and prickly, talents. \u003cem>Miss May Does Not Exist\u003c/em> is full of delightful anecdotes about the sharp and satirical comedian who gained fame as one half of Nichols and May and went on to direct films like \u003cem>The Heartbreak Kid\u003c/em> and \u003cem>Mikey and Nicky\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Courogen writes about May’s successes, flops and her legendary scuffles with the Hollywood establishment. It’s a vital companion to Mark Harris’ biography of Mike Nichols. Macmillan. $30.\u003c/p>\n\u003ch2>A status tote\u003c/h2>\n\u003cp>Want to look like a real film festival warrior, the kind who sees five movies a day, files a review and still manages to make the late-night karaoke party? You’re going to need the ultimate status \u003ca href=\"https://shop.mubi.com/en-us/products/back-to-black-bag\">tote from the independent streaming service MUBI\u003c/a>. Simple, to-the-point and only for people in the know. $25.\u003c/p>\n\u003ch2>‘The Metrograph’ magazine\u003c/h2>\n\u003cp>Film magazines may be an endangered species, but print is not dead at \u003ca href=\"https://metrograph.com/?v=0b3b97fa6688\">\u003cem>The Metrograph\u003c/em>\u003c/a>. Manhattan’s coolest movie theater is starting a biannual print publication “for cinephiles and cultural connoisseurs alike.” The first issue’s cover art is by cinematographer Ed Lachman (\u003cem>Carol\u003c/em>), and contributors include the likes of \u003ca href=\"https://www.kqed.org/arts/13935619/in-daniel-clowes-monica-grief-nefarious-hippies-and-a-personal-apocalypse\">Daniel Clowes\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13860690/midsommar-shines-a-solstice-nightmare-unfolds-in-broad-daylight\">Ari Aster\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13954796/steve-martin-apple-tv-documentary-then-now-stand-up\">Steve Martin\u003c/a> and Simon Rex. There’s also a conversation with \u003ca href=\"https://video.kqed.org/video/clint-eastwood-for-the-mule-ejnwjt/\">Clint Eastwood\u003c/a>. It’s currently available for pre-order and will be in bookstores Dec. 10 for $25 ($15 for Metrograph members).\u003c/p>\n\u003ch2>Director style\u003c/h2>\n\u003cfigure id=\"attachment_13968643\" class=\"wp-caption aligncenter\" style=\"max-width: 1520px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968643\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/directors.png\" alt=\"A book cover featuring a photo of a woman in a director's chair wearing an oversized suit.\" width=\"1520\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/directors.png 1520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/directors-800x1053.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/directors-1020x1342.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/directors-160x211.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/directors-768x1011.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/directors-1167x1536.png 1167w\" sizes=\"(max-width: 1520px) 100vw, 1520px\">\u003cfigcaption class=\"wp-caption-text\">‘How Directors Dress: On Set, in the Edit, and Down the Red Carpet,’ by A24. \u003ccite>(A24 Editions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>This is not a book about filmmaking styles, camera angles and leadership choices. It’s literally about what directors wear. \u003cem>\u003ca href=\"https://shop.a24films.com/products/how-directors-dress\">How Directors Dress: On Set, in the Edit, and Down the Red Carpet\u003c/a>\u003c/em> ($40) has over 200 archival photos of filmmakers in action: Spike Lee in his basketball caps, Sofia Coppola in her Charvet button-ups, Steven Spielberg’s denim on denim and many more. With a forward by the always elegant Joanna Hogg and writing from some of the top fashion journalists, it’s a beautiful look at how filmmakers really dress for work — and might even be a source of inspiration.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Do you have a someone in your life who plays Vulture’s Cinematrix game every morning? Or maybe they have the kitchen television turned to Turner Classic Movies all day and make a point of organizing Oscar polls at work? Hate to break it to you: They might be a hard-to-please cinephile.\u003c/p>\n\u003cp>But while you might not want to get into a winless debate over the \u003ca href=\"https://www.kqed.org/arts/13967891/juror-2-movie-review-legal-thriller-clint-eastwood-nicholas-hoult\">\u003cem>Juror No. 2\u003c/em>\u003c/a> release or the merits of \u003ca href=\"https://www.kqed.org/arts/13965555/megalopolis-francis-ford-coppola-review\">\u003cem>Megalopolis\u003c/em>\u003c/a> with said person, they don’t have to be hard to buy gifts for. The Associated Press has gathered up some of the best items out there to keep any movie lover stylish and informed.\u003c/p>\n\u003ch2>‘Interstellar’ 4K UHD\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/HYVxnPmb15E'\n title='//www.youtube.com/embed/HYVxnPmb15E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>While Christopher Nolan dreams up his next film, fans can tide themselves over by revisiting his modern classic \u003cem>Interstellar\u003c/em>, which will be back in IMAX theaters on the weekend of Dec. 6, followed by the home release of a new collector’s edition on 4K Ultra HD and Blu-ray ($59.95). A third disc in the set, available Dec. 10, contains more than two hours of bonus content, like a never-before-seen storyboard sequence, and new interviews with Nolan, producer Emma Thomas and famous fans Peter Jackson and Denis Villeneuve.\u003c/p>\n\u003ch2>A ‘Matrix’ hoodie\u003c/h2>\n\u003cp>The Academy Museum of Motion Pictures has an exclusive new \u003cem>Matrix\u003c/em> sweatshirt for sale in conjunction with its Cyberpunk exhibition. Brain Dead Studios designed and created several items, including the \u003ca href=\"https://academymuseumstore.org/products/the-matrix-hoodie?variant=44461479526577\">black hoodie\u003c/a> ($140), a white rabbit tee ($54) and a pint glass ($18).\u003c/p>\n\u003ch2>An Academy Museum exhibition catalog\u003c/h2>\n\u003cp>If you can’t make it to Los Angeles to check out the \u003cem>Color in Motion\u003c/em> exhibit for yourself, the Academy Museum also has a beautiful new companion book for sale ($55) charting the development of color technology in film and its impact. It includes photos from films like \u003ca href=\"https://www.pbs.org/wnet/gperf/the-red-shoes-about/12909/\">\u003cem>The Red Shoes\u003c/em>\u003c/a>, \u003ca href=\"https://www.kqed.org/pop/11694/10-films-you-need-to-see-to-have-a-conversation-in-san-francisco\">\u003cem>Vertigo\u003c/em>\u003c/a>, \u003ca href=\"https://www.kqed.org/pop/102906/50-years-later-2001-a-space-odyssey-is-still-a-cinematic-landmark\">\u003cem>2001: A Space Odyssey\u003c/em>\u003c/a>, and images of rare prints from the silent era. The Academy Museum Store is having a sale (20% off everything) from Nov. 28 to Dec. 2.\u003c/p>\n\u003ch2>A biography of Elaine May\u003c/h2>\n\u003cfigure id=\"attachment_13968641\" class=\"wp-caption aligncenter\" style=\"max-width: 1363px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968641\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elaine.png\" alt=\"A book cover featuring a black and white photo of a white woman with dark hair, deep in thought.\" width=\"1363\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elaine.png 1363w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elaine-800x1174.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elaine-1020x1497.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elaine-160x235.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elaine-768x1127.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elaine-1047x1536.png 1047w\" sizes=\"(max-width: 1363px) 100vw, 1363px\">\u003cfigcaption class=\"wp-caption-text\">‘Miss May Does Not Exist: The Life and Work of Elaine May, Hollywood’s Hidden Genius,’ by Carrie Courogen. \u003ccite>(St. Martin's Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Elaine May does not give interviews anymore. But thankfully that didn’t deter writer Carrie Courogen, who did a remarkable job stitching together the life of one of our culture’s most fascinating, and prickly, talents. \u003cem>Miss May Does Not Exist\u003c/em> is full of delightful anecdotes about the sharp and satirical comedian who gained fame as one half of Nichols and May and went on to direct films like \u003cem>The Heartbreak Kid\u003c/em> and \u003cem>Mikey and Nicky\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Courogen writes about May’s successes, flops and her legendary scuffles with the Hollywood establishment. It’s a vital companion to Mark Harris’ biography of Mike Nichols. Macmillan. $30.\u003c/p>\n\u003ch2>A status tote\u003c/h2>\n\u003cp>Want to look like a real film festival warrior, the kind who sees five movies a day, files a review and still manages to make the late-night karaoke party? You’re going to need the ultimate status \u003ca href=\"https://shop.mubi.com/en-us/products/back-to-black-bag\">tote from the independent streaming service MUBI\u003c/a>. Simple, to-the-point and only for people in the know. $25.\u003c/p>\n\u003ch2>‘The Metrograph’ magazine\u003c/h2>\n\u003cp>Film magazines may be an endangered species, but print is not dead at \u003ca href=\"https://metrograph.com/?v=0b3b97fa6688\">\u003cem>The Metrograph\u003c/em>\u003c/a>. Manhattan’s coolest movie theater is starting a biannual print publication “for cinephiles and cultural connoisseurs alike.” The first issue’s cover art is by cinematographer Ed Lachman (\u003cem>Carol\u003c/em>), and contributors include the likes of \u003ca href=\"https://www.kqed.org/arts/13935619/in-daniel-clowes-monica-grief-nefarious-hippies-and-a-personal-apocalypse\">Daniel Clowes\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13860690/midsommar-shines-a-solstice-nightmare-unfolds-in-broad-daylight\">Ari Aster\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13954796/steve-martin-apple-tv-documentary-then-now-stand-up\">Steve Martin\u003c/a> and Simon Rex. There’s also a conversation with \u003ca href=\"https://video.kqed.org/video/clint-eastwood-for-the-mule-ejnwjt/\">Clint Eastwood\u003c/a>. It’s currently available for pre-order and will be in bookstores Dec. 10 for $25 ($15 for Metrograph members).\u003c/p>\n\u003ch2>Director style\u003c/h2>\n\u003cfigure id=\"attachment_13968643\" class=\"wp-caption aligncenter\" style=\"max-width: 1520px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968643\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/directors.png\" alt=\"A book cover featuring a photo of a woman in a director's chair wearing an oversized suit.\" width=\"1520\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/directors.png 1520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/directors-800x1053.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/directors-1020x1342.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/directors-160x211.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/directors-768x1011.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/directors-1167x1536.png 1167w\" sizes=\"(max-width: 1520px) 100vw, 1520px\">\u003cfigcaption class=\"wp-caption-text\">‘How Directors Dress: On Set, in the Edit, and Down the Red Carpet,’ by A24. \u003ccite>(A24 Editions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>This is not a book about filmmaking styles, camera angles and leadership choices. It’s literally about what directors wear. \u003cem>\u003ca href=\"https://shop.a24films.com/products/how-directors-dress\">How Directors Dress: On Set, in the Edit, and Down the Red Carpet\u003c/a>\u003c/em> ($40) has over 200 archival photos of filmmakers in action: Spike Lee in his basketball caps, Sofia Coppola in her Charvet button-ups, Steven Spielberg’s denim on denim and many more. With a forward by the always elegant Joanna Hogg and writing from some of the top fashion journalists, it’s a beautiful look at how filmmakers really dress for work — and might even be a source of inspiration.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Love Turkeys? ‘Blood Freak’ Is the Perfect Thanksgiving Revenge Movie",
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"headTitle": "Love Turkeys? ‘Blood Freak’ Is the Perfect Thanksgiving Revenge Movie | KQED",
