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"content": "\u003cp>Robert Zemeckis’ latest movie is insanely ambitious, starting with the dinosaurs and ending in present day with the Roomba. But it’s fixed on just one spot.\u003c/p>\n\u003cp>\u003cem>Here\u003c/em> reunites Zemeckis, screenwriter Eric Roth and actors Tom Hanks and Robin Wright, who collaborated on \u003cem>Forrest Gump\u003c/em>. This time, they’re not telling the larger-than-life story of a man moving through time — they’re telling the centuries-old story of a living room and all the different people who lived there.\u003c/p>\n\u003cp>[aside postid='arts_13967200']In this living room, we see a wedding, a death, a birth, a marriage tested, a funeral, lots of vacuuming, many birthdays, Christmases and Thanksgivings, some sex, adults getting drunk and Jazzercise.\u003c/p>\n\u003cp>Zemeckis puts the camera at a fixed angle for the movie’s entire 105-minute duration without moving. It’s not so strange after a while — so bursting with life is each shot and vignette — but there’s a gnawing feeling that we’re in some sort of film experiment, like testing an audience on how long they’ll watch old security camera footage.\u003c/p>\n\u003cp>The camera may not move but the eras do, melting back and forth in time from pre-history, to the 1700s, to the 1940s, back to hunter-gatherer times and then the ’60s and ’70s, before hitting the early 1900s. It begins and ends in 2022.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hanks and Wright form the movie’s spine, as Richard and Margaret. Over dozens of little scenes, we watch him as a boy grow up in the house and fall in love with Margaret, marry, move her in, have a baby and inherit it all. Whether they survive as a couple isn’t guaranteed.\u003c/p>\n\u003cp>Zemeckis is a filmmaker known for incorporating the latest in technology and this time it’s de-aging as a visual effect, basically turning 68-year-old Hanks into what he looked like while filming \u003cem>Splash\u003c/em>. It’s a lot of work, clumsy often, and Zemeckis has gotten lost in the uncanny valley, trying to tell a very human story about what unites us but by altering the actors so much that the human connection is lost. Look closely and you’ll see cigarette smoke go into one character, but never come out.\u003c/p>\n\u003cp>[aside postid='arts_13967293']Other roles include Richard’s parents — played brilliantly by Paul Bettany and Kelly Reilly — and some unconnected people: a fun-loving couple living in the home from 1925 to 1944, and a less fun couple in the early 1900s. There’s an Indigenous couple in the 1600s who frolic in the space the living room will take over in 300 years and another family who rides out 2020 in the house amid the pandemic.\u003c/p>\n\u003cp>If that isn’t enough, we have an appearance by Benjamin Franklin. Why Benjamin Franklin? He’s connected to the house across the street. What he adds is not entirely clear. The movie could do with fewer Founding Fathers and cutesy touches like hummingbirds.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=I_id-SkGU2k\u003c/p>\n\u003cp>We watch the living room as a TV is added — the Beatles’ performance on \u003cem>The Ed Sullivan Show\u003c/em> leads to \u003cem>CHiPs\u003c/em> — and the vehicles outside go from horse to Model Ts to sedans. The home goes from $3,400 just after World War II to $1 million today and the fashions go from Victorian heeled boots to teased hair and American flag shirts.\u003c/p>\n\u003cp>\u003cem>Here\u003c/em> — based on the graphic novel by Richard McGuire — is best when events at different times are linked — like when a roof starts leaking in one era only to dissolve into a pregnant woman’s water breaking in another. Or when there’s mention of influenza in 1918 and we later see the effects of the coronavirus pandemic.\u003c/p>\n\u003cp>[aside postid='arts_13967226']One theme that is touched on but could have been strengthened is the impact of downsizing and economic disruptions on psyches, with Richard’s father in full Willy Loman mode one day, sobbing after being laid off: “They shrunk me.” Deferred dreams are another, but there’s not enough time for that if you’ve got silly visits by Benjamin Franklin. And while it’s inclusive to embrace Native Americans, the scenes add little to the narrative.\u003c/p>\n\u003cp>\u003cem>Here\u003c/em> fails to connect all these centuries of human experiences, other than to celebrate the human experience in all its messiness, triumph and sadness. In fact, if these walls could talk, most of the characters are happiest away from this living room. Maybe the strongest theme is uttered by one character lamenting: “Time just went.”\u003c/p>\n\u003cp>Zemeckis nicely apes the graphic novel’s use of squares within the frame that show a peek at what’s going on in different eras — like little time travel devices — and kudos to Jesse Goldsmith for fantastic editing work.\u003c/p>\n\u003cp>But one visual trick sums up the movie: It’s supposed to be the story of a real wood-and-brick house, but it was filmed at Sony’s studio complex in Culver City, California. The main character is fake. \u003cem>Here\u003c/em> is nowhere.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Here’ is released nationwide on Nov. 1, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Other roles include Richard’s parents — played brilliantly by Paul Bettany and Kelly Reilly — and some unconnected people: a fun-loving couple living in the home from 1925 to 1944, and a less fun couple in the early 1900s. There’s an Indigenous couple in the 1600s who frolic in the space the living room will take over in 300 years and another family who rides out 2020 in the house amid the pandemic.\u003c/p>\n\u003cp>If that isn’t enough, we have an appearance by Benjamin Franklin. Why Benjamin Franklin? He’s connected to the house across the street. What he adds is not entirely clear. The movie could do with fewer Founding Fathers and cutesy touches like hummingbirds.\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/I_id-SkGU2k'\n title='//www.youtube.com/embed/I_id-SkGU2k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We watch the living room as a TV is added — the Beatles’ performance on \u003cem>The Ed Sullivan Show\u003c/em> leads to \u003cem>CHiPs\u003c/em> — and the vehicles outside go from horse to Model Ts to sedans. The home goes from $3,400 just after World War II to $1 million today and the fashions go from Victorian heeled boots to teased hair and American flag shirts.\u003c/p>\n\u003cp>\u003cem>Here\u003c/em> — based on the graphic novel by Richard McGuire — is best when events at different times are linked — like when a roof starts leaking in one era only to dissolve into a pregnant woman’s water breaking in another. Or when there’s mention of influenza in 1918 and we later see the effects of the coronavirus pandemic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Consider the enormous difficulty of making a feature film in Gaza, even before the war of the last 13 months. Ahmed Hassouna persevered for four and a half years, he recounts in his blistering short film, \u003cem>Sorry Cinema\u003c/em>. When he finished in 2019, Palestine didn’t have even a single movie house to show it. \u003c/p>\n\u003cp>Hassouna includes a quick-cut montage of production shots from \u003cem>Istrupya\u003c/em> (\u003cem>Senseless Loss\u003c/em>), which feel terribly nostalgic juxtaposed with contemporary verité footage of bombed-out buildings and parachuted-in supplies. In need of firewood for cooking, he chops up his film slate (or clapperboard), ending \u003cem>Sorry Cinema\u003c/em> by watching his dreams literally go up in smoke.\u003c/p>\n\u003cp>A highlight among the 22 shorts that comprise the Arab Film Festival’s centerpiece film, \u003cem>\u003ca href=\"https://arabfilm2024.eventive.org/films/66e05f0fceca0300a4ccece7\">From Ground Zero\u003c/a>\u003c/em>, \u003cem>Sorry Cinema\u003c/em> eloquently conveys both the intangible costs of war and the impulse to make art in impossible circumstances.\u003c/p>\n\u003cfigure id=\"attachment_13967342\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Hell_s-Heaven-Karim-Satoum_04.jpg\" alt=\"boy plays drums on an assortment of upturned buckets, others watch\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13967342\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Hell_s-Heaven-Karim-Satoum_04.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Hell_s-Heaven-Karim-Satoum_04-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Hell_s-Heaven-Karim-Satoum_04-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Hell_s-Heaven-Karim-Satoum_04-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Hell_s-Heaven-Karim-Satoum_04-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Hell_s-Heaven-Karim-Satoum_04-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Still from Karim Satoum’s ‘Hell’s Heaven.’ \u003ccite>(Courtesy of Arab Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another haunting first-person piece, Ala’a Islam Ayoub’s \u003cem>Overburden\u003c/em>, revisits the young filmmaker’s decision not to take any of her beloved books when she and her mother hurriedly fled the city of Gaza for the north. “What is heavier than oppression?” she asks bitterly. “How could I have thought for an instant that my books weighed more?”\u003c/p>\n\u003cp>Palestine’s official submission for the Academy Award for Best International Feature Film, \u003cem>From Ground Zero\u003c/em> screens Wednesday, Oct. 30 at the New Parkway Theater in Oakland. \u003ci>Editor’s note: The screening is sold out, and the film is not included in the festival’s online program, though attempts are being made as of publication to add an additional screening.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Spearheaded and produced by Palestinian filmmaker Rashid Masharawi, \u003cem>From Ground Zero\u003c/em> encompasses films of varying ambition and accomplishment. The overall quality is remarkably high, especially given the uncertain and dangerous conditions on the ground. \u003c/p>\n\u003cp>The most jarring case of those conditions — reality, that is — eclipsing fiction is \u003cem>Taxi Wanissa\u003c/em>, a neorealist portrait of a man who makes a living carrying goods and passengers on a wagon pulled by his donkey Wanissa. Suddenly, filmmaker Etimad Washah appears on camera to recount the deaths of her brother and his children, her ensuing depression and inability to continue production. With that, the screen goes black, and the only appropriate reaction is stunned, respectful silence.\u003c/p>\n\u003cfigure id=\"attachment_13967345\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Out_of_frame-Neda_a-Abu-Hasna.jpg\" alt=\"woman in hijab stands next to art prints hung on wall\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13967345\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Out_of_frame-Neda_a-Abu-Hasna.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Out_of_frame-Neda_a-Abu-Hasna-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Out_of_frame-Neda_a-Abu-Hasna-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Out_of_frame-Neda_a-Abu-Hasna-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Out_of_frame-Neda_a-Abu-Hasna-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Out_of_frame-Neda_a-Abu-Hasna-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from Neda’a Abu Hasna’s ‘Out of Frame.’ \u003ccite>(Courtesy of Arab Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another kind of horror invades Khamis Masharawi’s \u003cem>Soft Skin\u003c/em>. Several endearing refugee children in colorful clothes make cutout figures for a stop-motion animated film drawn from their experiences of war. They show off their names, scripted by their mothers on their arms and legs in bold black ink.\u003c/p>\n\u003cp>Why? No explanation is needed by this point, just seven films into \u003cem>From Ground Zero\u003c/em>. We’ve already seen enough piles of rubble — destroyed homes — where some people are buried and others are pulled from the wreckage. Think about it: children don’t carry ID.\u003c/p>\n\u003cp>Given the sanitized state of TV news and Americans’ general indifference to what goes on anywhere outside the U.S., \u003cem>From Ground Zero\u003c/em> is an enormously essential compilation that should be seen widely. Does that read like a political comment? Surely people with strong opinions who have taken a side in what is characterized as the war between Israel and Hamas will watch \u003cem>From Ground Zero\u003c/em> — and read reviews — from their own perspectives.\u003c/p>\n\u003cp>But I did not hear either entity invoked once across 22 films. No fingers are pointed. Aside from Ala’a Ayoub’s utterance of “oppression” and several invocations of “martyrs” to describe loved ones who were killed in air raids, the causes and sources of the violence are secondary to surviving it.\u003c/p>\n\u003cfigure id=\"attachment_13967343\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Everything-is-Fine-Nidal-Damo-e1730138242538.jpg\" alt=\"man in suit with sunglasses on head smiles with both arms raised\" width=\"1920\" height=\"1068\" class=\"size-full wp-image-13967343\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Everything-is-Fine-Nidal-Damo-e1730138242538.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Everything-is-Fine-Nidal-Damo-e1730138242538-800x445.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Everything-is-Fine-Nidal-Damo-e1730138242538-1020x567.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Everything-is-Fine-Nidal-Damo-e1730138242538-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Everything-is-Fine-Nidal-Damo-e1730138242538-768x427.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Everything-is-Fine-Nidal-Damo-e1730138242538-1536x854.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Everything-is-Fine-Nidal-Damo-e1730138242538-1038x576.jpg 1038w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from Nidal Damo’s ‘Everything is Fine.’ \u003ccite>(Courtesy of Arab Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The subjects of the films, start to finish, are innocent civilians. Consequently, the vignettes of life during wartime that comprise \u003cem>From Ground Zero\u003c/em> take their place, sadly, in the long annals of human suffering. “I don’t know when the war will end,” writer Diana El Shinawy says in Mustafa Al Nabij’s \u003cem>Offering\u003c/em>. “We will all need therapy to endure all the pain. No one is OK.”\u003c/p>\n\u003cp>[aside postID='arts_13966771,arts_13966738']These 22 films are documents of powerlessness, and they are also cries of protest at that lack of power. For all the shots of rubble and tents, of people queuing for water and bread, \u003cem>From Ground Zero\u003c/em> is less a tour of hell than an affirmation of life. In fact, some viewers may find it hard to believe the hope and optimism willfully summoned by filmmaker Hana Eleiwa in \u003cem>No\u003c/em>. Dismissing suggestions to interview victims, she hangs out instead with a band that rejects despair. “No to everything that destroys us,” declares singer Rahaf Shamali, smiling in the sunshine.\u003c/p>\n\u003cp>You may be surprised, as I was, that a couple of the films take a mildly comedic slant. Nidal Damo’s \u003cem>Everything is Fine\u003c/em> follows a stand-up comic (!) traveling to and prepping for (outdoor haircut, makeshift shower) his gig that night. In \u003cem>Hell’s Heaven\u003c/em>, Karim Satoum awakens in a body bag, then displays a mordant wit reminiscent of Palestinian filmmaker Elia Suleiman in revisiting the events of the previous day that led to this moment.\u003c/p>\n\u003cp>You have to admire the spirit and the character of filmmakers seeing, or seeking, a glimmer of light among the clouds. Even then, Sartoum won’t, or can’t, ignore the truth. “Nothing remains of this city except the sea,” he says in voice-over, doggedly putting one foot in front of the other.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘From Ground Zero,’ now shortlisted for the Academy Award for International Feature Film plays \u003ca href=\"https://roxie.com/film/from-ground-zero/\">Jan. 7–20 at the Roxie\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Consider the enormous difficulty of making a feature film in Gaza, even before the war of the last 13 months. Ahmed Hassouna persevered for four and a half years, he recounts in his blistering short film, \u003cem>Sorry Cinema\u003c/em>. When he finished in 2019, Palestine didn’t have even a single movie house to show it. \u003c/p>\n\u003cp>Hassouna includes a quick-cut montage of production shots from \u003cem>Istrupya\u003c/em> (\u003cem>Senseless Loss\u003c/em>), which feel terribly nostalgic juxtaposed with contemporary verité footage of bombed-out buildings and parachuted-in supplies. In need of firewood for cooking, he chops up his film slate (or clapperboard), ending \u003cem>Sorry Cinema\u003c/em> by watching his dreams literally go up in smoke.\u003c/p>\n\u003cp>A highlight among the 22 shorts that comprise the Arab Film Festival’s centerpiece film, \u003cem>\u003ca href=\"https://arabfilm2024.eventive.org/films/66e05f0fceca0300a4ccece7\">From Ground Zero\u003c/a>\u003c/em>, \u003cem>Sorry Cinema\u003c/em> eloquently conveys both the intangible costs of war and the impulse to make art in impossible circumstances.\u003c/p>\n\u003cfigure id=\"attachment_13967342\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Hell_s-Heaven-Karim-Satoum_04.jpg\" alt=\"boy plays drums on an assortment of upturned buckets, others watch\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13967342\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Hell_s-Heaven-Karim-Satoum_04.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Hell_s-Heaven-Karim-Satoum_04-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Hell_s-Heaven-Karim-Satoum_04-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Hell_s-Heaven-Karim-Satoum_04-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Hell_s-Heaven-Karim-Satoum_04-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Hell_s-Heaven-Karim-Satoum_04-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Still from Karim Satoum’s ‘Hell’s Heaven.’ \u003ccite>(Courtesy of Arab Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another haunting first-person piece, Ala’a Islam Ayoub’s \u003cem>Overburden\u003c/em>, revisits the young filmmaker’s decision not to take any of her beloved books when she and her mother hurriedly fled the city of Gaza for the north. “What is heavier than oppression?” she asks bitterly. “How could I have thought for an instant that my books weighed more?”\u003c/p>\n\u003cp>Palestine’s official submission for the Academy Award for Best International Feature Film, \u003cem>From Ground Zero\u003c/em> screens Wednesday, Oct. 30 at the New Parkway Theater in Oakland. \u003ci>Editor’s note: The screening is sold out, and the film is not included in the festival’s online program, though attempts are being made as of publication to add an additional screening.