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"title": "‘Juror #2’ Is a Thorny Legal Thriller — and Possibly Clint Eastwood’s Last Film",
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"content": "\u003cp>Last week, Warner Bros. opened \u003cem>Juror #2 \u003c/em>in limited release, with minimal fanfare, and no plans to report the film’s domestic box office. It’s not the typical treatment for a Clint Eastwood movie, especially one that some think might be the \u003cem>last \u003c/em>Clint Eastwood movie. I hope they’re wrong.\u003c/p>\n\u003cp>Either way, the fact that Eastwood’s longtime studio would bury his latest speaks to the various crises that have befallen the industry in general and Warner Bros. in particular. At 94, Eastwood seems ever more like an anomaly in American filmmaking: a Hollywood legend with nothing left to prove, still cranking out his unfussy, mid-budget dramas for a grown-up audience that the major studios have all but abandoned.\u003c/p>\n\u003cp>[aside postid='arts_13967805']\u003cem>Juror #2\u003c/em> is actually one of his better-directed efforts of late, certainly compared with recent disappointments like \u003cem>Cry Macho\u003c/em> and \u003ca href=\"https://video.kqed.org/video/clint-eastwood-for-the-mule-ejnwjt/\">\u003cem>The Mule\u003c/em>\u003c/a>. There’s a little old-school \u003ca href=\"https://www.kqed.org/arts/13966911/john-grisham-dan-slepian-books-wrongfully-convicted-us-prison-injustice-sing-sing\">John Grisham\u003c/a> in this movie’s legal-thriller DNA, even though it features an original screenplay, by Jonathan Abrams.\u003c/p>\n\u003cp>Nicholas Hoult stars as Justin Kemp, a Georgia-based magazine writer who’s expecting a baby with his wife, played by Zoey Deutch. It’s a high-risk pregnancy, and so the timing isn’t ideal when Justin gets selected as a juror in a major murder trial.\u003c/p>\n\u003cp>The defendant, James Sythe, stands accused of killing his girlfriend, Kendall Carter, after the two had a heated argument in a bar one night. As the facts of the case emerge, Justin, who is recovering from alcoholism, realizes that he was at that same bar on the very night in question — and that he hit something he had assumed was a deer while driving home.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Suddenly alarmed that he could be more involved in Kendall’s death than he thought, Justin seeks advice from his AA sponsor, Larry, who also happens to be a lawyer. Larry, played by Kiefer Sutherland, advises Justin to keep quiet, lest he face serious prison time. But Justin, worried that his silence could send an innocent man to prison, tries to plead Sythe’s case during deliberations, which quickly turn contentious.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=viA35xH5KO8\u003c/p>\n\u003cp>There’s a creakiness to the writing here; the bickering sounds forced, and some of the jurors veer toward cultural stereotypes. But others are more sharply drawn: \u003ca href=\"https://www.kqed.org/arts/10144000/bang-the-drum-ever-faster-in-the-different-sports-arena-of-whiplash\">J.K. Simmons\u003c/a> brings his hard-nosed intelligence to the role of one of Justin’s few allies, while Cedric Yarbrough finds the simmering tension in every line as a juror convinced of the defendant’s guilt.\u003c/p>\n\u003cp>It all plays like a barbed riff on \u003cem>12 Angry Men\u003c/em>, where one man seeks to sway his fellow jurors, not to bring about justice so much as assuage his own conscience. But Justin isn’t the only character held up for moral scrutiny. The courtroom’s most compelling figure is the prosecutor, Faith, played with terrific nuance by \u003ca href=\"https://www.kqed.org/arts/13834624/with-cunning-casting-hereditary-dials-up-the-horror\">Toni Collette\u003c/a>. Faith does her job with skill, integrity and a great deal of ambition; she’s running for district attorney, and she knows that securing a conviction could help her chances.