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"content": "\u003cfigure id=\"attachment_13968623\" class=\"wp-caption aligncenter\" style=\"max-width: 1309px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968623\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blood-freak.png\" alt=\"A 1970s-era slasher movie poster, featuring a beautiful woman being dragged away by a man-sized turkey.\" width=\"1309\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blood-freak.png 1309w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blood-freak-800x1222.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blood-freak-1020x1558.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blood-freak-160x244.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blood-freak-768x1173.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blood-freak-1005x1536.png 1005w\" sizes=\"(max-width: 1309px) 100vw, 1309px\">\u003cfigcaption class=\"wp-caption-text\">‘Blood Freak.’ Yes, that is a man-turkey kidnapping a woman. Just go with it. \u003ccite>(Clamil Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As we all know (and probably try to ignore as much as possible), this is an extremely bad time of year to be a turkey. As such, you might be wondering this \u003ca href=\"https://www.kqed.org/arts/tag/thanksgiving\">Thanksgiving\u003c/a> how best to distract the very sad herbivores in your life. Fortunately, we have a suggestion! It’s called \u003cem>Blood Freak\u003c/em>: a preposterous (and occasionally gory) slasher flick from 1972. Better yet: the character at the center of the movie has the head of a turkey and a thirst for human blood. (A turkey? Turning the tables on us? Doesn’t that sound like fun? Anyone? No?)\u003c/p>\n\u003cp>I’m getting ahead of myself.\u003c/p>\n\u003cp>Our story begins with our leading man/future turkey (his name is Herschell) riding his motorcycle on a freeway. He pulls over to help a beautiful young woman named Angel who has a flat tire, and the two hit it off. Herschell has recently returned from Vietnam and is trying his darnedest to look like Vegas-era Elvis, which I genuinely didn’t know was a thing that anyone did unless they were kind of joking.\u003c/p>\n\u003cfigure id=\"attachment_13968622\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968622\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elvis-steve.png\" alt=\"A brooding man wearing a black shirt stands, black hair blowing in the breeze.\" width=\"2000\" height=\"1112\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elvis-steve.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elvis-steve-800x445.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elvis-steve-1020x567.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elvis-steve-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elvis-steve-768x427.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elvis-steve-1536x854.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elvis-steve-1038x576.png 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elvis-steve-1920x1068.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">See what I mean? \u003ccite>(Clamil Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Naturally, this being the 1970s, Herschell and Angel immediately go to a drug-fueled party at Angel’s sister Ann’s house. For some reason, hanging out in this den of iniquity is the elderly owner of a turkey farm. (Don’t ask questions!) And for some reason, he immediately offers Herschell a job. (Seems totally fine!)\u003c/p>\n\u003cp>Angel won’t stop talking about the Bible and is less fun than she looks, so Herschell does sex with Ann instead and smokes mysterious drugs that Ann provides. Hours later, Herschell finds himself sweating and writhing around in pain on Ann’s leopard-print waterbed. (You heard me…) Ann gives him more unspecified drugs to smoke, which immediately makes him feel better. Herschell then angrily declares that he is “hooked,” which is kind of amazing if you know anything at all about how drugs work.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the morning, Herschell heads to the poultry farm, where his job involves eating turkey that has been chemically altered for government-related testing reasons. A variety of men wearing white lab coats are as vague as possible about the reasons for this, lest this movie make any salient points about anything whatsoever.\u003c/p>\n\u003cp>[aside postid='arts_13879754']After Herschell eats the chemically enhanced turkey, he immediately passes out in the grass and starts having seizures. When Herschell wakes up hours later, he has turned into a turkey himself — but only from the neck up because special effects are expensive. (See also: \u003ca href=\"https://kalamazoomuseum.org/full-calendar/the-fly-1958\">the grand finale of 1958’s \u003cem>The Fly\u003c/em>\u003c/a>.) Herschell stumbles back to Ann’s (on foot, which kind of sucks because I really wanted to see a turkey riding a motorcycle today).\u003c/p>\n\u003cp>Because his mouth only makes “gobble-gobble” noises now, Herschell passes Ann handwritten notes explaining that he’s turned into a turkey mutant. Which is fairly obvious because he looks like this now:\u003c/p>\n\u003cfigure id=\"attachment_13968625\" class=\"wp-caption aligncenter\" style=\"max-width: 1470px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968625\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/hersh.png\" alt=\"A man's body with the head of an evil-looking turkey.\" width=\"1470\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/hersh.png 1470w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/hersh-800x1088.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/hersh-1020x1388.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/hersh-160x218.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/hersh-768x1045.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/hersh-1129x1536.png 1129w\" sizes=\"(max-width: 1470px) 100vw, 1470px\">\u003cfigcaption class=\"wp-caption-text\">It’s a man-turkey. And he wants to drink your blood. But only if you do drugs. It’s complicated, okay? \u003ccite>(Clamil Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ann takes all of this pretty well and calmly makes a (frankly brilliant) speech about whether or not their kids are going to look like turkeys now. (Aside from another scene in which an attempted rapist has his leg sawn off, this is my favorite moment in the entire movie. Turkey-headed children, for the win!)\u003c/p>\n\u003cp>[aside postid='arts_13939927']Off the cuff entirely, Herschell decides to go on a killing spree, specifically targeting drug users and then drinking their blood. (One of them is a lady he called “a tramp” at the drug party, so she obviously deserves this.) When Herschell murders ladies, the same (short) scream track plays on a loop over and over again in the background and we’re not supposed to notice. Which is actually a lot more fun than it sounds.\u003c/p>\n\u003cp>Herschell does not have an efficient system for gathering and drinking his victims’ blood, so just cups his hands into the stream and does a slurping thing with his giant beak. GET YOURSELF A BUCKET, TURKEY-HERSCHELL. YOU’RE WASTING SO MUCH DRUG-BLOOD.\u003c/p>\n\u003cfigure id=\"attachment_13968628\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968628\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/turkey-murder.png\" alt=\"A man in a white t-shirt and jeans stands stunned while a man with a turkey head grips him by the neck.\" width=\"900\" height=\"634\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/turkey-murder.png 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/turkey-murder-800x564.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/turkey-murder-160x113.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/turkey-murder-768x541.png 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">Herschell the turkey-man, doing an attack. \u003ccite>(Clamil Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I don’t want to spoil the ending, but it involves finding sobriety, God and a nice pier to stand on. Also, I would be remiss if I didn’t mention the fact that this entire movie is sporadically interrupted by a guy in a shiny shirt, smoking a cigarette from behind a desk and trying desperately to provide sensible, \u003cem>Twilight Zone\u003c/em>-esque commentary. (This is not very successful. In part because this gentleman is reading his lines off a piece of paper. Also in part because he resembles what would happen if Christopher Lee and Ron Jeremy combined forces to become one human.)\u003c/p>\n\u003cp>Shiny shirt guy’s real name is Brad F. Grinter and he co-wrote and co-directed \u003cem>Blood Freak\u003c/em> with Steve Hawkes. And guess who played Herschell? Steve Hawkes, that’s who! Which means Hawkes and Grinter actually did all of this to themselves, on purpose, entirely willingly. And for that? We should all be grateful.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Blood Freak’ is streaming for free on \u003ca href=\"https://watch.plex.tv/watch/movie/blood-freak\">Plex\u003c/a> right now.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13968623\" class=\"wp-caption aligncenter\" style=\"max-width: 1309px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968623\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blood-freak.png\" alt=\"A 1970s-era slasher movie poster, featuring a beautiful woman being dragged away by a man-sized turkey.\" width=\"1309\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blood-freak.png 1309w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blood-freak-800x1222.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blood-freak-1020x1558.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blood-freak-160x244.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blood-freak-768x1173.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blood-freak-1005x1536.png 1005w\" sizes=\"(max-width: 1309px) 100vw, 1309px\">\u003cfigcaption class=\"wp-caption-text\">‘Blood Freak.’ Yes, that is a man-turkey kidnapping a woman. Just go with it. \u003ccite>(Clamil Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As we all know (and probably try to ignore as much as possible), this is an extremely bad time of year to be a turkey. As such, you might be wondering this \u003ca href=\"https://www.kqed.org/arts/tag/thanksgiving\">Thanksgiving\u003c/a> how best to distract the very sad herbivores in your life. Fortunately, we have a suggestion! It’s called \u003cem>Blood Freak\u003c/em>: a preposterous (and occasionally gory) slasher flick from 1972. Better yet: the character at the center of the movie has the head of a turkey and a thirst for human blood. (A turkey? Turning the tables on us? Doesn’t that sound like fun? Anyone? No?)\u003c/p>\n\u003cp>I’m getting ahead of myself.\u003c/p>\n\u003cp>Our story begins with our leading man/future turkey (his name is Herschell) riding his motorcycle on a freeway. He pulls over to help a beautiful young woman named Angel who has a flat tire, and the two hit it off. Herschell has recently returned from Vietnam and is trying his darnedest to look like Vegas-era Elvis, which I genuinely didn’t know was a thing that anyone did unless they were kind of joking.\u003c/p>\n\u003cfigure id=\"attachment_13968622\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968622\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elvis-steve.png\" alt=\"A brooding man wearing a black shirt stands, black hair blowing in the breeze.\" width=\"2000\" height=\"1112\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elvis-steve.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elvis-steve-800x445.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elvis-steve-1020x567.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elvis-steve-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elvis-steve-768x427.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elvis-steve-1536x854.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elvis-steve-1038x576.png 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elvis-steve-1920x1068.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">See what I mean? \u003ccite>(Clamil Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Naturally, this being the 1970s, Herschell and Angel immediately go to a drug-fueled party at Angel’s sister Ann’s house. For some reason, hanging out in this den of iniquity is the elderly owner of a turkey farm. (Don’t ask questions!) And for some reason, he immediately offers Herschell a job. (Seems totally fine!)\u003c/p>\n\u003cp>Angel won’t stop talking about the Bible and is less fun than she looks, so Herschell does sex with Ann instead and smokes mysterious drugs that Ann provides. Hours later, Herschell finds himself sweating and writhing around in pain on Ann’s leopard-print waterbed. (You heard me…) Ann gives him more unspecified drugs to smoke, which immediately makes him feel better. Herschell then angrily declares that he is “hooked,” which is kind of amazing if you know anything at all about how drugs work.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the morning, Herschell heads to the poultry farm, where his job involves eating turkey that has been chemically altered for government-related testing reasons. A variety of men wearing white lab coats are as vague as possible about the reasons for this, lest this movie make any salient points about anything whatsoever.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>After Herschell eats the chemically enhanced turkey, he immediately passes out in the grass and starts having seizures. When Herschell wakes up hours later, he has turned into a turkey himself — but only from the neck up because special effects are expensive. (See also: \u003ca href=\"https://kalamazoomuseum.org/full-calendar/the-fly-1958\">the grand finale of 1958’s \u003cem>The Fly\u003c/em>\u003c/a>.) Herschell stumbles back to Ann’s (on foot, which kind of sucks because I really wanted to see a turkey riding a motorcycle today).