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Spearheaded and produced by Palestinian filmmaker Rashid Masharawi, \u003cem>From Ground Zero\u003c/em> encompasses films of varying ambition and accomplishment. The overall quality is remarkably high, especially given the uncertain and dangerous conditions on the ground. \u003c/p>\n\u003cp>The most jarring case of those conditions — reality, that is — eclipsing fiction is \u003cem>Taxi Wanissa\u003c/em>, a neorealist portrait of a man who makes a living carrying goods and passengers on a wagon pulled by his donkey Wanissa. Suddenly, filmmaker Etimad Washah appears on camera to recount the deaths of her brother and his children, her ensuing depression and inability to continue production. With that, the screen goes black, and the only appropriate reaction is stunned, respectful silence.\u003c/p>\n\u003cfigure id=\"attachment_13967345\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Out_of_frame-Neda_a-Abu-Hasna.jpg\" alt=\"woman in hijab stands next to art prints hung on wall\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13967345\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Out_of_frame-Neda_a-Abu-Hasna.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Out_of_frame-Neda_a-Abu-Hasna-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Out_of_frame-Neda_a-Abu-Hasna-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Out_of_frame-Neda_a-Abu-Hasna-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Out_of_frame-Neda_a-Abu-Hasna-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Out_of_frame-Neda_a-Abu-Hasna-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from Neda’a Abu Hasna’s ‘Out of Frame.’ \u003ccite>(Courtesy of Arab Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another kind of horror invades Khamis Masharawi’s \u003cem>Soft Skin\u003c/em>. Several endearing refugee children in colorful clothes make cutout figures for a stop-motion animated film drawn from their experiences of war. They show off their names, scripted by their mothers on their arms and legs in bold black ink.\u003c/p>\n\u003cp>Why? No explanation is needed by this point, just seven films into \u003cem>From Ground Zero\u003c/em>. We’ve already seen enough piles of rubble — destroyed homes — where some people are buried and others are pulled from the wreckage. Think about it: children don’t carry ID.\u003c/p>\n\u003cp>Given the sanitized state of TV news and Americans’ general indifference to what goes on anywhere outside the U.S., \u003cem>From Ground Zero\u003c/em> is an enormously essential compilation that should be seen widely. Does that read like a political comment? Surely people with strong opinions who have taken a side in what is characterized as the war between Israel and Hamas will watch \u003cem>From Ground Zero\u003c/em> — and read reviews — from their own perspectives.\u003c/p>\n\u003cp>But I did not hear either entity invoked once across 22 films. No fingers are pointed. Aside from Ala’a Ayoub’s utterance of “oppression” and several invocations of “martyrs” to describe loved ones who were killed in air raids, the causes and sources of the violence are secondary to surviving it.\u003c/p>\n\u003cfigure id=\"attachment_13967343\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Everything-is-Fine-Nidal-Damo-e1730138242538.jpg\" alt=\"man in suit with sunglasses on head smiles with both arms raised\" width=\"1920\" height=\"1068\" class=\"size-full wp-image-13967343\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Everything-is-Fine-Nidal-Damo-e1730138242538.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Everything-is-Fine-Nidal-Damo-e1730138242538-800x445.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Everything-is-Fine-Nidal-Damo-e1730138242538-1020x567.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Everything-is-Fine-Nidal-Damo-e1730138242538-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Everything-is-Fine-Nidal-Damo-e1730138242538-768x427.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Everything-is-Fine-Nidal-Damo-e1730138242538-1536x854.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Everything-is-Fine-Nidal-Damo-e1730138242538-1038x576.jpg 1038w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from Nidal Damo’s ‘Everything is Fine.’ \u003ccite>(Courtesy of Arab Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The subjects of the films, start to finish, are innocent civilians. Consequently, the vignettes of life during wartime that comprise \u003cem>From Ground Zero\u003c/em> take their place, sadly, in the long annals of human suffering. “I don’t know when the war will end,” writer Diana El Shinawy says in Mustafa Al Nabij’s \u003cem>Offering\u003c/em>. “We will all need therapy to endure all the pain. No one is OK.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>These 22 films are documents of powerlessness, and they are also cries of protest at that lack of power. For all the shots of rubble and tents, of people queuing for water and bread, \u003cem>From Ground Zero\u003c/em> is less a tour of hell than an affirmation of life. In fact, some viewers may find it hard to believe the hope and optimism willfully summoned by filmmaker Hana Eleiwa in \u003cem>No\u003c/em>. Dismissing suggestions to interview victims, she hangs out instead with a band that rejects despair. “No to everything that destroys us,” declares singer Rahaf Shamali, smiling in the sunshine.\u003c/p>\n\u003cp>You may be surprised, as I was, that a couple of the films take a mildly comedic slant. Nidal Damo’s \u003cem>Everything is Fine\u003c/em> follows a stand-up comic (!) traveling to and prepping for (outdoor haircut, makeshift shower) his gig that night. In \u003cem>Hell’s Heaven\u003c/em>, Karim Satoum awakens in a body bag, then displays a mordant wit reminiscent of Palestinian filmmaker Elia Suleiman in revisiting the events of the previous day that led to this moment.\u003c/p>\n\u003cp>You have to admire the spirit and the character of filmmakers seeing, or seeking, a glimmer of light among the clouds. Even then, Sartoum won’t, or can’t, ignore the truth. “Nothing remains of this city except the sea,” he says in voice-over, doggedly putting one foot in front of the other.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘From Ground Zero,’ now shortlisted for the Academy Award for International Feature Film plays \u003ca href=\"https://roxie.com/film/from-ground-zero/\">Jan. 7–20 at the Roxie\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For three films now, Tom Hardy has smushed Jekyll and Hyde into one strange and slimy double act. In a Marvel universe filled with alter egos that cloak stealthy superpowers, his investigative reporter Eddie Brock doesn’t transform. He shares his body with an ink-black alien symbiote (voiced with a baritone growl by Hardy), who sometimes swallows him whole, sometimes shoots a tentacle or two out, and always chipperly punctuates Eddie’s inner monologue.\u003c/p>\n\u003cp>These have been consistently messy, almost willfully bad movies, but Hardy’s performance has been a strangely compelling one-body buddy comedy. It’s one thing to throw a cape on and jump the sky. It’s another to run manically through the desert with an alien voice inside barking, as Eddie’s inner-alien does in the new \u003cem>Venom: The Last Dance\u003c/em>, “Engage your core,” “Nice horsey” and “Tequila!”\u003c/p>\n\u003cp>[aside postid='arts_13967226']The biggest dichotomy of these movies, though, isn’t the Eddie-symbiote split. It’s the contrast between Hardy’s funny, sometimes oddly touching performance and all of the CGI mess around him. There were moments of fun in the first two movies, but if \u003cem>The Last Dance\u003c/em>, which opens in theaters Thursday, is the swan song for this spun-off, half-formed franchise, it confirms that the \u003cem>Venom\u003c/em> films never quite figured themselves out.\u003c/p>\n\u003cp>In \u003cem>The Last Dance\u003c/em>, Kelly Marcel, co-writer of the first two \u003cem>Venom\u003c/em> films, takes over directing, following Andy Serkis (2021’s \u003cem>Venom: Let There Be Carnage\u003c/em>) and Ruben Fleischer (2018’s \u003cem>Venom\u003c/em>). We rejoin Venom (the fusion of Eddie and his alien-entity soulmate) in Mexico where they’re on the run from the law. But a new threat is also emerging.\u003c/p>\n\u003cp>The movie opens with Knull (Serkis), the symbiote creator who, from some icky distant and dark corner of space, dispatches aliens to retrieve a “codex” found within Venom’s spine that, if obtained, will lead to the annihilation of both humans and symbiotes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HyIyd9joTTc\u003c/p>\n\u003cp>To me, bringing a typical comic book-style doomsday plot is about the last thing a \u003cem>Venom\u003c/em> movie needs. The best sequences in the first two movies are no more complicated than Venom craving lobster or ordering pizza. Smaller stakes better suit its warped comedy. The touchstone for these movies shouldn’t be the Marvel playbook but old episodes of \u003cem>The Odd Couple\u003c/em>.\u003c/p>\n\u003cp>Instead, we’re thrown into a pretty immediately boring Area 51 setting where an elaborate lab headed by Dr. Teddy Payne (Juno Temple) studies the symbiotes it has trapped with the help of a military division led by Rex Strickland (Chiwetel Ejiofor, lending more gravitas to the movie than it deserves). Once the alien insect things arrive seeking the codex, there’s plenty of running and fighting, with a UFO-enthusiast family in a VW bus (Rhys Ifans plays the dad) thrown into the mix. The ensuing battle ultimately, as the title promises, threatens to divide Venom for good.\u003c/p>\n\u003cp>[aside postid='arts_13967037']But the promise of the \u003cem>Venom\u003c/em> series, really, is that the mainline Marvel stuff would intrude less here. This is a B-movie realm of the multiverse with little appetite for solemnity, nobility or two-and-half-hour running times. They can feel a little like tossed-off knockoffs, which is both their appeal and their frustration.\u003c/p>\n\u003cp>I kept rooting for the surprisingly lifeless \u003cem>The Last Dance\u003c/em> to pull way back on its save-the-world plot (and its CGI) and lean more into its most potent effect: Hardy’s split-personality double act. If this is to be a last hurrah — which, granted is a dubious idea for anything even adjacently connected to \u003cem>Spider-Man\u003c/em> — it’s a shame that we never saw more of Venom in daily life. Eddie is a journalist after all. One can only imagine how he and the symbiote might have debated more pressing concerns than the fate of the universe, like Oxford commas.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Venom: The Last Dance’ is released nationwide on Oct. 24, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For three films now, Tom Hardy has smushed Jekyll and Hyde into one strange and slimy double act. In a Marvel universe filled with alter egos that cloak stealthy superpowers, his investigative reporter Eddie Brock doesn’t transform. He shares his body with an ink-black alien symbiote (voiced with a baritone growl by Hardy), who sometimes swallows him whole, sometimes shoots a tentacle or two out, and always chipperly punctuates Eddie’s inner monologue.\u003c/p>\n\u003cp>These have been consistently messy, almost willfully bad movies, but Hardy’s performance has been a strangely compelling one-body buddy comedy. It’s one thing to throw a cape on and jump the sky. It’s another to run manically through the desert with an alien voice inside barking, as Eddie’s inner-alien does in the new \u003cem>Venom: The Last Dance\u003c/em>, “Engage your core,” “Nice horsey” and “Tequila!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The biggest dichotomy of these movies, though, isn’t the Eddie-symbiote split. It’s the contrast between Hardy’s funny, sometimes oddly touching performance and all of the CGI mess around him. There were moments of fun in the first two movies, but if \u003cem>The Last Dance\u003c/em>, which opens in theaters Thursday, is the swan song for this spun-off, half-formed franchise, it confirms that the \u003cem>Venom\u003c/em> films never quite figured themselves out.\u003c/p>\n\u003cp>In \u003cem>The Last Dance\u003c/em>, Kelly Marcel, co-writer of the first two \u003cem>Venom\u003c/em> films, takes over directing, following Andy Serkis (2021’s \u003cem>Venom: Let There Be Carnage\u003c/em>) and Ruben Fleischer (2018’s \u003cem>Venom\u003c/em>). We rejoin Venom (the fusion of Eddie and his alien-entity soulmate) in Mexico where they’re on the run from the law. But a new threat is also emerging.\u003c/p>\n\u003cp>The movie opens with Knull (Serkis), the symbiote creator who, from some icky distant and dark corner of space, dispatches aliens to retrieve a “codex” found within Venom’s spine that, if obtained, will lead to the annihilation of both humans and symbiotes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/HyIyd9joTTc'\n title='//www.youtube.com/embed/HyIyd9joTTc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>To me, bringing a typical comic book-style doomsday plot is about the last thing a \u003cem>Venom\u003c/em> movie needs. The best sequences in the first two movies are no more complicated than Venom craving lobster or ordering pizza. Smaller stakes better suit its warped comedy. The touchstone for these movies shouldn’t be the Marvel playbook but old episodes of \u003cem>The Odd Couple\u003c/em>.\u003c/p>\n\u003cp>Instead, we’re thrown into a pretty immediately boring Area 51 setting where an elaborate lab headed by Dr. Teddy Payne (Juno Temple) studies the symbiotes it has trapped with the help of a military division led by Rex Strickland (Chiwetel Ejiofor, lending more gravitas to the movie than it deserves). Once the alien insect things arrive seeking the codex, there’s plenty of running and fighting, with a UFO-enthusiast family in a VW bus (Rhys Ifans plays the dad) thrown into the mix. The ensuing battle ultimately, as the title promises, threatens to divide Venom for good.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But the promise of the \u003cem>Venom\u003c/em> series, really, is that the mainline Marvel stuff would intrude less here. This is a B-movie realm of the multiverse with little appetite for solemnity, nobility or two-and-half-hour running times. They can feel a little like tossed-off knockoffs, which is both their appeal and their frustration.\u003c/p>\n\u003cp>I kept rooting for the surprisingly lifeless \u003cem>The Last Dance\u003c/em> to pull way back on its save-the-world plot (and its CGI) and lean more into its most potent effect: Hardy’s split-personality double act. If this is to be a last hurrah — which, granted is a dubious idea for anything even adjacently connected to \u003cem>Spider-Man\u003c/em> — it’s a shame that we never saw more of Venom in daily life. Eddie is a journalist after all. One can only imagine how he and the symbiote might have debated more pressing concerns than the fate of the universe, like Oxford commas.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Venom: The Last Dance’ is released nationwide on Oct. 24, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Anora’ Disguises Its Moral Center in a Swirl of Exuberance and Mayhem",
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"content": "\u003cp>\u003cem>Anora\u003c/em>, like almost every film ever made about a sex worker, is a fable of power and freedom. Writer-director Sean Baker’s great triumph is concealing the story’s somewhat inevitable Marxist moral in an entertaining swirl of comic exuberance and manic mayhem.\u003c/p>\n\u003cp>Until, that is, the main character’s heartbreaking revelation literally at the last minute, in a sequence so stunningly executed by actress and director that it transforms the entire movie.\u003c/p>\n\u003cp>\u003cem>Anora\u003c/em> (opening Friday, Oct. 25 in the Bay Area) spans a month or so in the life of a 23-year-old exotic (i.e., lap) dancer at the top of her game. Mikey Madison portrays Ani with a convincing blend of after-hours swagger, rough-edge New York attitude and, under that crusty/smooth veneer, a streak of naiveté.\u003c/p>\n\u003cp>Ani, you see, thinks she’s in complete control of her situation. She uses her power — sex, that is — to make a good living, then mocks her customers’ compliance after they leave. She argues and negotiates with the club owner as if they’re equals (or she’s a superstar, like Aaron Judge) rather than his employee.\u003c/p>\n\u003cfigure id=\"attachment_13967269\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000.jpg\" alt=\"blue and purple-lit woman on crowded dance floor\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13967269\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mikey Madison as Ani in ‘Anora.’\u003c/figcaption>\u003c/figure>\n\u003cp>Baker (\u003cem>Tangerine\u003c/em>, \u003cem>The Florida Project\u003c/em>, \u003cem>Red Rocket\u003c/em>) skillfully walks a tightrope between two simplistic audience reactions. We aren’t encouraged to bask voyeuristically in Mikey’s hot nocturnal playground nor do we view her with the condescension of world-wise adults who know (from the movies, if not real life) that sex work is a grinding downward spiral.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Instead we see Ani as someone who has yet to learn what every woman who’s ever waited tables or mixed a drink knows: At the end of the day, the person with the money has the power. If you’re working for tips, you’re going to swallow some crap. To pretend otherwise is delusional.\u003c/p>\n\u003cp>Perhaps Ani harbors another pipe dream, that a well-off customer will woo her and take her out of the life. Rest assured that Baker doesn’t venture into \u003cem>Pretty Woman\u003c/em> territory, nor does he suggest that marriage can be a kinder, gentler variation of prostitution. We’re firmly in the post-feminist, girls-just-want-to-have-fun-on-their-own-terms world. (I suspect the Cannes jury gave \u003cem>Anora\u003c/em> the Palme d’Or for its portrait of contemporary female independence in tandem with its depiction of capitalism gone wild.)\u003c/p>\n\u003cp>Ani does win the lottery, in a manner of speaking, only the customer isn’t some divorced middle-aged guy but an immature Russian a few years younger than her. Ivan (Mark Eydelshteyn) has an even more compressed world view than Ani: Ensconced in his parents’ gated house with a bottomless allowance, he doesn’t look beyond his next video-game session or drug-fueled party.