\u003c/p>\n\u003cp>[aside postid='arts_13967869']Collette and Hoult played a mother and son in the 2002 comedy \u003cem>About a Boy\u003c/em>. And while the actors don’t share too much screen time in \u003cem>Juror #2\u003c/em>, beyond one doozy of a late scene, it’s still a pleasure to see them reunited more than 20 years later. Hoult is especially strong as a man wrestling quietly with past demons and present dilemmas, and whose response is to rationalize like crazy. After all, maybe Sythe, a man known for his rough past, really did kill his girlfriend. And even if he didn’t, how can Justin turn himself in, just as he and his wife are about to start a family?\u003c/p>\n\u003cp>Eastwood may take his characters to task, but he also sees the bigger picture. He’s long had a skeptical view of institutions and their failings, whether it’s a corrupt police force in \u003ca href=\"https://www.kqed.org/arts/23586/changeling\">\u003cem>Changeling\u003c/em>\u003c/a> or the manipulations of the media in movies like \u003cem>Sully\u003c/em> and \u003cem>Richard Jewell\u003c/em>\u003cem>.\u003c/em> In \u003cem>Juror #2\u003c/em>, he takes measured aim at the American justice system, from the dogged attorneys muddling their way through the evidence to the exhausted jurors who just want to deliver a quick verdict to the procedural fault lines and blind spots that can make the truth seem so elusive.\u003c/p>\n\u003cp>It’s a thorny, thoughtful film, and I wish its own studio had more confidence in it. If Eastwood does make another one, I wouldn’t mind seeing him take on another broken American system rife with cynicism, self-interest and compromise — and that, of course, is Hollywood itself.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Juror #2’ is out, nationwide, now.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Juror #2\u003c/em> is actually one of his better-directed efforts of late, certainly compared with recent disappointments like \u003cem>Cry Macho\u003c/em> and \u003ca href=\"https://video.kqed.org/video/clint-eastwood-for-the-mule-ejnwjt/\">\u003cem>The Mule\u003c/em>\u003c/a>. There’s a little old-school \u003ca href=\"https://www.kqed.org/arts/13966911/john-grisham-dan-slepian-books-wrongfully-convicted-us-prison-injustice-sing-sing\">John Grisham\u003c/a> in this movie’s legal-thriller DNA, even though it features an original screenplay, by Jonathan Abrams.\u003c/p>\n\u003cp>Nicholas Hoult stars as Justin Kemp, a Georgia-based magazine writer who’s expecting a baby with his wife, played by Zoey Deutch. It’s a high-risk pregnancy, and so the timing isn’t ideal when Justin gets selected as a juror in a major murder trial.\u003c/p>\n\u003cp>The defendant, James Sythe, stands accused of killing his girlfriend, Kendall Carter, after the two had a heated argument in a bar one night. As the facts of the case emerge, Justin, who is recovering from alcoholism, realizes that he was at that same bar on the very night in question — and that he hit something he had assumed was a deer while driving home.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Suddenly alarmed that he could be more involved in Kendall’s death than he thought, Justin seeks advice from his AA sponsor, Larry, who also happens to be a lawyer. Larry, played by Kiefer Sutherland, advises Justin to keep quiet, lest he face serious prison time. But Justin, worried that his silence could send an innocent man to prison, tries to plead Sythe’s case during deliberations, which quickly turn contentious.\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/viA35xH5KO8'\n title='//www.youtube.com/embed/viA35xH5KO8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There’s a creakiness to the writing here; the bickering sounds forced, and some of the jurors veer toward cultural stereotypes. But others are more sharply drawn: \u003ca href=\"https://www.kqed.org/arts/10144000/bang-the-drum-ever-faster-in-the-different-sports-arena-of-whiplash\">J.K. Simmons\u003c/a> brings his hard-nosed intelligence to the role of one of Justin’s few allies, while Cedric Yarbrough finds the simmering tension in every line as a juror convinced of the defendant’s guilt.