\u003c/p>\n\u003cp>Because his mouth only makes “gobble-gobble” noises now, Herschell passes Ann handwritten notes explaining that he’s turned into a turkey mutant. Which is fairly obvious because he looks like this now:\u003c/p>\n\u003cfigure id=\"attachment_13968625\" class=\"wp-caption aligncenter\" style=\"max-width: 1470px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968625\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/hersh.png\" alt=\"A man's body with the head of an evil-looking turkey.\" width=\"1470\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/hersh.png 1470w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/hersh-800x1088.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/hersh-1020x1388.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/hersh-160x218.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/hersh-768x1045.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/hersh-1129x1536.png 1129w\" sizes=\"(max-width: 1470px) 100vw, 1470px\">\u003cfigcaption class=\"wp-caption-text\">It’s a man-turkey. And he wants to drink your blood. But only if you do drugs. It’s complicated, okay? \u003ccite>(Clamil Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ann takes all of this pretty well and calmly makes a (frankly brilliant) speech about whether or not their kids are going to look like turkeys now. (Aside from another scene in which an attempted rapist has his leg sawn off, this is my favorite moment in the entire movie. Turkey-headed children, for the win!)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Off the cuff entirely, Herschell decides to go on a killing spree, specifically targeting drug users and then drinking their blood. (One of them is a lady he called “a tramp” at the drug party, so she obviously deserves this.) When Herschell murders ladies, the same (short) scream track plays on a loop over and over again in the background and we’re not supposed to notice. Which is actually a lot more fun than it sounds.\u003c/p>\n\u003cp>Herschell does not have an efficient system for gathering and drinking his victims’ blood, so just cups his hands into the stream and does a slurping thing with his giant beak. GET YOURSELF A BUCKET, TURKEY-HERSCHELL. YOU’RE WASTING SO MUCH DRUG-BLOOD.\u003c/p>\n\u003cfigure id=\"attachment_13968628\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968628\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/turkey-murder.png\" alt=\"A man in a white t-shirt and jeans stands stunned while a man with a turkey head grips him by the neck.\" width=\"900\" height=\"634\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/turkey-murder.png 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/turkey-murder-800x564.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/turkey-murder-160x113.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/turkey-murder-768x541.png 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">Herschell the turkey-man, doing an attack. \u003ccite>(Clamil Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I don’t want to spoil the ending, but it involves finding sobriety, God and a nice pier to stand on. Also, I would be remiss if I didn’t mention the fact that this entire movie is sporadically interrupted by a guy in a shiny shirt, smoking a cigarette from behind a desk and trying desperately to provide sensible, \u003cem>Twilight Zone\u003c/em>-esque commentary. (This is not very successful. In part because this gentleman is reading his lines off a piece of paper. Also in part because he resembles what would happen if Christopher Lee and Ron Jeremy combined forces to become one human.)\u003c/p>\n\u003cp>Shiny shirt guy’s real name is Brad F. Grinter and he co-wrote and co-directed \u003cem>Blood Freak\u003c/em> with Steve Hawkes. And guess who played Herschell? Steve Hawkes, that’s who! Which means Hawkes and Grinter actually did all of this to themselves, on purpose, entirely willingly. And for that? We should all be grateful.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Blood Freak’ is streaming for free on \u003ca href=\"https://watch.plex.tv/watch/movie/blood-freak\">Plex\u003c/a> right now.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Why You Should See an Absurd Year-Old Movie Called ‘Hundreds of Beavers’",
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"content": "\u003cp>Hard as it may be to believe, changing the future of cinema was not on Mike Cheslik’s mind when he was making \u003cem>Hundreds of Beavers\u003c/em>. Cheslik was in the Northwoods of Wisconsin with a crew of four, sometimes six, standing in snow and making his friend, Ryland Tews, fall down funny.\u003c/p>\n\u003cp>“When we were shooting, I kept thinking: It would be so stupid if this got mythologized,” says Cheslik.\u003c/p>\n\u003cp>[aside postid='arts_13968348']And yet, \u003cem>Hundreds of Beavers\u003c/em> has accrued the stuff of, if not quite myth, then certainly lo-fi legend. Cheslik’s film, made for just $150,000 and self-distributed in theaters, has managed to gnaw its way into a movie culture largely dominated by big-budget sequels.\u003c/p>\n\u003cp>\u003cem>Hundreds of Beavers\u003c/em> is a wordless black-and-white bonanza of slapstick antics about a stranded 19th century applejack salesman (Tews) at war with a bevy of beavers, all of whom are played by actors in mascot costumes.\u003c/p>\n\u003cp>No one would call \u003cem>Hundreds of Beavers\u003c/em> expensive looking, but it’s far more inventive than much of what Hollywood produces. With some 1,500 effects shots Cheslik slaved over on his home computer, he crafted something like the human version of Donald Duck’s snowball fight, and a low-budget heir to the waning tradition of Buster Keaton and \u003cem>Naked Gun\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At a time when independent filmmaking is more challenged than ever, \u003cem>Hundreds of Beavers\u003c/em> has, maybe, suggested a new path forward, albeit a particularly beaver-festooned path.\u003c/p>\n\u003cp>After no major distributor stepped forward, the filmmakers opted to launch the movie themselves, beginning with carnivalesque roadshow screenings. Since opening in January, \u003cem>Hundreds of Beavers\u003c/em> has played in at least one theater every week of the year, though never more than 33 at once. (Blockbusters typically play in around 4,000 locations.) More than half of its approximately $500,000 in ticket sales came after the movie went to video-on-demand.\u003c/p>\n\u003cp>Daniel Scheinert, the co-director of the best picture-winning \u003cem>Everything Everywhere All at Once\u003c/em>, recently called \u003cem>Hundreds of “Beavers\u003c/em> “the future of cinema.” That bold pronouncement, which ricocheted around film blogs, might seem extreme for a movie about a guy wearing a comically large beaver hat.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5h4P-26kHAw\u003c/p>\n\u003cp>But in a shrinking movie industry, DIY microbudget filmmaking may increasingly be left to fill some of the void left by risk-adverse, corporate-driven Hollywood.\u003c/p>\n\u003cp>[aside postid='arts_13968446']“I hope people can stop shooting things to make them look like commercials and just get back to more of the nitty gritty and letting your imagination flow,” says Tews, who also co-wrote the movie with Cheslik. “I just hope we stop bowing down to Hollywood and thinking they’re the gold standard. Because they just aren’t.”\u003c/p>\n\u003cp>The year-to-date box office in North America is down 11% from last year and about 25% from before the pandemic. More movies are making a tiny impact in theaters; according to Franchise Entertainment Research, 41 wide releases in 2024 have grossed less than $3 million — nearly three times the amount in 2019.\u003c/p>\n\u003cp>The costs not just to make wide-release films but to market them has greatly shifted what even indie distributors are willing to back. Just to get eyeballs on \u003ca href=\"https://www.kqed.org/arts/13967953/gladiator-ii-review-ridley-scott-sequel-denzel-washington-paul-mescal\">\u003cem>Gladiator II\u003c/em>\u003c/a>, which carries a $250 million budget, Paramount Pictures took the extraordinary step of running a trailer of the film simultaneously on more than 4,000 platforms, including TV networks, radio stations and digital outlets. For even the biggest movies, it’s hard to get people’s attention.\u003c/p>\n\u003cp>In such an environment, where the expense of making and marketing a movie is potentially prohibitive for everything but the safest of bets, more filmmakers are questioning the economics. That’s especially because after last year’s strikes, movie production hasn’t rebounded. In a contracting movie industry, many remain out of work.\u003c/p>\n\u003cp>Brady Corbet, director of the highly touted \u003cem>The Brutalist\u003c/em>, a 3 ½-hour epic shot in VistaVision, for less than $10 million, has preached that smaller budgets don’t have to mean less artistic ambition. Sean Baker, whose breakthrough film \u003ca href=\"https://www.kqed.org/arts/10692425/shot-on-iphone-tangerine-raises-profile-of-transgender-actors\">\u003cem>Tangerine\u003c/em>\u003c/a> was shot with iPhones, has argued movie budgets can come down without sacrificing what’s on the screen. His $6 million \u003ca href=\"https://www.kqed.org/arts/13967226/anora-movie-review-sean-baker-mikey-madison\">\u003cem>Anora\u003c/em>\u003c/a> is one of the year’s most acclaimed films.\u003c/p>\n\u003cp>“Right now, it’s panic in LA,” Baker said in an earlier interview. “I’m like: We don’t have to make films for that much. They don’t have to cost as much.”\u003c/p>\n\u003cp>[aside postid='arts_13968359']\u003cem>Hundreds of Beavers\u003c/em> is a more micro example, but it was likewise made with a strong belief in the big screen. On Dec. 5, the movie will begin an encore tour in theaters, at some 70 locations. That’s the widest release yet for \u003cem>Hundreds of Beavers\u003c/em>, nearly a year after it opened. They’re calling it “A Northwoods Christmas.”\u003c/p>\n\u003cp>It’s a victory tour (with a Blu-ray release to follow) for \u003cem>Hundreds of Beavers\u003c/em>, a barnstorming indie hit that Cheslik hopes shows aspiring filmmakers that the same kind of goofy inventiveness that goes into a TikTok video can be channeled into a movie.\u003c/p>\n\u003cp>“You still can do whatever you want,” Cheslik says. “No one’s going to stop you if you take a phone and make a 90-minute timeline instead of a 30-second timeline.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Hundreds of Beavers’ is playing at San Francisco’s Balboa Theater on Nov. 25 and Dec. 5, 2024. It is also playing on Dec. 5 at Berkeley’s Rialto Cinemas Elmwood.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And yet, \u003cem>Hundreds of Beavers\u003c/em> has accrued the stuff of, if not quite myth, then certainly lo-fi legend. Cheslik’s film, made for just $150,000 and self-distributed in theaters, has managed to gnaw its way into a movie culture largely dominated by big-budget sequels.\u003c/p>\n\u003cp>\u003cem>Hundreds of Beavers\u003c/em> is a wordless black-and-white bonanza of slapstick antics about a stranded 19th century applejack salesman (Tews) at war with a bevy of beavers, all of whom are played by actors in mascot costumes.\u003c/p>\n\u003cp>No one would call \u003cem>Hundreds of Beavers\u003c/em> expensive looking, but it’s far more inventive than much of what Hollywood produces. With some 1,500 effects shots Cheslik slaved over on his home computer, he crafted something like the human version of Donald Duck’s snowball fight, and a low-budget heir to the waning tradition of Buster Keaton and \u003cem>Naked Gun\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At a time when independent filmmaking is more challenged than ever, \u003cem>Hundreds of Beavers\u003c/em> has, maybe, suggested a new path forward, albeit a particularly beaver-festooned path.\u003c/p>\n\u003cp>After no major distributor stepped forward, the filmmakers opted to launch the movie themselves, beginning with carnivalesque roadshow screenings. Since opening in January, \u003cem>Hundreds of Beavers\u003c/em> has played in at least one theater every week of the year, though never more than 33 at once. (Blockbusters typically play in around 4,000 locations.) More than half of its approximately $500,000 in ticket sales came after the movie went to video-on-demand.\u003c/p>\n\u003cp>Daniel Scheinert, the co-director of the best picture-winning \u003cem>Everything Everywhere All at Once\u003c/em>, recently called \u003cem>Hundreds of “Beavers\u003c/em> “the future of cinema.” That bold pronouncement, which ricocheted around film blogs, might seem extreme for a movie about a guy wearing a comically large beaver hat.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/5h4P-26kHAw'\n title='//www.youtube.com/embed/5h4P-26kHAw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But in a shrinking movie industry, DIY microbudget filmmaking may increasingly be left to fill some of the void left by risk-adverse, corporate-driven Hollywood.