\u003c/p>\n\u003cfigure id=\"attachment_13967271\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Yura-Borisov-as-Igor-Vache-Tovmasyan-as-Garnick_2000.jpg\" alt=\"two men in car, smoking\" width=\"2000\" height=\"836\" class=\"size-full wp-image-13967271\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Yura-Borisov-as-Igor-Vache-Tovmasyan-as-Garnick_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Yura-Borisov-as-Igor-Vache-Tovmasyan-as-Garnick_2000-800x334.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Yura-Borisov-as-Igor-Vache-Tovmasyan-as-Garnick_2000-1020x426.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Yura-Borisov-as-Igor-Vache-Tovmasyan-as-Garnick_2000-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Yura-Borisov-as-Igor-Vache-Tovmasyan-as-Garnick_2000-768x321.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Yura-Borisov-as-Igor-Vache-Tovmasyan-as-Garnick_2000-1536x642.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Yura-Borisov-as-Igor-Vache-Tovmasyan-as-Garnick_2000-1920x803.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Yura Borisov as Igor and Vache Tovmasyan as Garnick in ‘Anora.’ \u003ccite>(Courtesy of NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Anora\u003c/em> envelops the viewer as well, in a succession of fantasy interiors: the purplish men’s club, an over-the-top Las Vegas hotel suite, the opulent isolation of Ivan’s house. We know that none of it is real, but Ani revels in every setting. If you’re thinking that Cyndi Lauper has passed the turntable to Tina Turner (what’s love got to do with it?), well, Baker has a twist for you.\u003c/p>\n\u003cp>What happened in Vegas doesn’t stay in Vegas, and Ivan’s parents are seriously displeased. They dispatch minions to the mansion, and for a few minutes it appears we’ve segued to the dangerous (and darkly funny) world of the Safdie brothers (\u003cem>Good Time\u003c/em>, \u003cem>Uncut Gems\u003c/em>) where minor miscreants find themselves on the wrong side of very, very bad people.\u003c/p>\n\u003cp>Violence is not in the offing, thankfully. But for Ani, who’s held captive and physically restrained — lest she destroy every piece of expensive bric-a-brac and art — nothing is worse than being denied her freedom. And her autonomy, for she insists on her and Ivan’s commitment to each other.\u003c/p>\n\u003cp>\u003cem>Anora\u003c/em> isn’t a Preston Sturges-style parable of conning a rube for money and unexpectedly falling in love. It’s hard to imagine Mikey Madison, who gives a wildly go-for-broke performance, as a calculating Barbara Stanwyck type. She’s a china-smashing bull in this fervid second half, where the movie becomes an upside-down comedy of manners with Ani the working-class outsider trampling the social order and rules with a remarkable steadfastness, purity and defiance.\u003c/p>\n\u003cfigure id=\"attachment_13967270\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000b.jpg\" alt=\"woman smiles into mirror, holding up hand with wedding ring\" width=\"2000\" height=\"836\" class=\"size-full wp-image-13967270\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000b.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000b-800x334.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000b-1020x426.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000b-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000b-768x321.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000b-1536x642.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000b-1920x803.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mikey Madison as Ani in ‘Anora.’ \u003ccite>(Courtesy of NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In transforming this powerless girl, a sex worker of no status and little education, into the film’s moral center, Baker has made a genuinely subversive work. The great pleasure and perhaps greater accomplishment of \u003cem>Anora\u003c/em> is that it doesn’t play at any point as social commentary. Ani has no agenda beyond (and no higher stakes than) her continued independence, and Baker and Madison keep us riveted on that.\u003c/p>\n\u003cp>Ani’s last-minute breakdown/breakthrough, in which she sees how she uses sex in every relationship to communicate and control, is as personal as it gets. And yet, as vital and au courant as \u003cem>Anora\u003c/em> is, I expect it will be pushed out of the year-end awards conversation by the unusually large number of “serious” movies coming our way in the next couple months.\u003c/p>\n\u003cp>Serious being a relative term, of course. I doubt that Ani has read \u003cem>The Great Gatsby\u003c/em>, but she would recognize her paramour in it.\u003c/p>\n\u003cp>“They were careless people,” F. Scott Fitzgerald wrote a century ago, “Tom and Daisy — they smashed up things and creatures and then retreated back into their money or their vast carelessness or whatever it was that kept them together, and let other people clean up the mess they had made.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Anora’ opens in Bay Area theaters on Friday, Oct. 25.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Anora\u003c/em>, like almost every film ever made about a sex worker, is a fable of power and freedom. Writer-director Sean Baker’s great triumph is concealing the story’s somewhat inevitable Marxist moral in an entertaining swirl of comic exuberance and manic mayhem.\u003c/p>\n\u003cp>Until, that is, the main character’s heartbreaking revelation literally at the last minute, in a sequence so stunningly executed by actress and director that it transforms the entire movie.\u003c/p>\n\u003cp>\u003cem>Anora\u003c/em> (opening Friday, Oct. 25 in the Bay Area) spans a month or so in the life of a 23-year-old exotic (i.e., lap) dancer at the top of her game. Mikey Madison portrays Ani with a convincing blend of after-hours swagger, rough-edge New York attitude and, under that crusty/smooth veneer, a streak of naiveté.\u003c/p>\n\u003cp>Ani, you see, thinks she’s in complete control of her situation. She uses her power — sex, that is — to make a good living, then mocks her customers’ compliance after they leave. She argues and negotiates with the club owner as if they’re equals (or she’s a superstar, like Aaron Judge) rather than his employee.\u003c/p>\n\u003cfigure id=\"attachment_13967269\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000.jpg\" alt=\"blue and purple-lit woman on crowded dance floor\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13967269\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mikey Madison as Ani in ‘Anora.’\u003c/figcaption>\u003c/figure>\n\u003cp>Baker (\u003cem>Tangerine\u003c/em>, \u003cem>The Florida Project\u003c/em>, \u003cem>Red Rocket\u003c/em>) skillfully walks a tightrope between two simplistic audience reactions. We aren’t encouraged to bask voyeuristically in Mikey’s hot nocturnal playground nor do we view her with the condescension of world-wise adults who know (from the movies, if not real life) that sex work is a grinding downward spiral.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Instead we see Ani as someone who has yet to learn what every woman who’s ever waited tables or mixed a drink knows: At the end of the day, the person with the money has the power. If you’re working for tips, you’re going to swallow some crap. To pretend otherwise is delusional.\u003c/p>\n\u003cp>Perhaps Ani harbors another pipe dream, that a well-off customer will woo her and take her out of the life. Rest assured that Baker doesn’t venture into \u003cem>Pretty Woman\u003c/em> territory, nor does he suggest that marriage can be a kinder, gentler variation of prostitution. We’re firmly in the post-feminist, girls-just-want-to-have-fun-on-their-own-terms world. (I suspect the Cannes jury gave \u003cem>Anora\u003c/em> the Palme d’Or for its portrait of contemporary female independence in tandem with its depiction of capitalism gone wild.)\u003c/p>\n\u003cp>Ani does win the lottery, in a manner of speaking, only the customer isn’t some divorced middle-aged guy but an immature Russian a few years younger than her. Ivan (Mark Eydelshteyn) has an even more compressed world view than Ani: Ensconced in his parents’ gated house with a bottomless allowance, he doesn’t look beyond his next video-game session or drug-fueled party.\u003c/p>\n\u003cfigure id=\"attachment_13967271\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Yura-Borisov-as-Igor-Vache-Tovmasyan-as-Garnick_2000.jpg\" alt=\"two men in car, smoking\" width=\"2000\" height=\"836\" class=\"size-full wp-image-13967271\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Yura-Borisov-as-Igor-Vache-Tovmasyan-as-Garnick_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Yura-Borisov-as-Igor-Vache-Tovmasyan-as-Garnick_2000-800x334.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Yura-Borisov-as-Igor-Vache-Tovmasyan-as-Garnick_2000-1020x426.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Yura-Borisov-as-Igor-Vache-Tovmasyan-as-Garnick_2000-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Yura-Borisov-as-Igor-Vache-Tovmasyan-as-Garnick_2000-768x321.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Yura-Borisov-as-Igor-Vache-Tovmasyan-as-Garnick_2000-1536x642.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Yura-Borisov-as-Igor-Vache-Tovmasyan-as-Garnick_2000-1920x803.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Yura Borisov as Igor and Vache Tovmasyan as Garnick in ‘Anora.’ \u003ccite>(Courtesy of NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Anora\u003c/em> envelops the viewer as well, in a succession of fantasy interiors: the purplish men’s club, an over-the-top Las Vegas hotel suite, the opulent isolation of Ivan’s house. We know that none of it is real, but Ani revels in every setting. If you’re thinking that Cyndi Lauper has passed the turntable to Tina Turner (what’s love got to do with it?), well, Baker has a twist for you.\u003c/p>\n\u003cp>What happened in Vegas doesn’t stay in Vegas, and Ivan’s parents are seriously displeased. They dispatch minions to the mansion, and for a few minutes it appears we’ve segued to the dangerous (and darkly funny) world of the Safdie brothers (\u003cem>Good Time\u003c/em>, \u003cem>Uncut Gems\u003c/em>) where minor miscreants find themselves on the wrong side of very, very bad people.\u003c/p>\n\u003cp>Violence is not in the offing, thankfully. But for Ani, who’s held captive and physically restrained — lest she destroy every piece of expensive bric-a-brac and art — nothing is worse than being denied her freedom. And her autonomy, for she insists on her and Ivan’s commitment to each other.\u003c/p>\n\u003cp>\u003cem>Anora\u003c/em> isn’t a Preston Sturges-style parable of conning a rube for money and unexpectedly falling in love. It’s hard to imagine Mikey Madison, who gives a wildly go-for-broke performance, as a calculating Barbara Stanwyck type. She’s a china-smashing bull in this fervid second half, where the movie becomes an upside-down comedy of manners with Ani the working-class outsider trampling the social order and rules with a remarkable steadfastness, purity and defiance.\u003c/p>\n\u003cfigure id=\"attachment_13967270\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000b.jpg\" alt=\"woman smiles into mirror, holding up hand with wedding ring\" width=\"2000\" height=\"836\" class=\"size-full wp-image-13967270\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000b.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000b-800x334.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000b-1020x426.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000b-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000b-768x321.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000b-1536x642.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Mikey-Madison-as-Ani.-Courtesy-of-NEON_2000b-1920x803.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mikey Madison as Ani in ‘Anora.’ \u003ccite>(Courtesy of NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In transforming this powerless girl, a sex worker of no status and little education, into the film’s moral center, Baker has made a genuinely subversive work. The great pleasure and perhaps greater accomplishment of \u003cem>Anora\u003c/em> is that it doesn’t play at any point as social commentary. Ani has no agenda beyond (and no higher stakes than) her continued independence, and Baker and Madison keep us riveted on that.\u003c/p>\n\u003cp>Ani’s last-minute breakdown/breakthrough, in which she sees how she uses sex in every relationship to communicate and control, is as personal as it gets. And yet, as vital and au courant as \u003cem>Anora\u003c/em> is, I expect it will be pushed out of the year-end awards conversation by the unusually large number of “serious” movies coming our way in the next couple months.\u003c/p>\n\u003cp>Serious being a relative term, of course. I doubt that Ani has read \u003cem>The Great Gatsby\u003c/em>, but she would recognize her paramour in it.\u003c/p>\n\u003cp>“They were careless people,” F. Scott Fitzgerald wrote a century ago, “Tom and Daisy — they smashed up things and creatures and then retreated back into their money or their vast carelessness or whatever it was that kept them together, and let other people clean up the mess they had made.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Anora’ opens in Bay Area theaters on Friday, Oct. 25.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In Edward Berger’s \u003cem>Conclave\u003c/em>, the selection of the pope is no holy affair. Instead, it’s a petty, political campaign carried out in secrecy, where gossip flows, agendas are malleable and loyalties are fleeting. All are there to serve God, they say. But we all know how helpful that has been in conflicts throughout history. \u003cem>Conclave\u003c/em> might not have much new or interesting to say about the Catholic Church, but it is a deliriously fun watch in the way that tense, smart thrillers with an ensemble of great actors can be.\u003c/p>\n\u003cp>It’s fitting that Peter Straughan, who co-wrote the script for \u003cem>Tinker Tailor Soldier Spy\u003c/em>, was the one to adapt Robert Harris’ 2016 novel, taking audiences inside the secretive halls of the Vatican in the immediate aftermath of the pope’s death. The film opens abruptly and effectively on Ralph Fiennes’ back, walking somewhere briskly. Nothing is said. You don’t even see his face. But between Volker Bertelmann’s heightened score and Fiennes’ pace and tensed shoulders, the mood is set. This, it is clear, is not going to be a straightforward affair. Plus, something seems a little fishy about this death.\u003c/p>\n\u003cp>[aside postid='arts_13967037']Fiennes plays Cardinal Thomas Lawrence, the dean of the College of Cardinals, whose duty is to oversee the election of the next pope. That means gathering a group of 100-some clergymen in Rome to vote. With many dreaming of ascending to the position, they’re secluded from the outside world and left to their own devices to lobby for support.\u003c/p>\n\u003cp>There are some formidable forces at play following the death of a more liberal-minded pope. Stanley Tucci’s Aldo Bellini is a progressive hoping to evolve the church dramatically. Sergio Castellitto’s Goffredo Tedesco thinks they’ve gone astray and wants to bring it back to the days of Latin Mass and Italian leadership. There’s also Lucian Msamati’s Joshua Adeyemi, from Nigeria, who stands to make history as the first Black pope but whose views on homosexuality worry the progressives. And finally, John Lithgow’s slick but earnest Joseph Tremblay, who, unlike Bellini, wears his ambition on his sleeve. He also happened to be the last official meeting on the pope’s schedule before he died and delayed before calling Lawrence with the news.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JX9jasdi3ic\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a film business where youth still reigns supreme, \u003cem>Conclave\u003c/em> is a symphony of lovely aging faces. These actors whose forehead lines don’t disappear at rest are in full command of their instruments showing a world of experience, doubt and regret in any given glance. Fiennes gets the majority of the close-ups, as a man who is having to manage this increasingly unwieldy proceeding while also grappling with his own internal crisis. He reveals to Bellini, who he hopes will be selected, that he recently attempted to resign. His request, he said, was denied.\u003c/p>\n\u003cp>[aside postid='arts_13967007']And now he’s left dealing with a bunch of babies in a conclave that is stretching on longer than anyone would like. There are rumors of a withdrawn report of gross misconduct, a sabotage plot and the surprise arrival of a cardinal no one knew existed: Carlos Diehz’s Vincent Benitez, who was secretly appointed archbishop of Kabul. With turmoil both on the streets and inside their claustrophobic and gossip-ridden surroundings, everyone is going a little mad wondering if they’ll have to simply settle for the least worst choice. Even Isabella Rossellini’s head nun, who is supposed to be a silent participant, gets involved (thank goodness for us).\u003c/p>\n\u003cp>Berger, a German-Austrian filmmaker who last made the stunning adaptation of \u003cem>All Quiet on the Western Front\u003c/em>, keeps the audience on the edge of their seats for the duration as you try to piece together the clues to figure out who is holding the strings. The specific setting of the Vatican adds mystery and dramatic flair — the filmmaker seems to take great pleasure in the elaborate and frequent costume changes and ceremony of it all — but this is also a classic story that could have easily been set near any seat of power. \u003cem>Conclave\u003c/em> is sure to ruffle some Catholic feathers — provocation is in its DNA. But for the rest of us, this juicy, smartly crafted thriller, is simply a great watch.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Conclave’ is released nationwide on Oct. 25, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In Edward Berger’s \u003cem>Conclave\u003c/em>, the selection of the pope is no holy affair. Instead, it’s a petty, political campaign carried out in secrecy, where gossip flows, agendas are malleable and loyalties are fleeting. All are there to serve God, they say. But we all know how helpful that has been in conflicts throughout history. \u003cem>Conclave\u003c/em> might not have much new or interesting to say about the Catholic Church, but it is a deliriously fun watch in the way that tense, smart thrillers with an ensemble of great actors can be.\u003c/p>\n\u003cp>It’s fitting that Peter Straughan, who co-wrote the script for \u003cem>Tinker Tailor Soldier Spy\u003c/em>, was the one to adapt Robert Harris’ 2016 novel, taking audiences inside the secretive halls of the Vatican in the immediate aftermath of the pope’s death. The film opens abruptly and effectively on Ralph Fiennes’ back, walking somewhere briskly. Nothing is said. You don’t even see his face. But between Volker Bertelmann’s heightened score and Fiennes’ pace and tensed shoulders, the mood is set. This, it is clear, is not going to be a straightforward affair. Plus, something seems a little fishy about this death.