\u003c/p>\n\u003cp>It all plays like a barbed riff on \u003cem>12 Angry Men\u003c/em>, where one man seeks to sway his fellow jurors, not to bring about justice so much as assuage his own conscience. But Justin isn’t the only character held up for moral scrutiny. The courtroom’s most compelling figure is the prosecutor, Faith, played with terrific nuance by \u003ca href=\"https://www.kqed.org/arts/13834624/with-cunning-casting-hereditary-dials-up-the-horror\">Toni Collette\u003c/a>. Faith does her job with skill, integrity and a great deal of ambition; she’s running for district attorney, and she knows that securing a conviction could help her chances.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Collette and Hoult played a mother and son in the 2002 comedy \u003cem>About a Boy\u003c/em>. And while the actors don’t share too much screen time in \u003cem>Juror #2\u003c/em>, beyond one doozy of a late scene, it’s still a pleasure to see them reunited more than 20 years later. Hoult is especially strong as a man wrestling quietly with past demons and present dilemmas, and whose response is to rationalize like crazy. After all, maybe Sythe, a man known for his rough past, really did kill his girlfriend. And even if he didn’t, how can Justin turn himself in, just as he and his wife are about to start a family?\u003c/p>\n\u003cp>Eastwood may take his characters to task, but he also sees the bigger picture. He’s long had a skeptical view of institutions and their failings, whether it’s a corrupt police force in \u003ca href=\"https://www.kqed.org/arts/23586/changeling\">\u003cem>Changeling\u003c/em>\u003c/a> or the manipulations of the media in movies like \u003cem>Sully\u003c/em> and \u003cem>Richard Jewell\u003c/em>\u003cem>.\u003c/em> In \u003cem>Juror #2\u003c/em>, he takes measured aim at the American justice system, from the dogged attorneys muddling their way through the evidence to the exhausted jurors who just want to deliver a quick verdict to the procedural fault lines and blind spots that can make the truth seem so elusive.\u003c/p>\n\u003cp>It’s a thorny, thoughtful film, and I wish its own studio had more confidence in it. If Eastwood does make another one, I wouldn’t mind seeing him take on another broken American system rife with cynicism, self-interest and compromise — and that, of course, is Hollywood itself.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Juror #2’ is out, nationwide, now.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "things-to-do-bay-area-election-weekend-leave-the-house",
"title": "Close Your Phone, Leave the House: Things to Do This Post-Election Weekend",
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"content": "\u003cp>There’s no way to sugar-coat it: here in the Bay Area this week, a lot of people are holed up, feeling despair at another Trump presidency and doomscrolling on their phones.\u003c/p>\n\u003cp>Some of the more introverted among us prefer to stay home, and \u003ca href=\"https://introvertdear.com/news/id-rather-be-home-and-i-dont-feel-bad-about-it/\">that’s fine\u003c/a>. But man, there is no feeling so refreshing as getting outside and being among others, many of whom are probably feeling just the same as you.\u003c/p>\n\u003cp>Here’s a quick list of 25 outdoor events, concerts, exhibitions and more, all offering company or community, and all happening this weekend.\u003c/p>\n\u003cfigure id=\"attachment_13967872\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967872\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1.jpg\" alt=\"\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The View from Mission Peak trail. \u003ccite>(Sarah Mohamad/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/science/1995033/12-bay-area-hikes-for-escaping-the-election-even-for-a-few-hours\">\u003cstrong>Take a Hike\u003c/strong>\u003c/a>\u003cbr>\nNot to be all “touch grass,” but c’mon, you already know that going on a hike is helpful for anxiety. Call up that friend you haven’t seen in a while and consult our guide \u003ca href=\"https://www.kqed.org/science/1995033/12-bay-area-hikes-for-escaping-the-election-even-for-a-few-hours\">12 Bay Area Hikes and Nature Spots for Escaping the Election This Week\u003c/a>.