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I hope people can stop shooting things to make them look like commercials and just get back to more of the nitty gritty and letting your imagination flow,” says Tews, who also co-wrote the movie with Cheslik. “I just hope we stop bowing down to Hollywood and thinking they’re the gold standard. Because they just aren’t.”\u003c/p>\n\u003cp>The year-to-date box office in North America is down 11% from last year and about 25% from before the pandemic. More movies are making a tiny impact in theaters; according to Franchise Entertainment Research, 41 wide releases in 2024 have grossed less than $3 million — nearly three times the amount in 2019.\u003c/p>\n\u003cp>The costs not just to make wide-release films but to market them has greatly shifted what even indie distributors are willing to back. Just to get eyeballs on \u003ca href=\"https://www.kqed.org/arts/13967953/gladiator-ii-review-ridley-scott-sequel-denzel-washington-paul-mescal\">\u003cem>Gladiator II\u003c/em>\u003c/a>, which carries a $250 million budget, Paramount Pictures took the extraordinary step of running a trailer of the film simultaneously on more than 4,000 platforms, including TV networks, radio stations and digital outlets. For even the biggest movies, it’s hard to get people’s attention.\u003c/p>\n\u003cp>In such an environment, where the expense of making and marketing a movie is potentially prohibitive for everything but the safest of bets, more filmmakers are questioning the economics. That’s especially because after last year’s strikes, movie production hasn’t rebounded. In a contracting movie industry, many remain out of work.\u003c/p>\n\u003cp>Brady Corbet, director of the highly touted \u003cem>The Brutalist\u003c/em>, a 3 ½-hour epic shot in VistaVision, for less than $10 million, has preached that smaller budgets don’t have to mean less artistic ambition. Sean Baker, whose breakthrough film \u003ca href=\"https://www.kqed.org/arts/10692425/shot-on-iphone-tangerine-raises-profile-of-transgender-actors\">\u003cem>Tangerine\u003c/em>\u003c/a> was shot with iPhones, has argued movie budgets can come down without sacrificing what’s on the screen. His $6 million \u003ca href=\"https://www.kqed.org/arts/13967226/anora-movie-review-sean-baker-mikey-madison\">\u003cem>Anora\u003c/em>\u003c/a> is one of the year’s most acclaimed films.\u003c/p>\n\u003cp>“Right now, it’s panic in LA,” Baker said in an earlier interview. “I’m like: We don’t have to make films for that much. They don’t have to cost as much.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Hundreds of Beavers\u003c/em> is a more micro example, but it was likewise made with a strong belief in the big screen. On Dec. 5, the movie will begin an encore tour in theaters, at some 70 locations. That’s the widest release yet for \u003cem>Hundreds of Beavers\u003c/em>, nearly a year after it opened. They’re calling it “A Northwoods Christmas.”\u003c/p>\n\u003cp>It’s a victory tour (with a Blu-ray release to follow) for \u003cem>Hundreds of Beavers\u003c/em>, a barnstorming indie hit that Cheslik hopes shows aspiring filmmakers that the same kind of goofy inventiveness that goes into a TikTok video can be channeled into a movie.\u003c/p>\n\u003cp>“You still can do whatever you want,” Cheslik says. “No one’s going to stop you if you take a phone and make a 90-minute timeline instead of a 30-second timeline.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Hundreds of Beavers’ is playing at San Francisco’s Balboa Theater on Nov. 25 and Dec. 5, 2024. It is also playing on Dec. 5 at Berkeley’s Rialto Cinemas Elmwood.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The sometimes pricey, often large-format books are abundant at holiday time. Take care to invest in just the right one to avoid sad or puzzled eyes when your gift is unwrapped.\u003c/p>\n\u003cp>Some suggestions among new releases:\u003c/p>\n\u003ch2>‘LIFE. Hollywood’\u003c/h2>\n\u003cp>This two-volume opus covers the film industry from 1936 to 1972. More than 700 pages of photos and stories plucked from the archives of \u003cem>Life\u003c/em> magazine show icons and others behind the scenes and in front of the cameras. Take 6-year-old Natalie Wood hanging upside down on a swing. The nearly 17 pounds’ worth of nostalgia is packed with both color and black-and-white images, along with photo essays for context. Taschen, with slipcase. $250.\u003c/p>\n\u003ch2>‘Black in Fashion: 100 Years of Style, Influence & Culture’\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13968480\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.24.48%E2%80%AFAM.png\" alt=\"\" width=\"830\" height=\"958\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.24.48 AM.png 830w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.24.48 AM-800x923.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.24.48 AM-160x185.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.24.48 AM-768x886.png 768w\" sizes=\"(max-width: 830px) 100vw, 830px\">\u003c/p>\n\u003cp>A celebration of Black voices from \u003cem>Women’s Wear Daily\u003c/em>, dating to the publication’s start in 1910. There are early efforts by Black garment workers to unionize. And Josephine Baker’s 67th birthday bash. There’s the rise of the late Virgil Abloh and working designers today, including LaQuan Smith and Sergio Hudson. Union Square & Co. Text by Tonya Blazio-Licorish and Tara Donaldson. $65.\u003c/p>\n\u003ch2>‘Amazing Grapes’\u003c/h2>\n\u003cp>This is Jules Feiffer’s first graphic novel for young readers. The offbeat, Pulitzer-winning cartoonist takes a family on a wacky adventure to the Lost Dimension. Feiffer said in press notes that writing for young readers “connects me professionally to a part of myself that I didn’t know how to let out until I was 60.” He’s now 95. His artwork is colorful and out of this world. Good for ages 8-12. HarperCollins. $12.99.\u003c/p>\n\u003ch2>‘The Women Who Changed Photography’\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13968481\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.24.00%E2%80%AFAM.png\" alt=\"\" width=\"918\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.24.00 AM.png 918w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.24.00 AM-800x941.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.24.00 AM-160x188.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.24.00 AM-768x904.png 768w\" sizes=\"(max-width: 918px) 100vw, 918px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Profiles of 50 groundbreaking female photographers through time and around the world, told in short essays. Many developed new techniques to capture images from war to fashion. The book offers tips on how to achieve the same outcomes. Cindy Sherman, Anna Atkins, Shirin Neshat and Lorna Simpson are included. By Gemma Padley. Laurence King Publishing. $24.99.\u003c/p>\n\u003ch2>‘Making the Case for Equality’\u003c/h2>\n\u003cp>Lambda Legal has been fighting for LGBTQ+ rights for 50 years. This book takes readers through dozens of the nonprofit’s milestone cases, from 1973 to 2023. It profiles leading players on both sides and tells the personal stories behind the legal briefs. By Jennifer C. Pizer and Ellen Ann Andersen. With a foreword by Roxane Gay. Monacelli. $59.95.\u003c/p>\n\u003ch2>‘1001 Movie Posters: Designs of the Times’\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13968482\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.25.56%E2%80%AFAM.png\" alt=\"\" width=\"896\" height=\"1082\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.25.56 AM.png 896w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.25.56 AM-800x966.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.25.56 AM-160x193.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.25.56 AM-768x927.png 768w\" sizes=\"(max-width: 896px) 100vw, 896px\">\u003c/p>\n\u003cp>A 640-page tome offering movie art from more than 20 countries. “We’re not rated X for nothin’, baby!” declares a 1972 poster for \u003cem>Fritz the Cat\u003c/em>. It was, in fact, the first animated film to be given an X rating. Also included: 1896 Parisian lithographs for the first public screening by the Lumière brothers, Auguste and Louis. They were among early pioneers of cinema. By Tony Nourmand, Graham Marsh, Christopher Frayling and Alison Elangasinghe. Reel Art Press. $95.\u003c/p>\n\u003ch2>‘The Day of the Dead: A Celebration of Death and Life’\u003c/h2>\n\u003cp>A tribute to Mexico’s beloved holiday when families welcome back the souls of their dead relatives. This lively volume unfolds with contemporary and historical context through photos and explanatory text focused on how the November holiday plays out in specific states and cities in Mexico. By Déborah Holtz and Juan Carlos Mena. Rizzoli New York. $65.\u003c/p>\n\u003ch2>‘Dare to Bird’\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13968483\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.41.58%E2%80%AFAM.png\" alt=\"\" width=\"1250\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.41.58 AM.png 1250w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.41.58 AM-800x691.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.41.58 AM-1020x881.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.41.58 AM-160x138.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.41.58 AM-768x664.png 768w\" sizes=\"(max-width: 1250px) 100vw, 1250px\">\u003c/p>\n\u003cp>British Columbia birder and photographer Melissa Hafting explores the joy and comfort her beloved birds have provided her in hard times, including the deaths of both of her parents. Her images of birds in the U.S. and Canada are intertwined with her personal narrative. “Who knows how many tomorrows I have left in my life, but all my tomorrows will be for the birds,” she writes. Rocky Mountain Books. $45.\u003c/p>\n\u003ch2>‘Colorful’\u003c/h2>\n\u003cp>In the summer of 2023, at age 102, style icon Iris Apfel began work on this book. She called it her “legacy” book. She died the following March but her voice lives on in the memories she put down here. “The book is about living. Creating. Coloring life,” she wrote in the introduction. What follows is just that: a technicolor journey in words and pictures through Apfel’s childhood, marriage, work and home. What a treat to hear her voice again. Easily browsable with digestible text. Abrams. $50.\u003c/p>\n\u003ch2>‘Mickalene: All About Love’\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13968484\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.33.45%E2%80%AFAM.png\" alt=\"\" width=\"876\" height=\"1082\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.33.45 AM.png 876w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.33.45 AM-800x988.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.33.45 AM-160x198.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.33.45 AM-768x949.png 768w\" sizes=\"(max-width: 876px) 100vw, 876px\">\u003c/p>\n\u003cp>The work of Brooklyn artist Mickalene Thomas spans painting, collage, photography and video as she expresses her vision of womanhood in this monograph that accompanies a touring exhibition. She is known for elaborate portraits of Black women using rhinestones, acrylic and enamel. The book includes essays about Thomas and her impact. “Often when I think about my love for others I think about how I see myself in them,” Thomas said in an interview included in the book. D.A.P. $60.\u003c/p>\n\u003ch2>‘LaChapelle: Lost + Found’\u003c/h2>\n\u003cp>The surreal, color-saturated work of the renowned photographer and video artist David LaChapelle is on display in this book originally published in 2016 as part of a limited-edition boxed set. The publisher, Taschen, is now launching the volume and another, \u003cem>Good News\u003c/em>, as separate unlimited trade editions. Provocative set pieces and celebrity portraits are included. There’s a nude Pamela Anderson, a Chris Rock in Black Panther garb, an angelic Pharrell Williams and a host of others: Julian Assange, Britney Spears, Ye, Hillary Clinton and Rihanna, to name a few. $50.\u003c/p>\n\u003ch2>‘Atlas of Finance: Mapping the Global Story of Money’\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13968485\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.44.04%E2%80%AFAM.png\" alt=\"\" width=\"790\" height=\"994\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.44.04 AM.png 790w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.44.04 AM-160x201.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.44.04 AM-768x966.png 768w\" sizes=\"(max-width: 790px) 100vw, 790px\">\u003c/p>\n\u003cp>Most of the world’s adults don’t have a grasp of basic financial concepts, according to this easy-to-follow look at how money works. What, exactly, is microfinance? What influences the International Monetary Fund and the World Bank? That and more is covered in text and engaging visuals. By Dariusz Wójcik, a widely published, award-winning economic geographer. Maps and graphics by James Cheshire and Oliver Uberti. Yale University Press. $40.