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And now he’s left dealing with a bunch of babies in a conclave that is stretching on longer than anyone would like. There are rumors of a withdrawn report of gross misconduct, a sabotage plot and the surprise arrival of a cardinal no one knew existed: Carlos Diehz’s Vincent Benitez, who was secretly appointed archbishop of Kabul. With turmoil both on the streets and inside their claustrophobic and gossip-ridden surroundings, everyone is going a little mad wondering if they’ll have to simply settle for the least worst choice. Even Isabella Rossellini’s head nun, who is supposed to be a silent participant, gets involved (thank goodness for us).\u003c/p>\n\u003cp>Berger, a German-Austrian filmmaker who last made the stunning adaptation of \u003cem>All Quiet on the Western Front\u003c/em>, keeps the audience on the edge of their seats for the duration as you try to piece together the clues to figure out who is holding the strings. The specific setting of the Vatican adds mystery and dramatic flair — the filmmaker seems to take great pleasure in the elaborate and frequent costume changes and ceremony of it all — but this is also a classic story that could have easily been set near any seat of power. \u003cem>Conclave\u003c/em> is sure to ruffle some Catholic feathers — provocation is in its DNA. But for the rest of us, this juicy, smartly crafted thriller, is simply a great watch.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Conclave’ is released nationwide on Oct. 25, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A celebration of Black sci-fi, horror, fantasy and anime is coming to Oakland’s Grand Lake Theatre on Nov. 6: \u003ca href=\"https://afrocomiccon.org/\">AfroComicCon International Film Festival\u003c/a>. The one-day event features a screening of 38 short films by independent directors, an Afrofuturist fashion show, stand-up comedy by Papp Johnson and live music by Oakland-based Congolese drummer Kiazi Malonga.\u003c/p>\n\u003cp>Among the films to look forward to is Benjamin MulHolland’s \u003ca href=\"https://www.thelakemerrittmonstermovie.com/\">\u003ci>The Lake Merritt Monster\u003c/i>\u003c/a>, a beautifully shot, 16-minute sci-fi short about an Oakland teenager named Ollie whose mom gets snatched up by a mysterious beast lurking around Lake Merritt. Ollie and his lovable band of friends — who include a heavy-metal guitarist and two science whizzes — hunt for the monster in a thrilling tale that pulls in social commentary and bits of Filipino folklore.\u003c/p>\n\u003cfigure id=\"attachment_13967044\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967044\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/230917_PatrickTiu_AfroComicCon-283-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/230917_PatrickTiu_AfroComicCon-283-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/230917_PatrickTiu_AfroComicCon-283-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/230917_PatrickTiu_AfroComicCon-283-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/230917_PatrickTiu_AfroComicCon-283-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/230917_PatrickTiu_AfroComicCon-283-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/230917_PatrickTiu_AfroComicCon-283-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/230917_PatrickTiu_AfroComicCon-283-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/230917_PatrickTiu_AfroComicCon-283-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Cosplayers at AfroComicCon 2023. \u003ccite>(Patrick Tiu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Also on the program is Chris Cathern’s \u003ca href=\"https://www.imdb.com/title/tt29731964/\">\u003ci>A-Train: New Beginnings\u003c/i>\u003c/a>, a dark comedy about \u003ci>The Boys\u003c/i> superhero, who finds a second act as a rapper after a fall from grace. And Eric Dyson’s \u003ca href=\"https://www.imdb.com/title/tt29260401/\">\u003ci>Sweet Santa Barbara Brown\u003c/i>\u003c/a>, also in the program, travels back to Southern California in the ’80s to tell the story of a basketball team’s dangerous encounter with the police after they’re wrongfully suspected of a jewelry store robbery.\u003c/p>\n\u003cp>The festival’s judges panel features filmmaker and Bay Area Black Comedy Competition producer Tony Spires, producer Lathan Hodge, director and \u003ci>Boyz n the Hood\u003c/i> actor Kenneth A. Brown, video game voice actor and writer Jason E. Kelley (\u003ci>Deathloop\u003c/i>) and actress and comedian Nikki Star.\u003c/p>\n\u003cp>In addition to the films and performances, AfroComicCon promises panel discussions on diverse storytelling, breaking into the industry and filmmaking technology.\u003c/p>\n\u003chr>\n\u003cp>\u003ci>AfroComicCon takes place Nov. 6, 4–10:30 p.m., at Grand Lake Theatre in Oakland. \u003ca href=\"https://allevents.in/oakland/afrocomiccon-international-film-festival-2024/80001272522541\">Tickets and details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A celebration of Black sci-fi, horror, fantasy and anime is coming to Oakland’s Grand Lake Theatre on Nov. 6: \u003ca href=\"https://afrocomiccon.org/\">AfroComicCon International Film Festival\u003c/a>. The one-day event features a screening of 38 short films by independent directors, an Afrofuturist fashion show, stand-up comedy by Papp Johnson and live music by Oakland-based Congolese drummer Kiazi Malonga.\u003c/p>\n\u003cp>Among the films to look forward to is Benjamin MulHolland’s \u003ca href=\"https://www.thelakemerrittmonstermovie.com/\">\u003ci>The Lake Merritt Monster\u003c/i>\u003c/a>, a beautifully shot, 16-minute sci-fi short about an Oakland teenager named Ollie whose mom gets snatched up by a mysterious beast lurking around Lake Merritt. Ollie and his lovable band of friends — who include a heavy-metal guitarist and two science whizzes — hunt for the monster in a thrilling tale that pulls in social commentary and bits of Filipino folklore.\u003c/p>\n\u003cfigure id=\"attachment_13967044\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967044\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/230917_PatrickTiu_AfroComicCon-283-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/230917_PatrickTiu_AfroComicCon-283-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/230917_PatrickTiu_AfroComicCon-283-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/230917_PatrickTiu_AfroComicCon-283-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/230917_PatrickTiu_AfroComicCon-283-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/230917_PatrickTiu_AfroComicCon-283-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/230917_PatrickTiu_AfroComicCon-283-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/230917_PatrickTiu_AfroComicCon-283-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/230917_PatrickTiu_AfroComicCon-283-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Cosplayers at AfroComicCon 2023. \u003ccite>(Patrick Tiu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Also on the program is Chris Cathern’s \u003ca href=\"https://www.imdb.com/title/tt29731964/\">\u003ci>A-Train: New Beginnings\u003c/i>\u003c/a>, a dark comedy about \u003ci>The Boys\u003c/i> superhero, who finds a second act as a rapper after a fall from grace. And Eric Dyson’s \u003ca href=\"https://www.imdb.com/title/tt29260401/\">\u003ci>Sweet Santa Barbara Brown\u003c/i>\u003c/a>, also in the program, travels back to Southern California in the ’80s to tell the story of a basketball team’s dangerous encounter with the police after they’re wrongfully suspected of a jewelry store robbery.\u003c/p>\n\u003cp>The festival’s judges panel features filmmaker and Bay Area Black Comedy Competition producer Tony Spires, producer Lathan Hodge, director and \u003ci>Boyz n the Hood\u003c/i> actor Kenneth A. Brown, video game voice actor and writer Jason E. Kelley (\u003ci>Deathloop\u003c/i>) and actress and comedian Nikki Star.\u003c/p>\n\u003cp>In addition to the films and performances, AfroComicCon promises panel discussions on diverse storytelling, breaking into the industry and filmmaking technology.\u003c/p>\n\u003chr>\n\u003cp>\u003ci>AfroComicCon takes place Nov. 6, 4–10:30 p.m., at Grand Lake Theatre in Oakland. \u003ca href=\"https://allevents.in/oakland/afrocomiccon-international-film-festival-2024/80001272522541\">Tickets and details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It’s not your typical stop-motion film when characters name pets after Sylvia Plath and read \u003cem>The Diary of Anne Frank\u003c/em> — or when the story’s inspired by a quote from existentialist thinker Søren Kierkegaard.\u003c/p>\n\u003cp>And it’s certainly not your typical stop-motion film when you find yourself crying as much as the characters do — in their case, with huge droplets leaking from bulging, egg-shaped eyes so authentic-looking, you expect the screen to get wet.\u003c/p>\n\u003cp>[aside postid='arts_13966836']But those are just a few of the unique things about Adam Elliot’s \u003cem>Memoir of a Snail\u003c/em>, a film that’s as heart-tugging as it is technically impressive, a work of both emotional resonance and great physical detail using only clay, wire, paper and paint.\u003c/p>\n\u003cp>One thing Elliot’s film is not, though, is for kids. So please take note before heading to the multiplex with family in tow: this film earns its R rating, as you’ll discover as soon as young Grace, voiced by Sarah Snook, tells us she thought masturbation was about chewing your food properly. Sex, nudity, drunk driving, a fat fetish — like we said, it’s R-rated for a reason.\u003c/p>\n\u003cp>But let’s start at the beginning. In this, his seventh “clayography” (for “clay” and “biography”), the Australian writer-director explores the process of collecting unnecessary objects. Otherwise known as hoarding, it’s something that weighs us down in ways we can’t see, for all the clutter. Elliot also argues that it helps us build constrictive shells around ourselves — like snail shells, perhaps.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ehc8cc7g31I\u003c/p>\n\u003cp>Our protagonist is Grace Pudel, voiced with a quirky warmth and plenty of empathy by the wonderfully agile Snook. We first encounter Grace as a grown woman, telling her long, lonely life story to her pet garden snail, Sylvia (named after Plath), at a moment of deep sadness.\u003c/p>\n\u003cp>[aside postid='arts_13966737']Then we flash back to childhood. Grace is born with a twin brother, Gilbert (Kodi Smit-McPhee). Their mother dies in childbirth, leaving the twins with their father, a film animator. Grace needs surgery to correct a cleft palate, and doctors ask young Gilbert to donate blood; he thinks that means he’ll have to die to let her live, and still says yes. (Those tears we mentioned? They start here.)\u003c/p>\n\u003cp>The two siblings endure a sad life with their father, a life that becomes sadder yet when a collision with a drunk driver renders him a paraplegic. It won’t be long before their father dies in his sleep, making them orphans. And nobody wants a full set of twins, so Grace and Gilbert are forcibly separated and sent to opposite sides of Australia.\u003c/p>\n\u003cp>Grace is sent to Canberra, a city so boring and safe that people drive cars with helmets on. And Gilbert is sent to a farm, with a cruel family of evangelists. The two exchange letters and pray they’ll meet again. Grace’s parents are swingers (this is the ’70s), and they end up leaving her for a nudist colony. Her only companions are her snails, which she loves, just like her mother did — both the live and ornamental versions.\u003c/p>\n\u003cp>Pinky comes along five years later. The elderly woman — raspily voiced by longtime Australian star Jacki Weaver — has quite the past. She lost her finger dancing on a bar in Barcelona. She played ping pong with Fidel Castro. She’s outlived two husbands. Her friendship eases Grace’s sadness.\u003c/p>\n\u003cp>But still, there’s a deep hole where brother Gilbert should be. Grace adds kleptomania to her “list of hobbies.” She also starts hoarding in earnest. Finally, she meets Ken, a microwave repairman. She believes she has found love.\u003c/p>\n\u003cp>Life has more cruel twists in store, though, and you won’t see them coming in this cleverly constructed — though unabashedly odd — screenplay. But Elliot served here not only as writer-director but as production designer, and his biggest achievement is a rich visual world dominated by varying shades of brown, and populated by 7,000 handmade objects. Some 135,000 photographs taken on 200 sets were used to create the film.\u003c/p>\n\u003cp>[aside postid='arts_13966390']Yet all that technical prowess would be rather useless without the emotional core that resonates throughout. Elliot has given wise Pinky, in her huge red spectacles, the aforementioned Kierkegaard line (with only the slightest edit): “Life can only be understood backwards, but we’ve got to live it forwards,” she tells Grace. And snails, she adds, never go backwards. Nor should Grace — and nor should we.\u003c/p>\n\u003cp>Who would have thought an R-rated stop-motion film about mollusks could pack such a universal lesson?\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Memoir of a Snail’ plays in AMC theaters around the Bay Area on Oct. 23, 2024. It will receive a wider release on Nov. 7, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Yet all that technical prowess would be rather useless without the emotional core that resonates throughout. Elliot has given wise Pinky, in her huge red spectacles, the aforementioned Kierkegaard line (with only the slightest edit): “Life can only be understood backwards, but we’ve got to live it forwards,” she tells Grace. And snails, she adds, never go backwards. Nor should Grace — and nor should we.\u003c/p>\n\u003cp>Who would have thought an R-rated stop-motion film about mollusks could pack such a universal lesson?\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Memoir of a Snail’ plays in AMC theaters around the Bay Area on Oct. 23, 2024. It will receive a wider release on Nov. 7, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Pelican Bay’s SHU (Special Housing Unit) is immortalized in Denzel Washington’s award-winning performance as a crooked cop named Alonzo in the 2001 film \u003ca href=\"https://www.youtube.com/watch?v=Lj4adAAHa68\" target=\"_blank\" rel=\"noopener\">\u003ci>Training Day\u003c/i>\u003c/a>. Just after the film’s climax, as Alonzo is losing his iron fist grip over the residents of an apartment complex, he says to them, “You motherfuckers will be playing basketball in Pelican Bay when I get through with you.” Bloody, sweaty and nearly defeated, he continues with his hollow threat: “SHU program … 23-hour lockdown.”\u003c/p>\n\u003cp>The reference became cemented in popular culture, but the reality of being inside of a solitary unit — confined to a small steel-and-concrete cage for 23 hours a day — is as far from Hollywood as one can get. Up the California coast, roughly a dozen miles from the Oregon border, on the edge of Crescent City, is Pelican Bay State Prison.\u003c/p>\n\u003cfigure id=\"attachment_13966841\" class=\"wp-caption alignnone\" style=\"max-width: 2914px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13966841 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/The_Strike_7.png\" alt=\"An aerial view of Pelican Bay State Prison in Crescent City, California.\" width=\"2914\" height=\"1622\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/The_Strike_7.png 2914w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/The_Strike_7-800x445.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/The_Strike_7-1020x568.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/The_Strike_7-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/The_Strike_7-768x427.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/The_Strike_7-1536x855.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/The_Strike_7-2048x1140.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/The_Strike_7-1920x1069.png 1920w\" sizes=\"auto, (max-width: 2914px) 100vw, 2914px\">\u003cfigcaption class=\"wp-caption-text\">An aerial view of Pelican Bay State Prison in Crescent City, California. \u003ccite>(Courtesy of Lucas Guilkey )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Opened in 1989, the maximum security facility, designed for mass-scale solitary confinement, was once lauded by former California Governor George Deukmejian as the crown jewel of the state’s prison system. Today the facility is home to hundreds of minimum security residents, and only one quarter of its solitary units are occupied.\u003c/p>\n\u003cp>After years of activism, including \u003ca href=\"https://www.npr.org/2013/07/29/206555385/hunger-strikes-lead-to-changes-in-california-prison-units\" target=\"_blank\" rel=\"noopener\">a massive hunger strike\u003c/a> staged by incarcerated people across the state in 2013 and \u003ca href=\"https://www.kqed.org/news/10664540/california-prisons-agree-to-major-changes-in-solitary-confinement\" target=\"_blank\" rel=\"noopener\">a 2015 lawsuit\u003c/a>, the CDCR’s (California Department of Corrections and Rehabilitation) approach to solitary confinement has been drastically altered. While thousands of people have been reinstated into the general prison population after being released from long-term isolation, the practice of subjecting people to solitary confinement hasn’t completely ended. But the story of how we got to this point, where massive changes have been made at Pelican Bay and throughout the state’s prison system, is shown in the documentary film, \u003ci>\u003ca href=\"https://www.thestrikefilm.com/\" target=\"_blank\" rel=\"noopener\">The Strike.\u003c/a>\u003c/i>\u003c/p>\n\u003cp>The film — which will screen this Wednesday, Oct. 23, \u003ca href=\"https://www.renaissancerialto.com/TheStrike.php?fbclid=PAZXh0bgNhZW0CMTEAAaYUZqnb8UHfwo-wA54jzL0HSoco-e4FjJU5lsWdMbSl1Eiyurfn3tD31bo_aem_5p6B0t5iFpfg0y9okKYqWg\" target=\"_blank\" rel=\"noopener\">at Oakland’s Grand Lake Theatre\u003c/a> and is scheduled to broadcast on PBS’s \u003cem>Independent Lens\u003c/em> in the spring of 2025 — was directed and produced by \u003ca href=\"https://lucasguilkey.com/\" target=\"_blank\" rel=\"noopener\">Lucas Guilkey \u003c/a>and \u003ca href=\"https://www.joebillmunoz.com/\" target=\"_blank\" rel=\"noopener\">JoeBill Muñoz.\u003c/a> Over a score created by well-known East Bay jazz artist \u003ca href=\"https://www.instagram.com/samorapinderhughes/?hl=en\" target=\"_blank\" rel=\"noopener\">Samora Pinderhughes\u003c/a>, a handful of men who were once incarcerated at the notorious prison share testimonies about their time inside.