\u003c/p>\n\u003cp>Opening Nov. 7, 6–8 p.m.: \u003ca href=\"https://altmansiegel.com/exhibitions/troy-lamarr-chew-ii/\">\u003cstrong>Troy Lamarr Chew II at Altman Siegel\u003c/strong>\u003c/a>\u003cbr>\nThe former Bay Area artist returns with a solo show of portraits that depict people as glassy, translucent outlines (à la \u003ci>The Secret World of Alex Mack\u003c/i>), underscoring their “invisibility” in contemporary society.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13959808/golden-boy-pizza-north-beach-sf-late-night\">\u003cstrong>Grab a slice at the new Golden Boy Pizza\u003c/strong>\u003c/a>\u003cbr>\nEveryone’s favorite San Francisco square slice shop just opened a brand new location. Golden Boy’s long-awaited Sunset location is slinging the same crunchy-bottomed, idiosyncratic pizzas that have been locally beloved since 1978, for takeout only. (Or you can, of course, always opt to head back to the North Beach original.)\u003c/p>\n\u003cfigure id=\"attachment_13967810\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967810\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/slj.png\" alt=\"An older Black man sits in an armchair, glancing over his shoulder disapprovingly.\" width=\"2000\" height=\"1295\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/slj.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/slj-800x518.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/slj-1020x660.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/slj-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/slj-768x497.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/slj-1536x995.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/slj-1920x1243.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Samuel L. Jackson stars in ‘The Piano Lesson.’ \u003ccite>(Netflix via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Opening Nov. 8: \u003ca href=\"https://www.kqed.org/arts/13967805/the-piano-lesson-august-wilson-malcolm-washington-samuel-jackson-streaming-netflix\">\u003cstrong>‘The Piano Lesson’\u003c/strong>\u003c/a>\u003cbr>\nBased on the recent Broadway production, this film version of August Wilson’s award-winning play should be excellent. With a cast including Samuel L. Jackson and John David Washington, it’s been getting good reviews.\u003c/p>\n\u003cp>Opening Nov. 8: \u003ca href=\"https://www.kqed.org/arts/13967549/heretic-movie-review-hugh-grant-horror-mormon-missionaries-monopoly\">\u003cstrong>‘Heretic’\u003c/strong>\u003c/a>\u003cbr>\nThere are those of us who can turn our brains off by watching Hugh Grant being dashing in rom-coms like \u003cem>Notting Hill\u003c/em>, and there are those of us who would rather see him cardigan-clad, chilling and chattering about religion in this new horror from A24. \u003cem>Heretic\u003c/em> will keep your nerves and brain in high gear for its unnerving entirety.\u003c/p>\n\u003cp>Nov. 8–10: \u003ca href=\"https://www.kqed.org/arts/13967748/klay-thompson-art-show\">\u003cstrong>Klay Thompson Art Show at SoleSpace in Oakland\u003c/strong>\u003c/a>\u003cbr>\nThe great Splash Brother makes his return to the Bay Area this weekend in — sigh — a Mavericks uniform. Before he plays against his former team, this sneaker shop and creative space hosts an art show dedicated to the beloved ex-Warriors player.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13967161/crass-logo-david-king-center-for-the-book-san-francisco-zines-flyers\">\u003cstrong>‘David King Publications 1977–2019’ at San Francisco Center for the Book \u003c/strong>\u003c/a>\u003cbr>\nBest known for designing the logo for punk band Crass, artist David King also illustrated zines and flyers, many of which make up this exhibit. In her review, Rae Alexandra said it “can only act as a sort of tasting menu — but oh, what a delicious introduction it is.”\u003c/p>\n\u003cfigure id=\"attachment_13966669\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966669\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/durian-king.jpg\" alt='A giant, plastic \"durian king\" mascot with a spiky shell and a crown on his head.' width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/durian-king.