\u003c/p>\n\u003ch2>‘Courtside: 40 Years of NBA Photography’\u003c/h2>\n\u003cp>A contemplative Kobe Bryant. A fierce Ben Wallace. A cigar chomping Steph Curry. NBA photographer Nathaniel S. Butler has shot them all as the ultimate insider. The work here spans championship celebrations to moody portraits. Butler’s photos are accompanied by commentary from some of his most famous subjects. With a foreword by Patrick Ewing and an afterword by basketball super fan Spike Lee. Additional words by David McMenamin. Abrams. $55.\u003c/p>\n\u003ch2>‘Gray Malin: Dogs’\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13968486\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.45.27%E2%80%AFAM.png\" alt=\"\" width=\"1456\" height=\"1082\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.45.27 AM.png 1456w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.45.27 AM-800x595.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.45.27 AM-1020x758.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.45.27 AM-160x119.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.45.27 AM-768x571.png 768w\" sizes=\"(max-width: 1456px) 100vw, 1456px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Photographer Malin plus dogs plus iconic locations around the world are what drive this fun and fluffy book. Malin replaced people with dogs to create his canine scenes. There are dogs picnicking near the Eiffel Tower. He’s got dogs settled in on a luxury private jet over Palm Beach, Florida, and dogs poolside at the Beverly Hills Hotel. His pups are on ski slopes, in vintage cars and taking in Boston on a duck boat. Let the dopamine flow. Abrams. $45.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The sometimes pricey, often large-format books are abundant at holiday time. Take care to invest in just the right one to avoid sad or puzzled eyes when your gift is unwrapped.\u003c/p>\n\u003cp>Some suggestions among new releases:\u003c/p>\n\u003ch2>‘LIFE. Hollywood’\u003c/h2>\n\u003cp>This two-volume opus covers the film industry from 1936 to 1972. More than 700 pages of photos and stories plucked from the archives of \u003cem>Life\u003c/em> magazine show icons and others behind the scenes and in front of the cameras. Take 6-year-old Natalie Wood hanging upside down on a swing. The nearly 17 pounds’ worth of nostalgia is packed with both color and black-and-white images, along with photo essays for context. Taschen, with slipcase. $250.\u003c/p>\n\u003ch2>‘Black in Fashion: 100 Years of Style, Influence & Culture’\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13968480\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.24.48%E2%80%AFAM.png\" alt=\"\" width=\"830\" height=\"958\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.24.48 AM.png 830w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.24.48 AM-800x923.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.24.48 AM-160x185.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.24.48 AM-768x886.png 768w\" sizes=\"(max-width: 830px) 100vw, 830px\">\u003c/p>\n\u003cp>A celebration of Black voices from \u003cem>Women’s Wear Daily\u003c/em>, dating to the publication’s start in 1910. There are early efforts by Black garment workers to unionize. And Josephine Baker’s 67th birthday bash. There’s the rise of the late Virgil Abloh and working designers today, including LaQuan Smith and Sergio Hudson. Union Square & Co. Text by Tonya Blazio-Licorish and Tara Donaldson. $65.\u003c/p>\n\u003ch2>‘Amazing Grapes’\u003c/h2>\n\u003cp>This is Jules Feiffer’s first graphic novel for young readers. The offbeat, Pulitzer-winning cartoonist takes a family on a wacky adventure to the Lost Dimension. Feiffer said in press notes that writing for young readers “connects me professionally to a part of myself that I didn’t know how to let out until I was 60.” He’s now 95. His artwork is colorful and out of this world. Good for ages 8-12. HarperCollins. $12.99.\u003c/p>\n\u003ch2>‘The Women Who Changed Photography’\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13968481\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.24.00%E2%80%AFAM.png\" alt=\"\" width=\"918\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.24.00 AM.png 918w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.24.00 AM-800x941.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.24.00 AM-160x188.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.24.00 AM-768x904.png 768w\" sizes=\"(max-width: 918px) 100vw, 918px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Profiles of 50 groundbreaking female photographers through time and around the world, told in short essays. Many developed new techniques to capture images from war to fashion. The book offers tips on how to achieve the same outcomes. Cindy Sherman, Anna Atkins, Shirin Neshat and Lorna Simpson are included. By Gemma Padley. Laurence King Publishing. $24.99.\u003c/p>\n\u003ch2>‘Making the Case for Equality’\u003c/h2>\n\u003cp>Lambda Legal has been fighting for LGBTQ+ rights for 50 years. This book takes readers through dozens of the nonprofit’s milestone cases, from 1973 to 2023. It profiles leading players on both sides and tells the personal stories behind the legal briefs. By Jennifer C. Pizer and Ellen Ann Andersen. With a foreword by Roxane Gay. Monacelli. $59.95.\u003c/p>\n\u003ch2>‘1001 Movie Posters: Designs of the Times’\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13968482\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.25.56%E2%80%AFAM.png\" alt=\"\" width=\"896\" height=\"1082\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.25.56 AM.png 896w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.25.56 AM-800x966.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.25.56 AM-160x193.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.25.56 AM-768x927.png 768w\" sizes=\"(max-width: 896px) 100vw, 896px\">\u003c/p>\n\u003cp>A 640-page tome offering movie art from more than 20 countries. “We’re not rated X for nothin’, baby!” declares a 1972 poster for \u003cem>Fritz the Cat\u003c/em>. It was, in fact, the first animated film to be given an X rating. Also included: 1896 Parisian lithographs for the first public screening by the Lumière brothers, Auguste and Louis. They were among early pioneers of cinema. By Tony Nourmand, Graham Marsh, Christopher Frayling and Alison Elangasinghe. Reel Art Press. $95.\u003c/p>\n\u003ch2>‘The Day of the Dead: A Celebration of Death and Life’\u003c/h2>\n\u003cp>A tribute to Mexico’s beloved holiday when families welcome back the souls of their dead relatives. This lively volume unfolds with contemporary and historical context through photos and explanatory text focused on how the November holiday plays out in specific states and cities in Mexico. By Déborah Holtz and Juan Carlos Mena. Rizzoli New York. $65.\u003c/p>\n\u003ch2>‘Dare to Bird’\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13968483\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.41.58%E2%80%AFAM.png\" alt=\"\" width=\"1250\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.41.58 AM.png 1250w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.41.58 AM-800x691.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.41.58 AM-1020x881.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.41.58 AM-160x138.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.41.58 AM-768x664.png 768w\" sizes=\"(max-width: 1250px) 100vw, 1250px\">\u003c/p>\n\u003cp>British Columbia birder and photographer Melissa Hafting explores the joy and comfort her beloved birds have provided her in hard times, including the deaths of both of her parents. Her images of birds in the U.S. and Canada are intertwined with her personal narrative. “Who knows how many tomorrows I have left in my life, but all my tomorrows will be for the birds,” she writes. Rocky Mountain Books. $45.\u003c/p>\n\u003ch2>‘Colorful’\u003c/h2>\n\u003cp>In the summer of 2023, at age 102, style icon Iris Apfel began work on this book. She called it her “legacy” book. She died the following March but her voice lives on in the memories she put down here. “The book is about living. Creating. Coloring life,” she wrote in the introduction. What follows is just that: a technicolor journey in words and pictures through Apfel’s childhood, marriage, work and home. What a treat to hear her voice again. Easily browsable with digestible text. Abrams. $50.\u003c/p>\n\u003ch2>‘Mickalene: All About Love’\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13968484\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.33.45%E2%80%AFAM.png\" alt=\"\" width=\"876\" height=\"1082\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.33.45 AM.png 876w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.33.45 AM-800x988.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.33.45 AM-160x198.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.33.45 AM-768x949.png 768w\" sizes=\"(max-width: 876px) 100vw, 876px\">\u003c/p>\n\u003cp>The work of Brooklyn artist Mickalene Thomas spans painting, collage, photography and video as she expresses her vision of womanhood in this monograph that accompanies a touring exhibition. She is known for elaborate portraits of Black women using rhinestones, acrylic and enamel. The book includes essays about Thomas and her impact. “Often when I think about my love for others I think about how I see myself in them,” Thomas said in an interview included in the book. D.A.P. $60.\u003c/p>\n\u003ch2>‘LaChapelle: Lost + Found’\u003c/h2>\n\u003cp>The surreal, color-saturated work of the renowned photographer and video artist David LaChapelle is on display in this book originally published in 2016 as part of a limited-edition boxed set. The publisher, Taschen, is now launching the volume and another, \u003cem>Good News\u003c/em>, as separate unlimited trade editions. Provocative set pieces and celebrity portraits are included. There’s a nude Pamela Anderson, a Chris Rock in Black Panther garb, an angelic Pharrell Williams and a host of others: Julian Assange, Britney Spears, Ye, Hillary Clinton and Rihanna, to name a few. $50.\u003c/p>\n\u003ch2>‘Atlas of Finance: Mapping the Global Story of Money’\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13968485\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.44.04%E2%80%AFAM.png\" alt=\"\" width=\"790\" height=\"994\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.44.04 AM.png 790w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.44.04 AM-160x201.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.44.04 AM-768x966.png 768w\" sizes=\"(max-width: 790px) 100vw, 790px\">\u003c/p>\n\u003cp>Most of the world’s adults don’t have a grasp of basic financial concepts, according to this easy-to-follow look at how money works. What, exactly, is microfinance? What influences the International Monetary Fund and the World Bank? That and more is covered in text and engaging visuals. By Dariusz Wójcik, a widely published, award-winning economic geographer. Maps and graphics by James Cheshire and Oliver Uberti. Yale University Press. $40.\u003c/p>\n\u003ch2>‘Courtside: 40 Years of NBA Photography’\u003c/h2>\n\u003cp>A contemplative Kobe Bryant. A fierce Ben Wallace. A cigar chomping Steph Curry. NBA photographer Nathaniel S. Butler has shot them all as the ultimate insider. The work here spans championship celebrations to moody portraits. Butler’s photos are accompanied by commentary from some of his most famous subjects. With a foreword by Patrick Ewing and an afterword by basketball super fan Spike Lee. Additional words by David McMenamin. Abrams. $55.\u003c/p>\n\u003ch2>‘Gray Malin: Dogs’\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13968486\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.45.27%E2%80%AFAM.png\" alt=\"\" width=\"1456\" height=\"1082\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.45.27 AM.png 1456w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.45.27 AM-800x595.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.45.27 AM-1020x758.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.45.27 AM-160x119.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.45.27 AM-768x571.png 768w\" sizes=\"(max-width: 1456px) 100vw, 1456px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Photographer Malin plus dogs plus iconic locations around the world are what drive this fun and fluffy book. Malin replaced people with dogs to create his canine scenes. There are dogs picnicking near the Eiffel Tower. He’s got dogs settled in on a luxury private jet over Palm Beach, Florida, and dogs poolside at the Beverly Hills Hotel. His pups are on ski slopes, in vintage cars and taking in Boston on a duck boat. Let the dopamine flow. Abrams. $45.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Movie Theaters We Have Lost’: The Parkway in Oakland",
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"headTitle": "‘Movie Theaters We Have Lost’: The Parkway in Oakland | KQED",