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As the men explain their regimen of doing hundreds of push-ups, practicing hours of meditation and playing chess against themselves on a makeshift board made from folded paper, the audience gains an understanding of how cyclical the days on days of seclusion became. Award-winning film editor \u003ca href=\"https://www.danielaquiroz.com/\" target=\"_blank\" rel=\"noopener\">Daniela Quiroz\u003c/a> works magic as she loops the list of activities the interviewees mention, causing the viewer to feel confined not only to the space but also the limits of what someone in solitary can do with their time.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=N3nnMZD6QHE&t=1s\u003c/p>\n\u003cp>One of the men breaks down the struggle of solitary confinement as “trying to tell your mind you’re not losing your mind, when your mind is telling you that you’re losing your mind.”\u003c/p>\n\u003cp>The documentary uses archival footage, reenactments and a staged setting to portray an SHU cell. The filmmakers also gained access to unreleased footage of meetings held by the incarcerated leaders of different racial groups within the prison, who in 2013 formed a truce. Together, they and thousands of other incarcerated people across the state participated in a hunger strike in order to bring attention to their grievances with CDCR.\u003c/p>\n\u003cp>“I couldn’t believe it,” says filmmaker Lucas Guilkey, discussing the archival videos of incarcerated leaders meeting with prison officials. “We had heard about these meetings, but never did we think we would actually get footage of it.”\u003c/p>\n\u003cp>In California’s prison system, where race divides people nearly as much as steel bars do, seeing stakeholders from different racial groups sitting at the same table is almost unfathomable. But it happened, and when it did, those leaders also brought a list of demands for prison officials.\u003c/p>\n\u003cp>At the heart of the battle were five key points: the need for regular meaningful human contact, an end to group punishment, the need for adequate food, the abolition of the debriefing policy (requiring those in solitary confinement to give up dirt on other incarcerated people before they’re allowed to exit) and, lastly, ending the practice of indefinite isolation.\u003c/p>\n\u003cp>There was also a push to end the process by which many incarcerated people land in solitary confinement, which often involved being penalized for holding revolutionary literature, cultural artwork or anything that was remotely “gang affiliated.”\u003c/p>\n\u003cp>On the heels of the hunger strike and the subsequent lawsuit, California made changes to its solitary confinement policies, including the amount of time people could be forced into isolation. (“\u003ca href=\"https://www.unodc.org/documents/justice-and-prison-reform/Nelson_Mandela_Rules-E-ebook.pdf\">The United Nations’ standard\u003c/a> for [imprisoned] isolation is 15 days,” Guilkey says. “Beyond that is considered torture.”) Thousands of people who were siloed in cells for years were released to the general population, and substantive changes were made to the checklist that lands people in solitary confinement in the first place.\u003c/p>\n\u003cp>In October of last year, \u003ca href=\"https://www.cdcr.ca.gov/news/2023/10/05/cdcr-files-regulations-to-reform-use-of-restricted-housing-in-the-states-prisons/\" target=\"_blank\" rel=\"noopener\">the CDCR announced\u003c/a> that solitary confinement, rebranded as Restrictive Housing, would offer a minimum of 20 hours per week “out of cell time” to assist with access to classes and other workshops to help the rehabilitative process.\u003c/p>\n\u003cfigure id=\"attachment_13966877\" class=\"wp-caption alignnone\" style=\"max-width: 2175px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13966877 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Guard-with-gun.jpg\" alt=\"A California prison guard with a gun standing in a watchtower.\" width=\"2175\" height=\"1472\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Guard-with-gun.jpg 2175w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Guard-with-gun-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Guard-with-gun-1020x690.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Guard-with-gun-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Guard-with-gun-768x520.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Guard-with-gun-1536x1040.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Guard-with-gun-2048x1386.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Guard-with-gun-1920x1299.jpg 1920w\" sizes=\"auto, (max-width: 2175px) 100vw, 2175px\">\u003cfigcaption class=\"wp-caption-text\">A California prison guard with a gun standing in a watchtower. \u003ccite>(Courtesy of Lucas Guilkey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Guilkey, who began as a volunteer social media producer working to spread awareness of the prison hunger strike over a decade ago, says when he found out the details of the story, he knew it would make for an interesting feature film, even for those who aren’t engrossed in the nuances of prison in California.\u003c/p>\n\u003cp>“I think that you can still take a lot away about the power of organizing, about the power of family,” Guilkey says. He mentions the notion that when a person is incarcerated, a family is also incarcerated. “So the meaning of family,” he says, “is really super important.”\u003c/p>\n\u003cp>The film also deals with the consequences of “tough-on-crime policies” and misguided media narratives built around fear, which have led to devastating consequences for certain communities.\u003c/p>\n\u003cp>As a part of healing the people from those communities, filmmaker JoeBill Muñoz looks at this week’s screenings as a social gathering built around the film.\u003c/p>\n\u003cp>Muñoz explains that in making the film, they had no idea that the hunger strikers would live to see a changed prison system, and definitely didn’t foresee them eventually being released from prison. But, now home, a handful of the men will speak at this week’s screenings.\u003c/p>\n\u003cp>“They all went through the same experience. They were all in the same place for years of their life, isolated, and they didn’t know each other for the most part,” says Muñoz. “They’re going to be together on stage with us, and I think it’s going to be a real special event.”\u003c/p>\n\u003cp>After conceiving of this film 11 years ago, Guilkey says, “It’s been a long and winding road to bring this film to fruition.” After premiering it at Hot Docs in April and showing it at a few other festivals, Guilkey, who is based in the Bay, says this week’s screening is special: “I am personally just so thrilled to be bringing it home to Oakland.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>As a part of the International Documentary Association’s FallDocs 2024 showcase, ‘The Strike’ will screen Wednesday, Oct. 23, at Oakland’s Grand Lake Theatre, and will have subsequent screenings at San Francisco’s Roxie Theatre on Oct. 24. \u003ca href=\"https://www.thestrikefilm.com/screenings?fbclid=PAZXh0bgNhZW0CMTEAAabrM_Jw2ZMhLpto72MB5PeWuQ3aOomXUw-Pdp98_XjlIt2MGY7MDvDFL84_aem_nlmzNesJfkuA5XtSFdtoRg\" target=\"_blank\" rel=\"noopener\">More info and tickets can be found here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Pelican Bay’s SHU (Special Housing Unit) is immortalized in Denzel Washington’s award-winning performance as a crooked cop named Alonzo in the 2001 film \u003ca href=\"https://www.youtube.com/watch?v=Lj4adAAHa68\" target=\"_blank\" rel=\"noopener\">\u003ci>Training Day\u003c/i>\u003c/a>. Just after the film’s climax, as Alonzo is losing his iron fist grip over the residents of an apartment complex, he says to them, “You motherfuckers will be playing basketball in Pelican Bay when I get through with you.” Bloody, sweaty and nearly defeated, he continues with his hollow threat: “SHU program … 23-hour lockdown.”\u003c/p>\n\u003cp>The reference became cemented in popular culture, but the reality of being inside of a solitary unit — confined to a small steel-and-concrete cage for 23 hours a day — is as far from Hollywood as one can get. Up the California coast, roughly a dozen miles from the Oregon border, on the edge of Crescent City, is Pelican Bay State Prison.\u003c/p>\n\u003cfigure id=\"attachment_13966841\" class=\"wp-caption alignnone\" style=\"max-width: 2914px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13966841 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/The_Strike_7.png\" alt=\"An aerial view of Pelican Bay State Prison in Crescent City, California.\" width=\"2914\" height=\"1622\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/The_Strike_7.png 2914w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/The_Strike_7-800x445.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/The_Strike_7-1020x568.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/The_Strike_7-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/The_Strike_7-768x427.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/The_Strike_7-1536x855.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/The_Strike_7-2048x1140.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/The_Strike_7-1920x1069.png 1920w\" sizes=\"auto, (max-width: 2914px) 100vw, 2914px\">\u003cfigcaption class=\"wp-caption-text\">An aerial view of Pelican Bay State Prison in Crescent City, California. \u003ccite>(Courtesy of Lucas Guilkey )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Opened in 1989, the maximum security facility, designed for mass-scale solitary confinement, was once lauded by former California Governor George Deukmejian as the crown jewel of the state’s prison system. Today the facility is home to hundreds of minimum security residents, and only one quarter of its solitary units are occupied.\u003c/p>\n\u003cp>After years of activism, including \u003ca href=\"https://www.npr.org/2013/07/29/206555385/hunger-strikes-lead-to-changes-in-california-prison-units\" target=\"_blank\" rel=\"noopener\">a massive hunger strike\u003c/a> staged by incarcerated people across the state in 2013 and \u003ca href=\"https://www.kqed.org/news/10664540/california-prisons-agree-to-major-changes-in-solitary-confinement\" target=\"_blank\" rel=\"noopener\">a 2015 lawsuit\u003c/a>, the CDCR’s (California Department of Corrections and Rehabilitation) approach to solitary confinement has been drastically altered. While thousands of people have been reinstated into the general prison population after being released from long-term isolation, the practice of subjecting people to solitary confinement hasn’t completely ended. But the story of how we got to this point, where massive changes have been made at Pelican Bay and throughout the state’s prison system, is shown in the documentary film, \u003ci>\u003ca href=\"https://www.thestrikefilm.com/\" target=\"_blank\" rel=\"noopener\">The Strike.\u003c/a>\u003c/i>\u003c/p>\n\u003cp>The film — which will screen this Wednesday, Oct. 23, \u003ca href=\"https://www.renaissancerialto.com/TheStrike.php?fbclid=PAZXh0bgNhZW0CMTEAAaYUZqnb8UHfwo-wA54jzL0HSoco-e4FjJU5lsWdMbSl1Eiyurfn3tD31bo_aem_5p6B0t5iFpfg0y9okKYqWg\" target=\"_blank\" rel=\"noopener\">at Oakland’s Grand Lake Theatre\u003c/a> and is scheduled to broadcast on PBS’s \u003cem>Independent Lens\u003c/em> in the spring of 2025 — was directed and produced by \u003ca href=\"https://lucasguilkey.com/\" target=\"_blank\" rel=\"noopener\">Lucas Guilkey \u003c/a>and \u003ca href=\"https://www.joebillmunoz.com/\" target=\"_blank\" rel=\"noopener\">JoeBill Muñoz.\u003c/a> Over a score created by well-known East Bay jazz artist \u003ca href=\"https://www.instagram.com/samorapinderhughes/?hl=en\" target=\"_blank\" rel=\"noopener\">Samora Pinderhughes\u003c/a>, a handful of men who were once incarcerated at the notorious prison share testimonies about their time inside.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As the men explain their regimen of doing hundreds of push-ups, practicing hours of meditation and playing chess against themselves on a makeshift board made from folded paper, the audience gains an understanding of how cyclical the days on days of seclusion became. Award-winning film editor \u003ca href=\"https://www.danielaquiroz.com/\" target=\"_blank\" rel=\"noopener\">Daniela Quiroz\u003c/a> works magic as she loops the list of activities the interviewees mention, causing the viewer to feel confined not only to the space but also the limits of what someone in solitary can do with their time.\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/N3nnMZD6QHE'\n title='//www.youtube.com/embed/N3nnMZD6QHE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>One of the men breaks down the struggle of solitary confinement as “trying to tell your mind you’re not losing your mind, when your mind is telling you that you’re losing your mind.”\u003c/p>\n\u003cp>The documentary uses archival footage, reenactments and a staged setting to portray an SHU cell. The filmmakers also gained access to unreleased footage of meetings held by the incarcerated leaders of different racial groups within the prison, who in 2013 formed a truce. Together, they and thousands of other incarcerated people across the state participated in a hunger strike in order to bring attention to their grievances with CDCR.\u003c/p>\n\u003cp>“I couldn’t believe it,” says filmmaker Lucas Guilkey, discussing the archival videos of incarcerated leaders meeting with prison officials. “We had heard about these meetings, but never did we think we would actually get footage of it.”\u003c/p>\n\u003cp>In California’s prison system, where race divides people nearly as much as steel bars do, seeing stakeholders from different racial groups sitting at the same table is almost unfathomable. But it happened, and when it did, those leaders also brought a list of demands for prison officials.\u003c/p>\n\u003cp>At the heart of the battle were five key points: the need for regular meaningful human contact, an end to group punishment, the need for adequate food, the abolition of the debriefing policy (requiring those in solitary confinement to give up dirt on other incarcerated people before they’re allowed to exit) and, lastly, ending the practice of indefinite isolation.\u003c/p>\n\u003cp>There was also a push to end the process by which many incarcerated people land in solitary confinement, which often involved being penalized for holding revolutionary literature, cultural artwork or anything that was remotely “gang affiliated.”\u003c/p>\n\u003cp>On the heels of the hunger strike and the subsequent lawsuit, California made changes to its solitary confinement policies, including the amount of time people could be forced into isolation. (“\u003ca href=\"https://www.unodc.org/documents/justice-and-prison-reform/Nelson_Mandela_Rules-E-ebook.pdf\">The United Nations’ standard\u003c/a> for [imprisoned] isolation is 15 days,” Guilkey says. “Beyond that is considered torture.”) Thousands of people who were siloed in cells for years were released to the general population, and substantive changes were made to the checklist that lands people in solitary confinement in the first place.\u003c/p>\n\u003cp>In October of last year, \u003ca href=\"https://www.cdcr.ca.gov/news/2023/10/05/cdcr-files-regulations-to-reform-use-of-restricted-housing-in-the-states-prisons/\" target=\"_blank\" rel=\"noopener\">the CDCR announced\u003c/a> that solitary confinement, rebranded as Restrictive Housing, would offer a minimum of 20 hours per week “out of cell time” to assist with access to classes and other workshops to help the rehabilitative process.\u003c/p>\n\u003cfigure id=\"attachment_13966877\" class=\"wp-caption alignnone\" style=\"max-width: 2175px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13966877 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Guard-with-gun.jpg\" alt=\"A California prison guard with a gun standing in a watchtower.\" width=\"2175\" height=\"1472\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Guard-with-gun.jpg 2175w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Guard-with-gun-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Guard-with-gun-1020x690.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Guard-with-gun-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Guard-with-gun-768x520.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Guard-with-gun-1536x1040.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Guard-with-gun-2048x1386.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Guard-with-gun-1920x1299.jpg 1920w\" sizes=\"auto, (max-width: 2175px) 100vw, 2175px\">\u003cfigcaption class=\"wp-caption-text\">A California prison guard with a gun standing in a watchtower. \u003ccite>(Courtesy of Lucas Guilkey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Guilkey, who began as a volunteer social media producer working to spread awareness of the prison hunger strike over a decade ago, says when he found out the details of the story, he knew it would make for an interesting feature film, even for those who aren’t engrossed in the nuances of prison in California.\u003c/p>\n\u003cp>“I think that you can still take a lot away about the power of organizing, about the power of family,” Guilkey says. He mentions the notion that when a person is incarcerated, a family is also incarcerated. “So the meaning of family,” he says, “is really super important.”\u003c/p>\n\u003cp>The film also deals with the consequences of “tough-on-crime policies” and misguided media narratives built around fear, which have led to devastating consequences for certain communities.\u003c/p>\n\u003cp>As a part of healing the people from those communities, filmmaker JoeBill Muñoz looks at this week’s screenings as a social gathering built around the film.\u003c/p>\n\u003cp>Muñoz explains that in making the film, they had no idea that the hunger strikers would live to see a changed prison system, and definitely didn’t foresee them eventually being released from prison. But, now home, a handful of the men will speak at this week’s screenings.\u003c/p>\n\u003cp>“They all went through the same experience. They were all in the same place for years of their life, isolated, and they didn’t know each other for the most part,” says Muñoz. “They’re going to be together on stage with us, and I think it’s going to be a real special event.”\u003c/p>\n\u003cp>After conceiving of this film 11 years ago, Guilkey says, “It’s been a long and winding road to bring this film to fruition.” After premiering it at Hot Docs in April and showing it at a few other festivals, Guilkey, who is based in the Bay, says this week’s screening is special: “I am personally just so thrilled to be bringing it home to Oakland.