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/durian-king-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/durian-king-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/durian-king-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/durian-king-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/durian-king-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/durian-king-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The shop’s “durian king” mascot. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13966665/durian-east-bay-richmond-99-ranch-malaysian\">\u003cstrong>Buy a whole Malaysian durian at Liu Shang Pin\u003c/strong>\u003c/a>\u003cbr>\nBecause surely there’s someone in your life who would feel comforted by some ripe, pungent tropical fruit. And if so, this new durian shop in Richmond is the swankiest spot to get your stink on.\u003c/p>\n\u003cp>Opening Nov. 8: \u003ca href=\"https://museumca.org/on-view/born-of-the-bear-dance-dugan-aguilars-photographs-of-native-california/\">\u003cstrong>‘Born of the Bear Dance: Dugan Aguilar’s Photographs of Native California’ at the Oakland Museum of California\u003c/strong>\u003c/a>\u003cbr>\nThis show of photographs by Dugan Aguilar (just a fraction of the museum’s recently acquired collection of the late artist’s personal archive) documents the vibrancy of Native life in the state between 1982 to 2018.\u003c/p>\n\u003cfigure id=\"attachment_13955628\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955628\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-scaled.jpg\" alt=\"A conductor waves his baton as orchestra musicians look on,\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kedrick Armstrong conducts the Oakland Symphony in February 2024. \u003ccite>(Scott Chernis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nov. 8: \u003ca href=\"https://www.oaklandsymphony.org/event/two-black-churches-carmina-burana/\">\u003cstrong>Oakland Symphony’s ‘Two Black Churches + Carmina Burana’ at the Paramount Theatre\u003c/strong>\u003c/a>\u003cbr>\nNew music director Kedrick Armstrong leads the Oakland Symphony in his second program, featuring two pieces from living composer Shawn Okpebholo. (A post-election note, presented without comment: one of the first sections of Orff’s Carmina Burana is titled “I lament the wounds that fortune deals.”)\u003c/p>\n\u003cp>Nov. 8: \u003ca href=\"https://www.chinatownvolunteercoalition.org/\">\u003cstrong>Chinatown Night Market\u003c/strong>\u003c/a>\u003cbr>\nFriday nights in San Francisco Chinatown are never as packed and lively as they are during this monthly \u003ca href=\"https://www.kqed.org/arts/13963258/bay-area-night-markets-food-fall-guide-2024\">night market\u003c/a> — and this edition will be the \u003ca href=\"https://www.chinatownvolunteercoalition.org/\">last market of the year\u003c/a>. Come early to avoid the longest lines, and enjoy the dim sum and boba stands, cultural performances and fun, family-friendly atmosphere. (5:30–9 p.m. on Grant Avenue, b/w Sacramento and Jackson)\u003c/p>\n\u003cp>Nov. 9: \u003ca href=\"https://www.thenewparkway.com/?action=tribe_event_day&tribe_event_display=day&tribe-bar-date=2024-11-09\">\u003cstrong>Cereal Cinema at Oakland’s New Parkway\u003c/strong>\u003c/a>\u003cbr>\nNostalgia is comforting, so mentally travel back to your childhood (and take your own kids with you, if you have them) to Cereal Cinema. The New Parkway Theater’s Saturday morning screening of classic cartoons is accompanied by — what else? — all-you-can-eat cereal. The retro fun starts at 10:30 a.m.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13967093/marinmoca-san-rafael-opening-the-mountain-review\">\u003cstrong>Visit a brand new museum: MarinMOCA San Rafael\u003c/strong>\u003c/a>\u003cbr>\nIn this expansion beyond their Novato home base, MarinMOCA has curated an inaugural, intergenerational show that celebrates the exceptional art made in the shadow of Mount Tamalpais.\u003c/p>\n\u003cp>Nov. 9: \u003ca href=\"https://www.kqed.org/arts/13967848/dahomey-review-mati-diop-benin-documentary\">\u003cstrong>‘Dahomey’ opens at the Roxie, San Francisco\u003c/strong>\u003c/a>\u003cbr>\nMati Diop’s followup to her narrative film \u003ci>Atlantics\u003c/i> follows 26 statues and cultural objects on their repatriation journey from France to Benin. Our film critic calls it an “unexpectedly inspiring documentary” that “movingly captures the immediacy of art in contemporary life.”