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"content": "\u003cp>\u003cem>This week, KQED is proud to present \u003c/em>\u003ca href=\"https://www.kqed.org/arts/tag/movie-theaters-we-have-lost\">Movie Theaters We Have Lost\u003c/a>\u003cem> by Briana Loewinsohn, a cartoonist, teacher and author of the upcoming graphic memoir \u003c/em>\u003ca href=\"https://www.fantagraphics.com/collections/briana-loewinsohn/products/raised-by-ghosts\">Raised By Ghosts\u003c/a>\u003cem>, about growing up in the East Bay.\u003c/em>\u003c/p>\n\u003cp>\u003cem>At a time of \u003ca href=\"https://www.kqed.org/forum/2010101893696/the-pandemic-took-a-number-of-bay-area-movie-theaters-whats-working-for-the-theaters-that-survived\">unprecedented movie theater closures\u003c/a>, Briana illustrates her memories of shuttered East Bay theaters, and the ways they adorned our lives. Today’s installment is The Parkway in Oakland, which closed in 2009 (and was reborn three years later in \u003ca href=\"https://www.thenewparkway.com/\">a new location\u003c/a>).\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_0.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_0.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_0-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_0-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_0-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_0-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_0-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_0-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_1.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968305\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_2.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968310\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_2-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_2-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_3.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968304\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_3.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_3-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_3-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_3-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_3-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_3-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_3-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_4.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968303\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_4.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_4-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_4-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_4-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_4-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_4-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_4-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_5.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968311\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_5.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_5-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_5-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_5-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_5-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_5-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_5-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_6.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_6.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_6-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_6-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_6-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_6-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_6-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_6-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_7-1-scaled.jpg\" alt=\"\" width=\"2560\" height=\"2560\" class=\"aligncenter size-full wp-image-13968393\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_7-1-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_7-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_7-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_7-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_7-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_7-1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_7-1-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_7-1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_8.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968312\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_8.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_8-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_8-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_8-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_8-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_8-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_8-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_Note.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968313\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_Note.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_Note-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_Note-1020x1020.jpg 1020w, 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"excerpt": "Briana Loewinsohn illustrates the Parkway's closure, and the new life that followed — in more ways than one.",
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"headline": "‘Movie Theaters We Have Lost’: The Parkway in Oakland",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This week, KQED is proud to present \u003c/em>\u003ca href=\"https://www.kqed.org/arts/tag/movie-theaters-we-have-lost\">Movie Theaters We Have Lost\u003c/a>\u003cem> by Briana Loewinsohn, a cartoonist, teacher and author of the upcoming graphic memoir \u003c/em>\u003ca href=\"https://www.fantagraphics.com/collections/briana-loewinsohn/products/raised-by-ghosts\">Raised By Ghosts\u003c/a>\u003cem>, about growing up in the East Bay.\u003c/em>\u003c/p>\n\u003cp>\u003cem>At a time of \u003ca href=\"https://www.kqed.org/forum/2010101893696/the-pandemic-took-a-number-of-bay-area-movie-theaters-whats-working-for-the-theaters-that-survived\">unprecedented movie theater closures\u003c/a>, Briana illustrates her memories of shuttered East Bay theaters, and the ways they adorned our lives. Today’s installment is The Parkway in Oakland, which closed in 2009 (and was reborn three years later in \u003ca href=\"https://www.thenewparkway.com/\">a new location\u003c/a>).\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_0.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_0.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_0-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_0-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_0-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_0-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_0-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_0-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_1.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968305\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_2.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968310\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_2-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_2-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_6.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_6-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_6-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_6-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_6-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_6-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_6-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_7-1-scaled.jpg\" alt=\"\" width=\"2560\" height=\"2560\" class=\"aligncenter size-full wp-image-13968393\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Parkway_7-1-scaled.jpg 2560w, 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"slug": "all-we-imagine-as-light-movie-review-india-mumbai",
"title": "Urban Life is a Beacon of Opportunity in Tender ‘All We Imagine as Light’",
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"headTitle": "Urban Life is a Beacon of Opportunity in Tender ‘All We Imagine as Light’ | KQED",
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"content": "\u003cp>“There are eight million stories in the Naked City,” the narrator declared at the end of the late-’50s-early ’60s New York TV police procedural (as well as the 1948 movie that inspired it). “This has been one of them.”\u003c/p>\n\u003cp>Indian filmmaker Payal Kapadia’s Cannes-awarded narrative feature debut, \u003cem>All We Imagine as Light\u003c/em>, is uninterested in crime and cops. A slow-burn journey from the prosaic to the profound, this much-needed balm for the soul follows four everyday people threading their way among Mumbai’s 21 million stories.\u003c/p>\n\u003cp>Like every big city since forever, Mumbai attracts people from all over like moths to a flame with the promise of better-paying jobs. The movies, and real life to some extent, have taught us that cities are Meccas of endless possibilities, opportunities and destinies. In the Mumbai of \u003cem>All We Imagine as Light\u003c/em> (and the cities where I’ve lived) jobs do exist but relationships are intense and generally short-lived.\u003c/p>\n\u003cp>“Some people call this the city of dreams, but I don’t,” an off-screen voice says while we watch trains traverse the sprawling nighttime landscape. “I think it’s the city of illusions.”\u003c/p>\n\u003cp>(Kapadia drops in other anonymous first-person testimonies from time to time that feel like actual interviews. Her first feature film, \u003cem>A Night of Knowing Nothing\u003c/em>, was a documentary, so it’s a reasonable assumption.)\u003c/p>\n\u003cfigure id=\"attachment_13968470\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968470\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_03.jpg\" alt=\"woman in blue uniform leans back in chair at work\" width=\"1800\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_03.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_03-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_03-1020x612.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_03-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_03-768x461.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_03-1536x922.jpg 1536w\" sizes=\"auto, (max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">A still from Payal Kapadia’s ‘All We Imagine as Light.’ \u003ccite>(Janus Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The three hospital staff who drive the film — strong, independent women of different generations who support themselves — have traded some of their dreams and all of their illusions for concrete reality. Ace head nurse Prabha (Kani Kusruti) has settled into a satisfying mid-career routine, but autonomy can’t conceal her loneliness — a yearning for being appreciated and valued outside the hospital.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Then a chance for romance presents itself. A doctor conveys his attraction to Prabha in the most vulnerable way imaginable: He gives her a poem (that, significantly, suggests a non-native’s solitary experience of city life). “My dreams are made of everyday things, small and scattered, that I have left behind,” he writes. “My hope is just another casket of things I carry with me wherever I go / And now, you are there in a neighbor’s house like a burning lamp whose glow I watch to keep me warm at night.”\u003c/p>\n\u003cp>Prabha shares her apartment with a spirited young nurse, Anu (an exceptional Divya Prabha), whose determination to live her life on her terms is exhilarating. Anu is agog when a mysterious package arrives, containing a German-made rice cooker, and we learn that Prabha is married, and her husband has worked and lived abroad for many years.\u003c/p>\n\u003cp>Anu can’t imagine acceding to a marriage arranged by her father, as Prabha did. No surprise since her boyfriend is Muslim, which would not sit well with her traditional Hindu family “back home.” The film’s youngest characters are the most acclimated to their adopted city; the scenes of Shiaz and Anu sharing meals at outdoor food stands and making out on park benches vibrate with excitement.\u003c/p>\n\u003cfigure id=\"attachment_13968475\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968475\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_07.jpg\" alt=\"man and woman hold on to supports above their heads in crowded train \" width=\"1800\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_07.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_07-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_07-1020x612.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_07-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_07-768x461.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_07-1536x922.jpg 1536w\" sizes=\"auto, (max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">A still from Payal Kapadia’s ‘All We Imagine as Light.’ \u003ccite>(Janus Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We ponder their future together when even long-term residents can be upended by unforeseen circumstances. The older hospital cook Parvaty (Chhaya Kadam) is suddenly threatened with eviction after two decades in her apartment. Prabha finds her a lawyer, but he can’t help unless Parvaty locates some long-forgotten document.