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>As a part of the International Documentary Association’s FallDocs 2024 showcase, ‘The Strike’ will screen Wednesday, Oct. 23, at Oakland’s Grand Lake Theatre, and will have subsequent screenings at San Francisco’s Roxie Theatre on Oct. 24. \u003ca href=\"https://www.thestrikefilm.com/screenings?fbclid=PAZXh0bgNhZW0CMTEAAabrM_Jw2ZMhLpto72MB5PeWuQ3aOomXUw-Pdp98_XjlIt2MGY7MDvDFL84_aem_nlmzNesJfkuA5XtSFdtoRg\" target=\"_blank\" rel=\"noopener\">More info and tickets can be found here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Roving through the back of my magazine collection recently, I found a much-treasured copy of the second issue of short-lived Beastie Boys fanzine, \u003cem>Grand Royal\u003c/em>. It dates to 1995. I remember excitedly buying it in an X-Large store in New York City and poring over every single page. Looking at it in 2024 however, took me aback. That zine now stands as a screaming monument to how much longer our attention spans were before the internet lived in our pockets.\u003c/p>\n\u003cp>I mention this because opening \u003cem>Giant Robot: Thirty Years of Defining Asian American Pop Culture\u003c/em> for the first time gave me a similar sensation. The new hardcover collection of \u003cem>Giant Robot\u003c/em> magazine’s highlights from the last three decades might look like a coffee table book on the outside, but on the inside, it’s a reflection of how we used to read. Page after page of densely packed text with minimal images to break up a font that often feels unreasonably small for pages of this size. (It all makes sense: \u003cem>Giant Robot\u003c/em> did, after all, start life in 1994 as a fanzine.)\u003c/p>\n\u003cp>[aside postid='arts_13966153']Facing down \u003cem>Giant Robot\u003c/em>’s nearly 500 pages for the first time would be an intimidating exercise if not for the thoughtfulness of the book’s editors. Eric Nakamura, Francine Yulo, Tracy Hurren, Megan Tan and Tom Devlin clearly anticipated the attention span challenge and adapted accordingly. As such, the content here is split into color-coded categories — identity, cinema, comics and manga, music, travel, food, fashion, sports, toys, and art — thereby making it easy to locate your passion of choice and dive in with intention.\u003c/p>\n\u003cp>The cinema section contains the most recognizable names in the book, thanks to interviews with the likes of Chow Yun-Fat, \u003ca href=\"https://www.kqed.org/arts/13926277/michelle-yeoh-called-out-sexism-in-hollywood-will-it-help-close-the-gender-gap\">Michelle Yeoh\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13915798/in-thor-love-and-thunder-waititis-familiar-strains-feel-familiar-and-strained\">Taika Waititi\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13955458/dev-patels-monkey-man-is-a-political-allegory-bathed-in-blood\">Dev Patel\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13750397/now-playing-johnnie-tos-crime-wave\">John Woo\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13915702/mr-malcolms-list-susan-allain-regency-romance-london\">Freida Pinto\u003c/a>, \u003ca href=\"https://www.kqed.org/news/tag/george-takei\">George Takei\u003c/a> and \u003cem>Spirited Away\u003c/em> legend \u003ca href=\"https://www.kqed.org/arts/13934544/the-boy-and-the-heron-hayao-miyazaki-animation-anime-dream\">Hayao Miyazaki\u003c/a>. My personal favorite, however, is a Q&A with \u003ca href=\"https://www.npr.org/sections/codeswitch/2015/02/06/384307677/whats-so-cringe-worthy-about-long-duk-dong-in-sixteen-candles\">Gedde Watanabe\u003c/a> (who played Long Duk Dong in \u003cem>Sixteen Candles\u003c/em>), in which he bluntly shares his feelings about the \u003ca href=\"https://www.kqed.org/arts/11815363/seoul-searching-transplants-80s-teen-movies-to-summer-camp-in-south-korea\">problematic character\u003c/a> he’s most famous for.\u003c/p>\n\u003cp>The music section sees stars like Yeah Yeah Yeahs and Money Mark rubbing shoulders with more obscure artists. The 2007 remembrance here of Lance Hahn — San Francisco punk rock treasure, J Church vocalist and former \u003cem>Giant Robot\u003c/em> contributor — almost knocked me down with a wave of bittersweet nostalgia. (The story also includes Bay Area folks from \u003ca href=\"https://www.kqed.org/arts/13804539/jawbreaker-plays-first-show-in-21-years-video-photos-setlist\">Jawbreaker\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/11782160/the-five-weirdest-records-i-ever-bought-at-aquarius-records-r-i-p\">Aquarius Records\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13833821/nofxs-fat-mike-under-fire-for-tasteless-joke-about-las-vegas-massacre\">Fat Wreck Chords\u003c/a> sharing quotes about Hahn’s life.)\u003c/p>\n\u003cfigure id=\"attachment_13966425\" class=\"wp-caption aligncenter\" style=\"max-width: 1498px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966425\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown.png\" alt=\"The page of a magazine headlined 'The OG of American Chinatowns.’\" width=\"1498\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown.png 1498w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-800x1068.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-1020x1362.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-160x214.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-768x1025.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-1150x1536.png 1150w\" sizes=\"(max-width: 1498px) 100vw, 1498px\">\u003cfigcaption class=\"wp-caption-text\">A 1998 story about the history of San Francisco’s Chinatown, as seen in ‘Giant Robot: Thirty Years of Defining Asian American Pop Culture.’ \u003ccite>(Robot Factory Incorporated/Drawn & Quarterly)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Hahn profile is just one of the ways \u003cem>Giant Robot\u003c/em> reflects Bay Area culture, despite having always been based in Los Angeles. \u003ca href=\"https://www.kqed.org/arts/tag/chinatown\">San Francisco’s Chinatown\u003c/a> garners an article titled “The OG of American Chinatowns,” complete with an entire profile of Mr. Bing’s dive bar. There is a recollection of the student-led \u003ca href=\"https://www.youtube.com/watch?v=As_P3DueKrY\">San Francisco State University strike of 1968\u003c/a>. UC Berkeley radicals Richard Aoki, Harvey Dong, Steve Louie and Vicci Wong are also interviewed about historical Bay Area activism.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So too are there Bay Area figures peppered throughout. \u003ca href=\"https://www.kqed.org/pop/20739/hollywood-so-white-margaret-cho-other-bay-area-locals-on-the-epidemic-of-invisibility\">Margaret Cho\u003c/a> contributes a particularly hilarious 1996 column titled “White Guys That Like Asian Girls.“ (Quote: “Andrew McCarthy is everything Asian girls like about white guys. Quietly handsome, not overly masculine, sweaty-palmed, neatly dressed in blues and grays and, when we want, really good at looking bewildered.”)\u003c/p>\n\u003cp>[aside postid='arts_13965937']Then there’s the food section: so gloriously anarchic, it almost defies description. Just know that it includes a defense of MSG, a guide to Asian liquor, recipes that the Filipino inmates at L.A. County Jail made after hours in 2002, and a 1995 article about something called the “Cambodian Doughnut Cartel.”\u003c/p>\n\u003cp>So, yes. Do not let the enormity of \u003cem>Giant Robot: Thirty Years of Defining Asian American Pop Culture\u003c/em> turn you off. Having this portable collection of \u003cem>Giant Robot\u003c/em>’s back catalog isn’t just a treat, it also reflects how print media has changed and evolved during the age of the internet. (Unsurprisingly, those pages crammed with text dissipate as the years pass.) Even more importantly, this collection stands as an indispensable documentation of Asian American contributions to the culture, both mainstream and underground, over a very long period of time.\u003c/p>\n\u003cp>Best of all? It’s so entertaining, it’ll make you want to read like it’s still the ’90s.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.giantrobot.com/collections/giant-robot-magazine/products/preorder-giant-robot-thirty-years-of-defining-asian-american-pop-culture-hardcover-signed\">Giant Robot: Thirty Years of Defining Asian American Pop Culture\u003c/a>’ edited by Eric Nakamura, Francine Yulo, Tracy Hurren, Megan Tan and Tom Devlin is out on Oct. 21, 2024, from \u003ca href=\"https://drawnandquarterly.com/books/giant-robot-thirty-years-of-defining-asian-american-pop-culture/\">Drawn & Quarterly\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Eric Nakamura will be at San Francisco’s \u003ca href=\"https://www.silversprocket.net/events/in-store-events-at-1018-valencia-st/\">Silver Sprocket\u003c/a> (1018 Valencia St.) for a booksigning on Oct. 26, 2024. He’ll also be in conversation with illustrator Felicia Chiao, artist Windy Chien and Jawbreaker drummer Adam Pfahler.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Roving through the back of my magazine collection recently, I found a much-treasured copy of the second issue of short-lived Beastie Boys fanzine, \u003cem>Grand Royal\u003c/em>. It dates to 1995. I remember excitedly buying it in an X-Large store in New York City and poring over every single page. Looking at it in 2024 however, took me aback. That zine now stands as a screaming monument to how much longer our attention spans were before the internet lived in our pockets.\u003c/p>\n\u003cp>I mention this because opening \u003cem>Giant Robot: Thirty Years of Defining Asian American Pop Culture\u003c/em> for the first time gave me a similar sensation. The new hardcover collection of \u003cem>Giant Robot\u003c/em> magazine’s highlights from the last three decades might look like a coffee table book on the outside, but on the inside, it’s a reflection of how we used to read. Page after page of densely packed text with minimal images to break up a font that often feels unreasonably small for pages of this size. (It all makes sense: \u003cem>Giant Robot\u003c/em> did, after all, start life in 1994 as a fanzine.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Facing down \u003cem>Giant Robot\u003c/em>’s nearly 500 pages for the first time would be an intimidating exercise if not for the thoughtfulness of the book’s editors. Eric Nakamura, Francine Yulo, Tracy Hurren, Megan Tan and Tom Devlin clearly anticipated the attention span challenge and adapted accordingly. As such, the content here is split into color-coded categories — identity, cinema, comics and manga, music, travel, food, fashion, sports, toys, and art — thereby making it easy to locate your passion of choice and dive in with intention.\u003c/p>\n\u003cp>The cinema section contains the most recognizable names in the book, thanks to interviews with the likes of Chow Yun-Fat, \u003ca href=\"https://www.kqed.org/arts/13926277/michelle-yeoh-called-out-sexism-in-hollywood-will-it-help-close-the-gender-gap\">Michelle Yeoh\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13915798/in-thor-love-and-thunder-waititis-familiar-strains-feel-familiar-and-strained\">Taika Waititi\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13955458/dev-patels-monkey-man-is-a-political-allegory-bathed-in-blood\">Dev Patel\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13750397/now-playing-johnnie-tos-crime-wave\">John Woo\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13915702/mr-malcolms-list-susan-allain-regency-romance-london\">Freida Pinto\u003c/a>, \u003ca href=\"https://www.kqed.org/news/tag/george-takei\">George Takei\u003c/a> and \u003cem>Spirited Away\u003c/em> legend \u003ca href=\"https://www.kqed.org/arts/13934544/the-boy-and-the-heron-hayao-miyazaki-animation-anime-dream\">Hayao Miyazaki\u003c/a>. My personal favorite, however, is a Q&A with \u003ca href=\"https://www.npr.org/sections/codeswitch/2015/02/06/384307677/whats-so-cringe-worthy-about-long-duk-dong-in-sixteen-candles\">Gedde Watanabe\u003c/a> (who played Long Duk Dong in \u003cem>Sixteen Candles\u003c/em>), in which he bluntly shares his feelings about the \u003ca href=\"https://www.kqed.org/arts/11815363/seoul-searching-transplants-80s-teen-movies-to-summer-camp-in-south-korea\">problematic character\u003c/a> he’s most famous for.\u003c/p>\n\u003cp>The music section sees stars like Yeah Yeah Yeahs and Money Mark rubbing shoulders with more obscure artists. The 2007 remembrance here of Lance Hahn — San Francisco punk rock treasure, J Church vocalist and former \u003cem>Giant Robot\u003c/em> contributor — almost knocked me down with a wave of bittersweet nostalgia. (The story also includes Bay Area folks from \u003ca href=\"https://www.kqed.org/arts/13804539/jawbreaker-plays-first-show-in-21-years-video-photos-setlist\">Jawbreaker\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/11782160/the-five-weirdest-records-i-ever-bought-at-aquarius-records-r-i-p\">Aquarius Records\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13833821/nofxs-fat-mike-under-fire-for-tasteless-joke-about-las-vegas-massacre\">Fat Wreck Chords\u003c/a> sharing quotes about Hahn’s life.)\u003c/p>\n\u003cfigure id=\"attachment_13966425\" class=\"wp-caption aligncenter\" style=\"max-width: 1498px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966425\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown.png\" alt=\"The page of a magazine headlined 'The OG of American Chinatowns.’\" width=\"1498\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown.png 1498w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-800x1068.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-1020x1362.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-160x214.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-768x1025.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-1150x1536.png 1150w\" sizes=\"(max-width: 1498px) 100vw, 1498px\">\u003cfigcaption class=\"wp-caption-text\">A 1998 story about the history of San Francisco’s Chinatown, as seen in ‘Giant Robot: Thirty Years of Defining Asian American Pop Culture.’ \u003ccite>(Robot Factory Incorporated/Drawn & Quarterly)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Hahn profile is just one of the ways \u003cem>Giant Robot\u003c/em> reflects Bay Area culture, despite having always been based in Los Angeles. \u003ca href=\"https://www.kqed.org/arts/tag/chinatown\">San Francisco’s Chinatown\u003c/a> garners an article titled “The OG of American Chinatowns,” complete with an entire profile of Mr. Bing’s dive bar. There is a recollection of the student-led \u003ca href=\"https://www.youtube.com/watch?v=As_P3DueKrY\">San Francisco State University strike of 1968\u003c/a>. UC Berkeley radicals Richard Aoki, Harvey Dong, Steve Louie and Vicci Wong are also interviewed about historical Bay Area activism.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So too are there Bay Area figures peppered throughout. \u003ca href=\"https://www.kqed.org/pop/20739/hollywood-so-white-margaret-cho-other-bay-area-locals-on-the-epidemic-of-invisibility\">Margaret Cho\u003c/a> contributes a particularly hilarious 1996 column titled “White Guys That Like Asian Girls.“ (Quote: “Andrew McCarthy is everything Asian girls like about white guys. Quietly handsome, not overly masculine, sweaty-palmed, neatly dressed in blues and grays and, when we want, really good at looking bewildered.”)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Then there’s the food section: so gloriously anarchic, it almost defies description. Just know that it includes a defense of MSG, a guide to Asian liquor, recipes that the Filipino inmates at L.A. County Jail made after hours in 2002, and a 1995 article about something called the “Cambodian Doughnut Cartel.”\u003c/p>\n\u003cp>So, yes. Do not let the enormity of \u003cem>Giant Robot: Thirty Years of Defining Asian American Pop Culture\u003c/em> turn you off. Having this portable collection of \u003cem>Giant Robot\u003c/em>’s back catalog isn’t just a treat, it also reflects how print media has changed and evolved during the age of the internet. (Unsurprisingly, those pages crammed with text dissipate as the years pass.) Even more importantly, this collection stands as an indispensable documentation of Asian American contributions to the culture, both mainstream and underground, over a very long period of time.\u003c/p>\n\u003cp>Best of all? It’s so entertaining, it’ll make you want to read like it’s still the ’90s.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.giantrobot.com/collections/giant-robot-magazine/products/preorder-giant-robot-thirty-years-of-defining-asian-american-pop-culture-hardcover-signed\">Giant Robot: Thirty Years of Defining Asian American Pop Culture\u003c/a>’ edited by Eric Nakamura, Francine Yulo, Tracy Hurren, Megan Tan and Tom Devlin is out on Oct. 21, 2024, from \u003ca href=\"https://drawnandquarterly.com/books/giant-robot-thirty-years-of-defining-asian-american-pop-culture/\">Drawn & Quarterly\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Eric Nakamura will be at San Francisco’s \u003ca href=\"https://www.silversprocket.net/events/in-store-events-at-1018-valencia-st/\">Silver Sprocket\u003c/a> (1018 Valencia St.) for a booksigning on Oct. 26, 2024. He’ll also be in conversation with illustrator Felicia Chiao, artist Windy Chien and Jawbreaker drummer Adam Pfahler.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Suburban Fury’ Allows Attempted Gerald Ford Assassin to Tell Her Own Story",