\u003c/p>\n\u003cp>The social commentary in \u003cem>All We Imagine as Light\u003c/em>, such as it is, illuminates the characters and provides texture, color and depth. It never feels as if Kapadia has hobbyhorses to ride, such as modernity over tradition, or the profiteering of developers, or family planning as the responsibility of women (the upshot of a hospital interaction between Anu and a young mother).\u003c/p>\n\u003cp>Kapadia, like the late, great Indian filmmaker Satyajit Ray, immerses us with uncommon empathy in the rhythms and struggles of everyday life. Implicit in both directors’ films is the individual’s responsibility to adjust (though not necessarily conform) to and contribute to the fabric of society.\u003c/p>\n\u003cp>Yet despite winning the Grand Prize at Cannes, \u003cem>All We Imagine as Light\u003c/em> was not chosen as India’s official submission for the Academy Award for Best International Film. The Film Federation of India selected \u003cem>Laapataa Ladies\u003c/em>, a charming, smart but more narratively and visually conventional film that’s streaming on Netflix. The FFI decision ignited a \u003ca href=\"https://www.hollywoodreporter.com/movies/movie-news/india-all-we-imagine-as-light-laapataa-ladies-oscars-controversy-explained-1236011778/\">controversy\u003c/a> that provoked its president to say about \u003cem>All We Imagine as Light\u003c/em>, “The jury said that they were watching a European film taking place in India, not an Indian film taking place in India.”\u003c/p>\n\u003cfigure id=\"attachment_13968471\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968471\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_09.jpg\" alt=\"woman with headscarf and sunglasses holds onto post with flags\" width=\"1800\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_09.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_09-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_09-1020x612.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_09-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_09-768x461.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_09-1536x922.jpg 1536w\" sizes=\"auto, (max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">A still from Payal Kapadia’s ‘All We Imagine as Light.’ \u003ccite>(Janus Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I grant that the soundtrack by Topshe lends the film a Western indie vibe. But the film also has a lovely dance duet to an Indian pop song that reminds us Bollywood is not far away. In any event, the FFI statement offers a singularly confining view of Indian cinema. At the same time, it’s a terrific endorsement for American fans of arthouse films.\u003c/p>\n\u003cp>Midway through the intoxicating \u003cem>All We Imagine as Light\u003c/em>, Prabha and Anu accompany Parvaty to her coastal village in Ratnagiri. Unbeknownst to them, quiet revelations await. Don’t worry, the movie doesn’t turn into a simplistic reverie about how the countryside is better — more down to earth, more authentic — than the city.\u003c/p>\n\u003cp>But the tone does shift, from neorealism to magical near-realism. The fluid, frenetic movement of the city (exemplified by those ubiquitous trains) and the glare of nighttime lights evaporate in the rural setting. Unexpected possibilities emerge, if the characters will embrace them.\u003c/p>\n\u003cp>After Prabha reveals the existence of her absent husband, someone says, “When people go abroad, they can lose their minds, or their memory. That’s how it is.” It can also happen when someone migrates to a city. Or from one city to another. Or, for that matter, when they move home.\u003c/p>\n\u003cp>As a lifelong city dweller, I experienced \u003cem>All We Imagine as Light\u003c/em> as a generous gift. Share it widely.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘All We Imagine as Light’ plays \u003ca href=\"https://roxie.com/film/all-we-imagine-as-light/\">Jan. 7–21 at the Roxie\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“There are eight million stories in the Naked City,” the narrator declared at the end of the late-’50s-early ’60s New York TV police procedural (as well as the 1948 movie that inspired it). “This has been one of them.”\u003c/p>\n\u003cp>Indian filmmaker Payal Kapadia’s Cannes-awarded narrative feature debut, \u003cem>All We Imagine as Light\u003c/em>, is uninterested in crime and cops. A slow-burn journey from the prosaic to the profound, this much-needed balm for the soul follows four everyday people threading their way among Mumbai’s 21 million stories.\u003c/p>\n\u003cp>Like every big city since forever, Mumbai attracts people from all over like moths to a flame with the promise of better-paying jobs. The movies, and real life to some extent, have taught us that cities are Meccas of endless possibilities, opportunities and destinies. In the Mumbai of \u003cem>All We Imagine as Light\u003c/em> (and the cities where I’ve lived) jobs do exist but relationships are intense and generally short-lived.\u003c/p>\n\u003cp>“Some people call this the city of dreams, but I don’t,” an off-screen voice says while we watch trains traverse the sprawling nighttime landscape. “I think it’s the city of illusions.”\u003c/p>\n\u003cp>(Kapadia drops in other anonymous first-person testimonies from time to time that feel like actual interviews. Her first feature film, \u003cem>A Night of Knowing Nothing\u003c/em>, was a documentary, so it’s a reasonable assumption.)\u003c/p>\n\u003cfigure id=\"attachment_13968470\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968470\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_03.jpg\" alt=\"woman in blue uniform leans back in chair at work\" width=\"1800\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_03.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_03-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_03-1020x612.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_03-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_03-768x461.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_03-1536x922.jpg 1536w\" sizes=\"auto, (max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">A still from Payal Kapadia’s ‘All We Imagine as Light.’ \u003ccite>(Janus Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The three hospital staff who drive the film — strong, independent women of different generations who support themselves — have traded some of their dreams and all of their illusions for concrete reality. Ace head nurse Prabha (Kani Kusruti) has settled into a satisfying mid-career routine, but autonomy can’t conceal her loneliness — a yearning for being appreciated and valued outside the hospital.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Then a chance for romance presents itself. A doctor conveys his attraction to Prabha in the most vulnerable way imaginable: He gives her a poem (that, significantly, suggests a non-native’s solitary experience of city life). “My dreams are made of everyday things, small and scattered, that I have left behind,” he writes. “My hope is just another casket of things I carry with me wherever I go / And now, you are there in a neighbor’s house like a burning lamp whose glow I watch to keep me warm at night.”\u003c/p>\n\u003cp>Prabha shares her apartment with a spirited young nurse, Anu (an exceptional Divya Prabha), whose determination to live her life on her terms is exhilarating. Anu is agog when a mysterious package arrives, containing a German-made rice cooker, and we learn that Prabha is married, and her husband has worked and lived abroad for many years.\u003c/p>\n\u003cp>Anu can’t imagine acceding to a marriage arranged by her father, as Prabha did. No surprise since her boyfriend is Muslim, which would not sit well with her traditional Hindu family “back home.” The film’s youngest characters are the most acclimated to their adopted city; the scenes of Shiaz and Anu sharing meals at outdoor food stands and making out on park benches vibrate with excitement.\u003c/p>\n\u003cfigure id=\"attachment_13968475\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968475\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_07.jpg\" alt=\"man and woman hold on to supports above their heads in crowded train \" width=\"1800\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_07.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_07-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_07-1020x612.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_07-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_07-768x461.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_07-1536x922.jpg 1536w\" sizes=\"auto, (max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">A still from Payal Kapadia’s ‘All We Imagine as Light.’ \u003ccite>(Janus Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We ponder their future together when even long-term residents can be upended by unforeseen circumstances. The older hospital cook Parvaty (Chhaya Kadam) is suddenly threatened with eviction after two decades in her apartment. Prabha finds her a lawyer, but he can’t help unless Parvaty locates some long-forgotten document.\u003c/p>\n\u003cp>The social commentary in \u003cem>All We Imagine as Light\u003c/em>, such as it is, illuminates the characters and provides texture, color and depth. It never feels as if Kapadia has hobbyhorses to ride, such as modernity over tradition, or the profiteering of developers, or family planning as the responsibility of women (the upshot of a hospital interaction between Anu and a young mother).\u003c/p>\n\u003cp>Kapadia, like the late, great Indian filmmaker Satyajit Ray, immerses us with uncommon empathy in the rhythms and struggles of everyday life. Implicit in both directors’ films is the individual’s responsibility to adjust (though not necessarily conform) to and contribute to the fabric of society.\u003c/p>\n\u003cp>Yet despite winning the Grand Prize at Cannes, \u003cem>All We Imagine as Light\u003c/em> was not chosen as India’s official submission for the Academy Award for Best International Film. The Film Federation of India selected \u003cem>Laapataa Ladies\u003c/em>, a charming, smart but more narratively and visually conventional film that’s streaming on Netflix. The FFI decision ignited a \u003ca href=\"https://www.hollywoodreporter.com/movies/movie-news/india-all-we-imagine-as-light-laapataa-ladies-oscars-controversy-explained-1236011778/\">controversy\u003c/a> that provoked its president to say about \u003cem>All We Imagine as Light\u003c/em>, “The jury said that they were watching a European film taking place in India, not an Indian film taking place in India.”\u003c/p>\n\u003cfigure id=\"attachment_13968471\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968471\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_09.jpg\" alt=\"woman with headscarf and sunglasses holds onto post with flags\" width=\"1800\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_09.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_09-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_09-1020x612.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_09-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_09-768x461.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/AllWeImagine_Key_09-1536x922.jpg 1536w\" sizes=\"auto, (max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">A still from Payal Kapadia’s ‘All We Imagine as Light.’ \u003ccite>(Janus Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I grant that the soundtrack by Topshe lends the film a Western indie vibe. But the film also has a lovely dance duet to an Indian pop song that reminds us Bollywood is not far away. In any event, the FFI statement offers a singularly confining view of Indian cinema. At the same time, it’s a terrific endorsement for American fans of arthouse films.\u003c/p>\n\u003cp>Midway through the intoxicating \u003cem>All We Imagine as Light\u003c/em>, Prabha and Anu accompany Parvaty to her coastal village in Ratnagiri. Unbeknownst to them, quiet revelations await. Don’t worry, the movie doesn’t turn into a simplistic reverie about how the countryside is better — more down to earth, more authentic — than the city.\u003c/p>\n\u003cp>But the tone does shift, from neorealism to magical near-realism. The fluid, frenetic movement of the city (exemplified by those ubiquitous trains) and the glare of nighttime lights evaporate in the rural setting. Unexpected possibilities emerge, if the characters will embrace them.\u003c/p>\n\u003cp>After Prabha reveals the existence of her absent husband, someone says, “When people go abroad, they can lose their minds, or their memory. That’s how it is.” It can also happen when someone migrates to a city. Or from one city to another. Or, for that matter, when they move home.\u003c/p>\n\u003cp>As a lifelong city dweller, I experienced \u003cem>All We Imagine as Light\u003c/em> as a generous gift. Share it widely.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘All We Imagine as Light’ plays \u003ca href=\"https://roxie.com/film/all-we-imagine-as-light/\">Jan. 7–21 at the Roxie\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Ernest Cole: Lost and Found’ Resurrects a Once-Forgotten Anti-Apartheid Photographer",