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"content": "\u003cp>On Sept. 22, 1975, a 45-year-old mom named Sara Jane Moore drove to downtown San Francisco, positioned herself in a crowd outside the St. Francis Hotel and \u003ca href=\"https://www.kqed.org/arts/13953890/st-francis-hotel-san-francisco-history-arbuckle-jolson-crocker-gerald-ford\">attempted to shoot President Gerald Ford\u003c/a> with a .38 pistol. (She missed only because the gun had an inaccurate sight.) After her arrest, it was revealed that Moore had spent the previous 18 months infiltrating radical Bay Area political groups and working as an FBI informant. She has been a confounding figure in Bay Area history ever since.\u003c/p>\n\u003cp>The prospect of hearing Moore speak at length about her life, then, is a tantalizing one. Her participation in the new documentary \u003cem>Surburban Fury\u003c/em>, which \u003ca href=\"https://roxie.com/film/suburban-fury/\">screens Dec. 20 in San Francisco\u003c/a>, was agreed to on the condition that she be the only interviewee.\u003c/p>\n\u003cp>The film gives Moore the space to tell her own story from different locations: the back of a station wagon, a grand room in the St. Francis Hotel, the rear of a house in Danville. These interview clips are interspersed with narration drawn from Moore’s recollections of conversations with her FBI control agent. The movie is rich with archival footage of the turbulent political and social events of 1970s Bay Area.\u003c/p>\n\u003cp>[aside postid='arts_13953890']The choppy structure of \u003cem>Suburban Fury\u003c/em> often makes for a disjointed viewing experience, exacerbated by Moore herself. At times, the would-be assassin seems thoroughly irritated by the interview process, entirely incapable of introspection or empathy, and unwilling to consider that her actions as an informant may have brought harm to the activists she reported on. The way she describes her decision to kill the president is utterly devoid of emotion. Moore provides only an overview of events in her life, as they happened — a surface rendering of an extraordinary turn of events that would greatly benefit from deeper analysis.\u003c/p>\n\u003cp>Moore’s versions of the conversations she had with FBI control agent Bert Worthington offer additional illumination, but frequently raise more questions. At one point, the Worthington narration is heard stating: “In the last ten months, [Moore] has created divisiveness and mistrust in many organizations by her personal actions and rumor mongering. Sally Moore is a dangerous individual and a security risk to all movement organizations.” Did Moore somehow see Worthington’s notes about her? Did he tell her this directly? \u003cem>Suburban Fury\u003c/em> never explains.\u003c/p>\n\u003cfigure id=\"attachment_13966744\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966744\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sub-f.png\" alt=\"An elderly woman sits in the rear seat of the back seat of a Plymouth car, looking stunned. Behind the car, a man in a suit looks over a city skyline at night.\" width=\"2000\" height=\"1187\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sub-f.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sub-f-800x475.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sub-f-1020x605.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sub-f-160x95.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sub-f-768x456.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sub-f-1536x912.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sub-f-1920x1140.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sara Jane Moore in ‘Suburban Fury.’\u003c/figcaption>\u003c/figure>\n\u003cp>Moore first became involved with the FBI after volunteering to help the Hearst family when \u003ca href=\"https://www.tiktok.com/@kqedofficial/video/7358614755134770474\">Patricia Hearst was kidnapped\u003c/a> by the Symbionese Liberation Army (SLA) in 1974. This one action placed Moore on a path that exposed her to a wide variety of radical political groups, most of whom opened her eyes to wider social issues and apparently impressed her. (At one point, it’s noted here that Moore thought the SLA were “charismatic, compelling people.”)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Her positive feelings about activist groups did not, for some reason, stop Moore from informing the FBI about them, an explanation for which is never given. She describes eventually telling the truth about herself to one group that she’d infiltrated (“I’m a pig,” she apparently announced) but it’s difficult to pin down exactly what led to this moment. Shortly after she blew her own cover, Moore made her Ford assassination attempt.\u003c/p>\n\u003cp>[aside postid='pop_101956']Because of the limitations Moore imposed on \u003cem>Suburban Fury\u003c/em> in regards to other interviewees, the documentary misses an opportunity to examine the parallels between Moore and Hearst. Both were sheltered women who, once exposed to radical Bay Area politics, took extreme actions that endangered their own lives and landed them in prison. A much richer examination of the period might have been possible in the documentary if this element of Moore’s story was given more commentary — especially since Moore is quoted as calling Hearst “stupid and foolish,” and stating that “she was not the brightest bulb on the string.”\u003c/p>\n\u003cp>In the end, the most satisfying and rewarding aspect of \u003cem>Suburban Fury\u003c/em> is its wealth of wonderful archival footage. The clips of national politicians and news events, juxtaposed with footage of radical Bay Area political groups, are a joy to behold, as are the street scenes of San Francisco and Oakland in the tempestuous 1970s.\u003c/p>\n\u003cp>Director Robinson Devor seems to assume his viewers are arriving to \u003cem>Suburban Fury\u003c/em> fully armed with a solid knowledge of 1970s Bay Area political groups and events. Those who are will marvel at the footage he presents here. For those less knowledgable on the topic, \u003cem>Suburban Fury\u003c/em> is likely to be almost as confounding as Moore has always been.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.imdb.com/title/tt5441290/\">Suburban Fury\u003c/a>’ is showing at \u003ca href=\"https://roxie.com/film/suburban-fury/\">The Roxie\u003c/a> in San Francisco (3117 16th St.) on Dec. 20, 2025. Writer & director Robinson Devor will appear after the screening.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Sept. 22, 1975, a 45-year-old mom named Sara Jane Moore drove to downtown San Francisco, positioned herself in a crowd outside the St. Francis Hotel and \u003ca href=\"https://www.kqed.org/arts/13953890/st-francis-hotel-san-francisco-history-arbuckle-jolson-crocker-gerald-ford\">attempted to shoot President Gerald Ford\u003c/a> with a .38 pistol. (She missed only because the gun had an inaccurate sight.) After her arrest, it was revealed that Moore had spent the previous 18 months infiltrating radical Bay Area political groups and working as an FBI informant. She has been a confounding figure in Bay Area history ever since.\u003c/p>\n\u003cp>The prospect of hearing Moore speak at length about her life, then, is a tantalizing one. Her participation in the new documentary \u003cem>Surburban Fury\u003c/em>, which \u003ca href=\"https://roxie.com/film/suburban-fury/\">screens Dec. 20 in San Francisco\u003c/a>, was agreed to on the condition that she be the only interviewee.\u003c/p>\n\u003cp>The film gives Moore the space to tell her own story from different locations: the back of a station wagon, a grand room in the St. Francis Hotel, the rear of a house in Danville. These interview clips are interspersed with narration drawn from Moore’s recollections of conversations with her FBI control agent. The movie is rich with archival footage of the turbulent political and social events of 1970s Bay Area.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The choppy structure of \u003cem>Suburban Fury\u003c/em> often makes for a disjointed viewing experience, exacerbated by Moore herself. At times, the would-be assassin seems thoroughly irritated by the interview process, entirely incapable of introspection or empathy, and unwilling to consider that her actions as an informant may have brought harm to the activists she reported on. The way she describes her decision to kill the president is utterly devoid of emotion. Moore provides only an overview of events in her life, as they happened — a surface rendering of an extraordinary turn of events that would greatly benefit from deeper analysis.\u003c/p>\n\u003cp>Moore’s versions of the conversations she had with FBI control agent Bert Worthington offer additional illumination, but frequently raise more questions. At one point, the Worthington narration is heard stating: “In the last ten months, [Moore] has created divisiveness and mistrust in many organizations by her personal actions and rumor mongering. Sally Moore is a dangerous individual and a security risk to all movement organizations.” Did Moore somehow see Worthington’s notes about her? Did he tell her this directly? \u003cem>Suburban Fury\u003c/em> never explains.\u003c/p>\n\u003cfigure id=\"attachment_13966744\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966744\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sub-f.png\" alt=\"An elderly woman sits in the rear seat of the back seat of a Plymouth car, looking stunned. Behind the car, a man in a suit looks over a city skyline at night.\" width=\"2000\" height=\"1187\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sub-f.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sub-f-800x475.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sub-f-1020x605.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sub-f-160x95.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sub-f-768x456.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sub-f-1536x912.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sub-f-1920x1140.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sara Jane Moore in ‘Suburban Fury.’\u003c/figcaption>\u003c/figure>\n\u003cp>Moore first became involved with the FBI after volunteering to help the Hearst family when \u003ca href=\"https://www.tiktok.com/@kqedofficial/video/7358614755134770474\">Patricia Hearst was kidnapped\u003c/a> by the Symbionese Liberation Army (SLA) in 1974. This one action placed Moore on a path that exposed her to a wide variety of radical political groups, most of whom opened her eyes to wider social issues and apparently impressed her. (At one point, it’s noted here that Moore thought the SLA were “charismatic, compelling people.”)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Her positive feelings about activist groups did not, for some reason, stop Moore from informing the FBI about them, an explanation for which is never given. She describes eventually telling the truth about herself to one group that she’d infiltrated (“I’m a pig,” she apparently announced) but it’s difficult to pin down exactly what led to this moment. Shortly after she blew her own cover, Moore made her Ford assassination attempt.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Because of the limitations Moore imposed on \u003cem>Suburban Fury\u003c/em> in regards to other interviewees, the documentary misses an opportunity to examine the parallels between Moore and Hearst. Both were sheltered women who, once exposed to radical Bay Area politics, took extreme actions that endangered their own lives and landed them in prison. A much richer examination of the period might have been possible in the documentary if this element of Moore’s story was given more commentary — especially since Moore is quoted as calling Hearst “stupid and foolish,” and stating that “she was not the brightest bulb on the string.”\u003c/p>\n\u003cp>In the end, the most satisfying and rewarding aspect of \u003cem>Suburban Fury\u003c/em> is its wealth of wonderful archival footage. The clips of national politicians and news events, juxtaposed with footage of radical Bay Area political groups, are a joy to behold, as are the street scenes of San Francisco and Oakland in the tempestuous 1970s.\u003c/p>\n\u003cp>Director Robinson Devor seems to assume his viewers are arriving to \u003cem>Suburban Fury\u003c/em> fully armed with a solid knowledge of 1970s Bay Area political groups and events. Those who are will marvel at the footage he presents here. For those less knowledgable on the topic, \u003cem>Suburban Fury\u003c/em> is likely to be almost as confounding as Moore has always been.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.imdb.com/title/tt5441290/\">Suburban Fury\u003c/a>’ is showing at \u003ca href=\"https://roxie.com/film/suburban-fury/\">The Roxie\u003c/a> in San Francisco (3117 16th St.) on Dec. 20, 2025. Writer & director Robinson Devor will appear after the screening.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Back in 2021, I put together a handy little guide to \u003ca href=\"https://www.kqed.org/arts/13904911/bay-area-horror-movies\">seven Bay Area horror movies\u003c/a> perfect for all of your cozy, under-a-blanket, pumpkin spice-sipping October viewing needs. And yet! A bunch of you were not quite satisfied with the original list and, in the last few years, KQED has been bombarded with requests for us to list more scary celluloid moments from our locale.\u003c/p>\n\u003cp>Fine, fear enthusiasts. You win. Let’s do this! (\u003cem>Again.\u003c/em>)\u003c/p>\n\u003ch2>All About Evil (2010)\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=FzKZ-KXLtak\u003c/p>\n\u003cp>Shot in and around San Francisco’s \u003ca href=\"https://victoriatheatre.org/\">Victoria Theater\u003c/a>, \u003cem>All About Evil \u003c/em>was written and directed by Joshua Grannell, better known to most of us as \u003ca href=\"https://www.kqed.org/arts/13933318/best-bay-area-halloween-events-2023-san-francisco-oakland-san-jose\">Peaches Christ\u003c/a>. Gloriously camp and terrifically twisted, this 2010 slasher has a plot that would make John Waters proud, gory murder scenes that are genuinely shocking, plus a passion for small movie theaters that is quintessentially Bay Area.\u003c/p>\n\u003cp>Natasha Lyonne is clearly having the time of her life in her starring role as a murderous movie-house owner. She’s in good company too. Mink Stole shows up, as does Elvira herself \u003ca href=\"https://www.imdb.com/name/nm0005308/?ref_=ttfc_fc_cl_t8\">Cassandra Peterson\u003c/a>, in a deliciously low-key cameo. \u003cem>All About Evil\u003c/em> isn’t just perfect for Halloween, it should be required viewing for every movie lover in San Francisco.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>‘All About Evil’ is streaming on Shudder and AMC+.\u003c/em>\u003c/p>\n\u003ch2>Sacred Blood (2015)\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=HIj7Qkr8WYU\u003c/p>\n\u003cp>This movie has it all! Beautiful, territorial Chinatown vampires! Gun-toting European circus performers! Michael Madsen doing cop stuff! Dastardly flying poodles! Kato Kaelin! (Yes, \u003ca href=\"https://en.wikipedia.org/wiki/Kato_Kaelin\">\u003cem>that\u003c/em> Kato Kaelin\u003c/a>.) At its core though, Christopher Coppola’s creative goth horror is a love letter to late nights on the streets of San Francisco. It also absolutely revels in the sight of powerful women punishing misogynistic men. (Hooray!)\u003c/p>\n\u003cp>If all that weren’t enough, \u003cem>Sacred Blood\u003c/em> offers a jaunt around some of the city’s oldest nightspots including \u003ca href=\"https://condorsf.com/\">the Condor\u003c/a>, \u003ca href=\"https://www.yelp.com/biz/li-po-cocktail-lounge-san-francisco\">Li Po Lounge\u003c/a> and \u003ca href=\"https://www.yelp.com/biz/edinburgh-castle-pub-san-francisco-2\">Edinburgh Castle\u003c/a>. Is \u003cem>Sacred Blood\u003c/em> a little slow in places? Sure! Still worth a watch, though.\u003c/p>\n\u003cp>\u003cem>‘Sacred Blood’ is streaming now on Pluto TV and Plex.\u003c/em>\u003c/p>\n\u003ch2>Twixt (2011)\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=xP7cQnOcU7I\u003c/p>\n\u003cp>Christopher Coppola’s uncle (some fellow named Francis Ford) made his own vampire thriller a few years back as well. Though, between the movie’s small town vibes, goofy characters and creepy undertones, it feels more like a David Lynch project than anything else. (And yes, it’s almost as difficult to follow.)\u003c/p>\n\u003cp>[aside postid='arts_13933318']Much of \u003cem>Twixt\u003c/em> was filmed on Coppola’s Napa County estate, as well as in small towns further north in Lake County. It stars Val Kilmer as a horror novelist who finds himself in Swann Valley, a place where he gets all his best ideas while sleeping. That’s in part because sleep allows him to sojourn with teenage vampires, the ghost of Edgar Allan Poe and a bunch of dead children. Things get even creepier when he’s awake, though, thanks to a Ouija board-touting sheriff, a dead girl in the morgue, a Baudelaire-spouting emo kid and a clock tower with seven faces.\u003c/p>\n\u003cp>So, yes — in case you were wondering — this one is more of a mood than a movie.\u003c/p>\n\u003cp>\u003cem>‘Twixt’ (AKA: ‘B’Twixt Now and Sunrise’) is available to rent on AppleTV+.\u003c/em>\u003c/p>\n\u003ch2>Winchester (2018)\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=UDVjX2OBrwc\u003c/p>\n\u003cp>Look, we all know it’s preposterous for \u003cem>Winchester\u003c/em> to declare the San José mystery mansion as “the most haunted house in history,” but there’s something extraordinarily fun about seeing this sprawling but familiar tourist attraction captured on film. If you’ve never paid the Winchester Mystery House a visit in real life, you’ll also benefit from real architectural trivia that’s worked into the script. (If you’ve ever wanted to see Sarah Snook from \u003ca href=\"https://kqed.org/arts/13930048/succession-creator-on-finale-jesse-armstrong-shiv-tom-sarah-snook-kieran-culkin\">\u003cem>Succession\u003c/em>\u003c/a> sternly talking about hardwood parquet floors, this movie is for you!)\u003c/p>\n\u003cp>Though mostly hokey, there are a couple of good jump scares, a possessed white-eyed, red-headed child and Helen Mirren doing the most half-assed American accent in history. (Truly chilling.) Ah, just have fun with it…\u003c/p>\n\u003cp>\u003cem>‘Winchester’ is streaming now on Freevee and Plex.\u003c/em>\u003c/p>\n\u003ch2>Stigmata (1999)\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=rwsTYQ26QDQ\u003c/p>\n\u003cp>If you think about Patricia Arquette in the ’90s, your mind probably goes straight to \u003cem>True Romance\u003c/em>. But if you want to see her being the most ’90s of all of the ’90s, do not skip \u003cem>Stigmata.\u003c/em> Leather pants! Belly piercings! Butterfly clips! Shiny Alanis Morissette shirts! It’s like a Delia’s catalog exploded all over this thing. (Which is, of course, a good thing.)\u003c/p>\n\u003cp>The plot goes like this: Arquette’s gal-about-town, Frankie, gets sent a cursed crucifix from her dumb-tourist mom in Brazil, and promptly starts bleeding all over the place and having visions of nails getting hammered into feet. Byrne’s priest investigator shows up to … look shocked and take photos of her, basically? If none of that holds any appeal, stay tuned for the scene where a bunch of priests wander around the Palace of Fine Arts and pretend it’s the Vatican. Hilarious.\u003c/p>\n\u003cp>\u003cem>‘Stigmata’ is streaming now on Roku, Hoopla, Tubi and Pluto TV.\u003c/em>\u003c/p>\n\u003ch2>The Lost Boys (1987)\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=Q786UsnOcsY\u003c/p>\n\u003cp>Okay, so fine. This one isn’t technically set in the nine-county Bay Area region, and it wasn’t filmed here, either. But it’s close enough, dammit! All of the moody, teenage, bloodsucking action in this ’80s classic takes place in Santa Cruz instead. (“Santa Carla” if you’re Corey Haim in a shoulder-padded, hypercolor ensemble or Corey Feldman in a \u003cem>Rambo\u003c/em> headband.) The justification for including it in this list lies in the part where David (Keifer Sutherland, at his sauciest) explains that he and his merry band of hair metal vampires wouldn’t have a cave to live in (or presumably a pipe to hang upside from) if it wasn’t for the “big one hit[ting] San Francisco in 1906.” BOOM! That’ll do!\u003c/p>\n\u003cp>This movie is incredibly stupid and brilliant and everyone should watch it (again) immediately. Even if only to see Alex Winter’s crimped mullet hanging upside down.\u003c/p>\n\u003cp>\u003cem>‘The Lost Boys’ is available to rent on Apple TV+, Amazon Prime and Spectrum.