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"content": "\u003cp>When the photographer Ernest Cole died in 1990 at the age of 49 from pancreatic cancer at a Manhattan hospital, his death was little noted.\u003c/p>\n\u003cp>Cole, one of the most important chroniclers of apartheid-era South Africa, was by then mostly forgotten and penniless. Banned by his native country after the publication of his pioneering photography book \u003cem>House of Bondage\u003c/em>, Cole had emigrated in 1966 to the United States. But his life in exile gradually disintegrated into intermittent homelessness. A six-paragraph obituary in \u003cem>The New York Times\u003c/em> ran alongside a list of death notices.\u003c/p>\n\u003cp>[aside postid='arts_13967651']But Cole receives a vibrant and stirring resurrection in Raoul Peck’s new film \u003cem>Ernest Cole: Lost and Found\u003c/em>, narrated in Cole’s own words and voiced by LaKeith Stanfield. The film, which opens in theaters Friday, is laced throughout with Cole’s photographs, many of them not before seen publicly.\u003c/p>\n\u003cp>As he did in his Oscar-nominated James Baldwin documentary \u003ca href=\"https://www.kqed.org/arts/12713994/james-baldwin-in-his-own-searing-revelatory-words-i-am-not-your-negro\">\u003cem>I Am Not Your Negro\u003c/em>\u003c/a>, the Haitian-born Peck shares screenwriting credit with his subject. \u003cem>Ernest Cole: Lost and Found\u003c/em> is drawn from Cole’s own writings. In words and images, Peck brings the tragic story of Cole to vivid life, reopening the lens through which Cole so perceptively saw injustice and humanity.\u003c/p>\n\u003cp>“Film is a political tool for me,” Peck said in a recent interview over lunch in Manhattan. “My job is to go to the widest audience possible and try to give them something to help them understand where they are, what they are doing, what role they are playing. It’s about my fight today. I don’t care about the past.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Ernest Cole: Lost and Found\u003c/em> is a movie layered with meaning that goes beyond Cole’s work. It asks questions not just about the societies Cole documented but of how he was treated as an artist, drawing uncomfortable parallels between apartheid and post-Jim Crow America. In the U.S., Cole was given a Ford Foundation grant to capture Black life in rural and urban areas, but he struggled to find a foothold professionally. Some editors said his images lacked “edge.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OzS95TW6edU\u003c/p>\n\u003cp>In 2017, more than 60,000 of Cole’s 35mm film negatives were discovered in a bank vault in Stockholm, Sweden. Much of that material, including thousands of photographs Cole took in the U.S., was believed lost. Answers for how they had gotten there, and why they hadn’t been known about earlier were hard to come by. \u003cem>Lost and Found\u003c/em> portrays the struggle of Cole’s estate to acquire the collection. Only on the eve of the film’s Cannes Film Festival premiere in May did the bank finally announce the handover of most materials to the estate.\u003c/p>\n\u003cp>What those photographs reveal is an artist who made much more than indelible images of apartheid life. Cole’s early photographs, published in 1967, offered one of the most illustrative and damning portraits of apartheid to Western eyes, including a widely reproduced photograph of a middle-aged woman sitting on a park bench that read “Europeans only.” But he was an equally astute and sensitive observer of the segregations, and multicultural joys, of American life.\u003c/p>\n\u003cp>“It’s a matter of survival,” Stanfield narrates as Cole. “Steal every moment.”\u003c/p>\n\u003cp>For Peck, the themes of \u003cem>Ernest Cole: Lost and Found\u003c/em> are deeply personal. The 71-year-old filmmaker, a former minister of culture in Haiti, has spent much of his artistic life also away from his native country, in Berlin, Paris and New York. He dedicates the movie “to those who died in exile.”\u003c/p>\n\u003cp>[aside postid='arts_13966737']“When I say that, that’s most of my friends,” he says. “I recognize all the steps. When you take a contact sheet, I see myself.”\u003c/p>\n\u003cp>For some four decades, Peck has made some of the most urgent films, in both fiction (including 2000’s \u003cem>Lumumba\u003c/em>, about the exiled Congo leader) and non-fiction (including last year’s \u003cem>Silver Dollar Road\u003c/em>). But he has rarely not employed both narrative and documentary elements in films that take their own shape — movies less interested in genre distinctions than they are pursuing unexamined truths.\u003c/p>\n\u003cp>That’s made Peck an increasingly exceptional figure in a documentary world that’s become more and more dominated by glossier, less probing films for streaming platforms.\u003c/p>\n\u003cp>“It’s gotten worse. There’s less money so young people are desperate and accept stuff that my generation would never accept,” Peck says. “The whole industry has changed. I knew another world, and I recognize it’s not that anymore.”\u003c/p>\n\u003cp>Peck is currently editing a documentary on George Orwell. Like \u003cem>Ernest Cole: Lost and Found\u003c/em>, it will be told totally in Orwell’s words. A few days after the U.S. election, Peck was working to update a moment in the film that touches on President-elect Donald Trump. Peck has been astonished at how prescient Orwell was on so many current issues — misinformation, AI, social media, the refugee crisis.\u003c/p>\n\u003cp>“He was a really incredible critic of history and how history is even told,” says Peck. “Before plunging into it, I did not realize how sharp he was about what’s going on today.”\u003c/p>\n\u003cp>“To me,” he adds, “a film has value if it’s talking to us today.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Ernest Cole: Lost and Found’ is released nationwide on Nov. 22, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When the photographer Ernest Cole died in 1990 at the age of 49 from pancreatic cancer at a Manhattan hospital, his death was little noted.\u003c/p>\n\u003cp>Cole, one of the most important chroniclers of apartheid-era South Africa, was by then mostly forgotten and penniless. Banned by his native country after the publication of his pioneering photography book \u003cem>House of Bondage\u003c/em>, Cole had emigrated in 1966 to the United States. But his life in exile gradually disintegrated into intermittent homelessness. A six-paragraph obituary in \u003cem>The New York Times\u003c/em> ran alongside a list of death notices.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But Cole receives a vibrant and stirring resurrection in Raoul Peck’s new film \u003cem>Ernest Cole: Lost and Found\u003c/em>, narrated in Cole’s own words and voiced by LaKeith Stanfield. The film, which opens in theaters Friday, is laced throughout with Cole’s photographs, many of them not before seen publicly.\u003c/p>\n\u003cp>As he did in his Oscar-nominated James Baldwin documentary \u003ca href=\"https://www.kqed.org/arts/12713994/james-baldwin-in-his-own-searing-revelatory-words-i-am-not-your-negro\">\u003cem>I Am Not Your Negro\u003c/em>\u003c/a>, the Haitian-born Peck shares screenwriting credit with his subject. \u003cem>Ernest Cole: Lost and Found\u003c/em> is drawn from Cole’s own writings. In words and images, Peck brings the tragic story of Cole to vivid life, reopening the lens through which Cole so perceptively saw injustice and humanity.\u003c/p>\n\u003cp>“Film is a political tool for me,” Peck said in a recent interview over lunch in Manhattan. “My job is to go to the widest audience possible and try to give them something to help them understand where they are, what they are doing, what role they are playing. It’s about my fight today. I don’t care about the past.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Ernest Cole: Lost and Found\u003c/em> is a movie layered with meaning that goes beyond Cole’s work. It asks questions not just about the societies Cole documented but of how he was treated as an artist, drawing uncomfortable parallels between apartheid and post-Jim Crow America. In the U.S., Cole was given a Ford Foundation grant to capture Black life in rural and urban areas, but he struggled to find a foothold professionally. Some editors said his images lacked “edge.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/OzS95TW6edU'\n title='//www.youtube.com/embed/OzS95TW6edU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 2017, more than 60,000 of Cole’s 35mm film negatives were discovered in a bank vault in Stockholm, Sweden. Much of that material, including thousands of photographs Cole took in the U.S., was believed lost. Answers for how they had gotten there, and why they hadn’t been known about earlier were hard to come by. \u003cem>Lost and Found\u003c/em> portrays the struggle of Cole’s estate to acquire the collection. Only on the eve of the film’s Cannes Film Festival premiere in May did the bank finally announce the handover of most materials to the estate.\u003c/p>\n\u003cp>What those photographs reveal is an artist who made much more than indelible images of apartheid life. Cole’s early photographs, published in 1967, offered one of the most illustrative and damning portraits of apartheid to Western eyes, including a widely reproduced photograph of a middle-aged woman sitting on a park bench that read “Europeans only.” But he was an equally astute and sensitive observer of the segregations, and multicultural joys, of American life.\u003c/p>\n\u003cp>“It’s a matter of survival,” Stanfield narrates as Cole. “Steal every moment.”\u003c/p>\n\u003cp>For Peck, the themes of \u003cem>Ernest Cole: Lost and Found\u003c/em> are deeply personal. The 71-year-old filmmaker, a former minister of culture in Haiti, has spent much of his artistic life also away from his native country, in Berlin, Paris and New York. He dedicates the movie “to those who died in exile.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“When I say that, that’s most of my friends,” he says. “I recognize all the steps. When you take a contact sheet, I see myself.”\u003c/p>\n\u003cp>For some four decades, Peck has made some of the most urgent films, in both fiction (including 2000’s \u003cem>Lumumba\u003c/em>, about the exiled Congo leader) and non-fiction (including last year’s \u003cem>Silver Dollar Road\u003c/em>). But he has rarely not employed both narrative and documentary elements in films that take their own shape — movies less interested in genre distinctions than they are pursuing unexamined truths.\u003c/p>\n\u003cp>That’s made Peck an increasingly exceptional figure in a documentary world that’s become more and more dominated by glossier, less probing films for streaming platforms.\u003c/p>\n\u003cp>“It’s gotten worse. There’s less money so young people are desperate and accept stuff that my generation would never accept,” Peck says. “The whole industry has changed. I knew another world, and I recognize it’s not that anymore.”\u003c/p>\n\u003cp>Peck is currently editing a documentary on George Orwell. Like \u003cem>Ernest Cole: Lost and Found\u003c/em>, it will be told totally in Orwell’s words. A few days after the U.S. election, Peck was working to update a moment in the film that touches on President-elect Donald Trump. Peck has been astonished at how prescient Orwell was on so many current issues — misinformation, AI, social media, the refugee crisis.\u003c/p>\n\u003cp>“He was a really incredible critic of history and how history is even told,” says Peck. “Before plunging into it, I did not realize how sharp he was about what’s going on today.”\u003c/p>\n\u003cp>“To me,” he adds, “a film has value if it’s talking to us today.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Ernest Cole: Lost and Found’ is released nationwide on Nov. 22, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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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"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.",
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"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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"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?",
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"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.",
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"possible": {
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"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.",
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"pri-the-world": {
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"radiolab": {
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
"id": "science-friday",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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