\u003c/em>\u003c/p>\n\u003ch2>The Dead Pit (1989)\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=QX6V-tZn9VA\u003c/p>\n\u003cp>For over a century, the sprawling campus of grand white buildings at 4000 Lafayette St. in Santa Clara served as a mental health facility. The buildings started life in 1885 as “the Great Asylum for the Insane” and closed in 2011 as “\u003ca href=\"https://en.wikipedia.org/wiki/Agnews_Developmental_Center\">Agnews Developmental Center\u003c/a>.” Five years before Green Day filmed the band’s “\u003ca href=\"https://www.youtube.com/watch?v=NUTGr5t3MoY\">Basket Case\u003c/a>” video on location there, this schlocky, outdated horror ran amok with the buildings’ real-life history as well.\u003c/p>\n\u003cp>[aside postid='arts_13904911']The story revolves around a young (and sometimes gratuitously disrobed) woman who finds herself locked up because of what appears to be trauma-induced amnesia. What she doesn’t know is that she’s locked in an institution that’s awash with zombies — creations of a diabolical, now-dead doctor who routinely performed experiments on the brains of living patients. It’s all in the worst possible taste, of course — which means some of you are sure to enjoy it.\u003c/p>\n\u003cp>\u003cem>‘The Dead Pit’ is streaming on Apple TV+.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Happy Halloween, horror fans! (And please, don’t make me do this again next year.)\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Back in 2021, I put together a handy little guide to \u003ca href=\"https://www.kqed.org/arts/13904911/bay-area-horror-movies\">seven Bay Area horror movies\u003c/a> perfect for all of your cozy, under-a-blanket, pumpkin spice-sipping October viewing needs. And yet! A bunch of you were not quite satisfied with the original list and, in the last few years, KQED has been bombarded with requests for us to list more scary celluloid moments from our locale.\u003c/p>\n\u003cp>Fine, fear enthusiasts. You win. Let’s do this! (\u003cem>Again.\u003c/em>)\u003c/p>\n\u003ch2>All About Evil (2010)\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/FzKZ-KXLtak'\n title='//www.youtube.com/embed/FzKZ-KXLtak'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Shot in and around San Francisco’s \u003ca href=\"https://victoriatheatre.org/\">Victoria Theater\u003c/a>, \u003cem>All About Evil \u003c/em>was written and directed by Joshua Grannell, better known to most of us as \u003ca href=\"https://www.kqed.org/arts/13933318/best-bay-area-halloween-events-2023-san-francisco-oakland-san-jose\">Peaches Christ\u003c/a>. Gloriously camp and terrifically twisted, this 2010 slasher has a plot that would make John Waters proud, gory murder scenes that are genuinely shocking, plus a passion for small movie theaters that is quintessentially Bay Area.\u003c/p>\n\u003cp>Natasha Lyonne is clearly having the time of her life in her starring role as a murderous movie-house owner. She’s in good company too. Mink Stole shows up, as does Elvira herself \u003ca href=\"https://www.imdb.com/name/nm0005308/?ref_=ttfc_fc_cl_t8\">Cassandra Peterson\u003c/a>, in a deliciously low-key cameo. \u003cem>All About Evil\u003c/em> isn’t just perfect for Halloween, it should be required viewing for every movie lover in San Francisco.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘All About Evil’ is streaming on Shudder and AMC+.\u003c/em>\u003c/p>\n\u003ch2>Sacred Blood (2015)\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/HIj7Qkr8WYU'\n title='//www.youtube.com/embed/HIj7Qkr8WYU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This movie has it all! Beautiful, territorial Chinatown vampires! Gun-toting European circus performers! Michael Madsen doing cop stuff! Dastardly flying poodles! Kato Kaelin! (Yes, \u003ca href=\"https://en.wikipedia.org/wiki/Kato_Kaelin\">\u003cem>that\u003c/em> Kato Kaelin\u003c/a>.) At its core though, Christopher Coppola’s creative goth horror is a love letter to late nights on the streets of San Francisco. It also absolutely revels in the sight of powerful women punishing misogynistic men. (Hooray!)\u003c/p>\n\u003cp>If all that weren’t enough, \u003cem>Sacred Blood\u003c/em> offers a jaunt around some of the city’s oldest nightspots including \u003ca href=\"https://condorsf.com/\">the Condor\u003c/a>, \u003ca href=\"https://www.yelp.com/biz/li-po-cocktail-lounge-san-francisco\">Li Po Lounge\u003c/a> and \u003ca href=\"https://www.yelp.com/biz/edinburgh-castle-pub-san-francisco-2\">Edinburgh Castle\u003c/a>. Is \u003cem>Sacred Blood\u003c/em> a little slow in places? Sure! Still worth a watch, though.\u003c/p>\n\u003cp>\u003cem>‘Sacred Blood’ is streaming now on Pluto TV and Plex.\u003c/em>\u003c/p>\n\u003ch2>Twixt (2011)\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/xP7cQnOcU7I'\n title='//www.youtube.com/embed/xP7cQnOcU7I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Christopher Coppola’s uncle (some fellow named Francis Ford) made his own vampire thriller a few years back as well. Though, between the movie’s small town vibes, goofy characters and creepy undertones, it feels more like a David Lynch project than anything else. (And yes, it’s almost as difficult to follow.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Much of \u003cem>Twixt\u003c/em> was filmed on Coppola’s Napa County estate, as well as in small towns further north in Lake County. It stars Val Kilmer as a horror novelist who finds himself in Swann Valley, a place where he gets all his best ideas while sleeping. That’s in part because sleep allows him to sojourn with teenage vampires, the ghost of Edgar Allan Poe and a bunch of dead children. Things get even creepier when he’s awake, though, thanks to a Ouija board-touting sheriff, a dead girl in the morgue, a Baudelaire-spouting emo kid and a clock tower with seven faces.\u003c/p>\n\u003cp>So, yes — in case you were wondering — this one is more of a mood than a movie.\u003c/p>\n\u003cp>\u003cem>‘Twixt’ (AKA: ‘B’Twixt Now and Sunrise’) is available to rent on AppleTV+.\u003c/em>\u003c/p>\n\u003ch2>Winchester (2018)\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/UDVjX2OBrwc'\n title='//www.youtube.com/embed/UDVjX2OBrwc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Look, we all know it’s preposterous for \u003cem>Winchester\u003c/em> to declare the San José mystery mansion as “the most haunted house in history,” but there’s something extraordinarily fun about seeing this sprawling but familiar tourist attraction captured on film. If you’ve never paid the Winchester Mystery House a visit in real life, you’ll also benefit from real architectural trivia that’s worked into the script. (If you’ve ever wanted to see Sarah Snook from \u003ca href=\"https://kqed.org/arts/13930048/succession-creator-on-finale-jesse-armstrong-shiv-tom-sarah-snook-kieran-culkin\">\u003cem>Succession\u003c/em>\u003c/a> sternly talking about hardwood parquet floors, this movie is for you!)\u003c/p>\n\u003cp>Though mostly hokey, there are a couple of good jump scares, a possessed white-eyed, red-headed child and Helen Mirren doing the most half-assed American accent in history. (Truly chilling.) Ah, just have fun with it…\u003c/p>\n\u003cp>\u003cem>‘Winchester’ is streaming now on Freevee and Plex.\u003c/em>\u003c/p>\n\u003ch2>Stigmata (1999)\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/rwsTYQ26QDQ'\n title='//www.youtube.com/embed/rwsTYQ26QDQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If you think about Patricia Arquette in the ’90s, your mind probably goes straight to \u003cem>True Romance\u003c/em>. But if you want to see her being the most ’90s of all of the ’90s, do not skip \u003cem>Stigmata.\u003c/em> Leather pants! Belly piercings! Butterfly clips! Shiny Alanis Morissette shirts! It’s like a Delia’s catalog exploded all over this thing. (Which is, of course, a good thing.)\u003c/p>\n\u003cp>The plot goes like this: Arquette’s gal-about-town, Frankie, gets sent a cursed crucifix from her dumb-tourist mom in Brazil, and promptly starts bleeding all over the place and having visions of nails getting hammered into feet. Byrne’s priest investigator shows up to … look shocked and take photos of her, basically? If none of that holds any appeal, stay tuned for the scene where a bunch of priests wander around the Palace of Fine Arts and pretend it’s the Vatican. Hilarious.\u003c/p>\n\u003cp>\u003cem>‘Stigmata’ is streaming now on Roku, Hoopla, Tubi and Pluto TV.\u003c/em>\u003c/p>\n\u003ch2>The Lost Boys (1987)\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/Q786UsnOcsY'\n title='//www.youtube.com/embed/Q786UsnOcsY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Okay, so fine. This one isn’t technically set in the nine-county Bay Area region, and it wasn’t filmed here, either. But it’s close enough, dammit! All of the moody, teenage, bloodsucking action in this ’80s classic takes place in Santa Cruz instead. (“Santa Carla” if you’re Corey Haim in a shoulder-padded, hypercolor ensemble or Corey Feldman in a \u003cem>Rambo\u003c/em> headband.) The justification for including it in this list lies in the part where David (Keifer Sutherland, at his sauciest) explains that he and his merry band of hair metal vampires wouldn’t have a cave to live in (or presumably a pipe to hang upside from) if it wasn’t for the “big one hit[ting] San Francisco in 1906.” BOOM! That’ll do!\u003c/p>\n\u003cp>This movie is incredibly stupid and brilliant and everyone should watch it (again) immediately. Even if only to see Alex Winter’s crimped mullet hanging upside down.\u003c/p>\n\u003cp>\u003cem>‘The Lost Boys’ is available to rent on Apple TV+, Amazon Prime and Spectrum.\u003c/em>\u003c/p>\n\u003ch2>The Dead Pit (1989)\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/QX6V-tZn9VA'\n title='//www.youtube.com/embed/QX6V-tZn9VA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For over a century, the sprawling campus of grand white buildings at 4000 Lafayette St. in Santa Clara served as a mental health facility. The buildings started life in 1885 as “the Great Asylum for the Insane” and closed in 2011 as “\u003ca href=\"https://en.wikipedia.org/wiki/Agnews_Developmental_Center\">Agnews Developmental Center\u003c/a>.” Five years before Green Day filmed the band’s “\u003ca href=\"https://www.youtube.com/watch?v=NUTGr5t3MoY\">Basket Case\u003c/a>” video on location there, this schlocky, outdated horror ran amok with the buildings’ real-life history as well.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The story revolves around a young (and sometimes gratuitously disrobed) woman who finds herself locked up because of what appears to be trauma-induced amnesia. What she doesn’t know is that she’s locked in an institution that’s awash with zombies — creations of a diabolical, now-dead doctor who routinely performed experiments on the brains of living patients. It’s all in the worst possible taste, of course — which means some of you are sure to enjoy it.\u003c/p>\n\u003cp>\u003cem>‘The Dead Pit’ is streaming on Apple TV+.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In Anna Kendrick’s \u003cem>Woman of the Hour\u003c/em>, a chilling, based-on-a-true-story drama about when a 1970s serial killer appeared on an episode of \u003cem>The Dating Game\u003c/em>, one of the most telling images isn’t a grisly murder scene (though there are those). It’s Pete Holmes’ face.\u003c/p>\n\u003cp>Kendrick, making her directorial debut, stars as an aspiring actor named Cheryl Bradshaw who ultimately winds up a contestant on that particular \u003cem>Dating Game\u003c/em> episode. Early in the film, she’s venting about her audition frustrations with a neighbor (Holmes) over drinks. After he makes an awkward pass, she recoils and he sits heavily, staring forward in disappointment.\u003c/p>\n\u003cp>[aside postid='arts_13966715']The tension of those encounters, and how women are forced to handle, and suffer, the bruised egos of men, fuels \u003cem>Woman of the Hour\u003c/em>, a sometimes awkwardly plotted but consistently insightful thriller about the anxiety of the female experience and the grim game of constantly weighing the threat of potential danger in men. The film begins streaming Friday on Netflix.\u003c/p>\n\u003cp>Kendrick, working from a script by Ian McDonald, opens \u003cem>Woman of the Hour\u003c/em> with a scene in the remote foothills of Wyoming. There, Rodney Alcala (Daniel Zovatto) is playfully photographing a young woman (Kelley Jakle) but soon has his hands around her throat.\u003c/p>\n\u003cp>Though the film then shifts primarily to Cheryl taping \u003cem>The Dating Game\u003c/em>, \u003cem>Woman of the Hour\u003c/em> is interspersed with similarly gruesome encounters between Alcala and women. They follow a similar pattern. He’s charming and even sensitive, but turns violent at the first sign of rejection.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Woman of the Hour\u003c/em> isn’t your standard true crime dramatization. The perspective of Alcala, who was convicted in 1980 of killing seven women and girls and died on death row in 2021, isn’t the one that matters here. It’s the women he targeted.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ODUdpwddTQk\u003c/p>\n\u003cp>Kendrick’s movie might have been a better, more suspenseful film if it could have stayed in one timeline and teased all of the drama out of the \u003cem>Dating Game\u003c/em> taping. But in unmasking Alcala from the start, \u003cem>Woman of the Hour\u003c/em> becomes more about the horror of a killer who thrived out in the open, even on national television. We watch in dread at just how easily he blends in next to bachelor one and bachelor two — and even seems like the most appealing of the bunch.\u003c/p>\n\u003cp>When Cheryl is thrust into the showbiz swirl of \u003cem>The Dating Game\u003c/em>, all of the sexist remarks and misogynistic underpinnings of the show appear only more sinister given Alcala’s presence. The host, a fictionalized Jim Lange named Ed Burke, is played with expert, flippant sleaze by Tony Hale. Kendrick keeps the camera on Cheryl’s face in the makeup chair while Ed, just before showtime, tells her not to act too smart. “I just need you to laugh and smile over and over,” he says.\u003c/p>\n\u003cp>[aside postid='arts_13904911']Plenty more sexism is baked into the show. (One of Cheryl’s cue cards reads: “My favorite hobby is kissing.”) The juxtaposition of a serial killer of women with Hollywood misogyny adds a potent layer. (Kendrick has said an audition exchange early in the film about doing on-camera nudity is taken verbatim from her own experience as a young actor.) That’s particularly true when an audience member, Laura (Nicolette Robinson), recognizes Alcala as the man who killed her friend. Her attempts to warn producers are met predictably.\u003c/p>\n\u003cp>Though Zovatto’s performance is compellingly unsettling without being over-the-top, the dark, disturbed nature of Alcala is too much for \u003cem>Woman of the Hour\u003c/em> to reckon with. This was a killer whose path of heinous violence included the rape and near-murder of an 8-year-old girl and the killing of a 12-year-old biking home from ballet class. The years of police and judicial failure that allowed Alcala to avoid imprisonment for so long are only hinted at here.\u003c/p>\n\u003cp>\u003cem>Woman of the Hour\u003c/em> will surely send many looking up this stranger-than-fiction story. But Kendrick’s achievement is in capturing, from a woman’s point of view, just how hard it can be to pick a serial killer out of an all-male line-up.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Woman of the Hour’ begins streaming on Netflix on Oct. 18, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Woman of the Hour\u003c/em> isn’t your standard true crime dramatization. The perspective of Alcala, who was convicted in 1980 of killing seven women and girls and died on death row in 2021, isn’t the one that matters here. It’s the women he targeted.\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/ODUdpwddTQk'\n title='//www.youtube.com/embed/ODUdpwddTQk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Kendrick’s movie might have been a better, more suspenseful film if it could have stayed in one timeline and teased all of the drama out of the \u003cem>Dating Game\u003c/em> taping. But in unmasking Alcala from the start, \u003cem>Woman of the Hour\u003c/em> becomes more about the horror of a killer who thrived out in the open, even on national television. We watch in dread at just how easily he blends in next to bachelor one and bachelor two — and even seems like the most appealing of the bunch.\u003c/p>\n\u003cp>When Cheryl is thrust into the showbiz swirl of \u003cem>The Dating Game\u003c/em>, all of the sexist remarks and misogynistic underpinnings of the show appear only more sinister given Alcala’s presence. The host, a fictionalized Jim Lange named Ed Burke, is played with expert, flippant sleaze by Tony Hale. Kendrick keeps the camera on Cheryl’s face in the makeup chair while Ed, just before showtime, tells her not to act too smart. “I just need you to laugh and smile over and over,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Plenty more sexism is baked into the show. (One of Cheryl’s cue cards reads: “My favorite hobby is kissing.”) The juxtaposition of a serial killer of women with Hollywood misogyny adds a potent layer. (Kendrick has said an audition exchange early in the film about doing on-camera nudity is taken verbatim from her own experience as a young actor.) That’s particularly true when an audience member, Laura (Nicolette Robinson), recognizes Alcala as the man who killed her friend. Her attempts to warn producers are met predictably.\u003c/p>\n\u003cp>Though Zovatto’s performance is compellingly unsettling without being over-the-top, the dark, disturbed nature of Alcala is too much for \u003cem>Woman of the Hour\u003c/em> to reckon with. This was a killer whose path of heinous violence included the rape and near-murder of an 8-year-old girl and the killing of a 12-year-old biking home from ballet class. The years of police and judicial failure that allowed Alcala to avoid imprisonment for so long are only hinted at here.\u003c/p>\n\u003cp>\u003cem>Woman of the Hour\u003c/em> will surely send many looking up this stranger-than-fiction story. But Kendrick’s achievement is in capturing, from a woman’s point of view, just how hard it can be to pick a serial killer out of an all-male line-up.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Woman of the Hour’ begins streaming on Netflix on Oct. 18, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
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},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"officialWebsiteLink": "/californiareport",
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"order": 8
},
"link": "/californiareport",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
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