\u003c/p>\n\u003cfigure id=\"attachment_13967858\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967858\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/A-visitor-views-Ho-Tams-work-at-41-Ross-credit-Robert-Borsdorf_2000.jpg\" alt=\"woman looks at rows of yellow printed paper\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/A-visitor-views-Ho-Tams-work-at-41-Ross-credit-Robert-Borsdorf_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/A-visitor-views-Ho-Tams-work-at-41-Ross-credit-Robert-Borsdorf_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/A-visitor-views-Ho-Tams-work-at-41-Ross-credit-Robert-Borsdorf_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/A-visitor-views-Ho-Tams-work-at-41-Ross-credit-Robert-Borsdorf_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/A-visitor-views-Ho-Tams-work-at-41-Ross-credit-Robert-Borsdorf_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/A-visitor-views-Ho-Tams-work-at-41-Ross-credit-Robert-Borsdorf_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/A-visitor-views-Ho-Tams-work-at-41-Ross-credit-Robert-Borsdorf_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A visitor to 41 Ross views Ho Tam’s work during his artist residency. \u003ccite>(Robert Borsdorf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nov. 9, 12–4 p.m.: \u003ca href=\"https://www.kqed.org/arts/13967856/chinatown-ross-alley-zine-festival-hotam-press\">\u003cstrong>Chinatown Ross Alley Zine Festival, San Francisco\u003c/strong>\u003c/a>\u003cbr>\nCheck out work by 10 local publishers and 41 Ross Artist-in-Residence Hotam Press (all the way from Vancouver) in this afternoon-long event filled with art, zines, books and other cultural goodies.\u003c/p>\n\u003cp>Nov. 9: \u003ca href=\"https://sflivefest.com/afrolicious-ggp-nov9\">\u003cstrong>Afrolicious at the Golden Gate Park Bandshell, San Francisco\u003c/strong>\u003c/a>\u003cbr>\nAfrolicious always brings a dance party, and Saturday should be no exception in this, the final concert in the SF Live series. The Golden Gate Park bandshell sits right between the de Young and the California Academy of Sciences — two places to consider visiting to make a day of it. Los Calderones open.\u003c/p>\n\u003cp>Nov. 9: \u003ca href=\"https://www.eventbrite.com/e/white-crate-4-year-anniversary-party-tickets-1048372108197\">\u003cstrong>White Crate Anniversary Party at El Rio, San Francisco\u003c/strong>\u003c/a>\u003cbr>\nPicking up where the Bay Bridged left off, \u003ca href=\"https://www.kqed.org/arts/13960718/white-crate-bay-area-live-music\">White Crate\u003c/a> is a music site covering Bay Area indie music and beyond. Their fourth anniversary party at El Rio features bands Sour Widows, Tony Jay, Pocket Full of Crumbs and Margot James.\u003c/p>\n\u003cp>Nov. 9: \u003ca href=\"https://rootdivision.org/exhibition/huq-i-seek-no-favor/\">\u003cstrong>‘HUQ: I Seek No Favor’ at San Francisco’s Root Division\u003c/strong>\u003c/a>\u003cbr>\nIf solidarity is what you seek this weekend, consider joining Root Division on Saturday for the opening reception of this exhibit that brings together more than 100 artists and writers to collectively respond to the impact of 2022’s Dobbs decision on reproductive rights. ‘Huq’ is an Urdu/Arabic word that means both ‘rights’ and ‘truth.’\u003c/p>\n\u003cp>Nov. 9–10: \u003ca href=\"https://www.sfhiphopdancefest.com/dancefest\">\u003cstrong>San Francisco International Hip-Hop Dance Fest\u003c/strong>\u003c/a>\u003cbr>\nForget breakdancing in the Olympics. As part of \u003ca href=\"https://www.kqed.org/arts/13967488/san-francisco-hip-hop-month-november-2024\">San Francisco Hip-Hop Month\u003c/a>, this three-day fest brings dance troupes from all over the world together to battle for cash prizes.\u003c/p>\n\u003cp>Nov. 9–10: \u003ca href=\"https://wl.seetickets.us/event/a-special-spoken-word-matinee-lydia-lunch-eugene-robinson/623722?afflky=GreatAmericanMusicHall\">\u003cstrong>Lydia Lunch’s ‘Verbal Burlesque’ at the Great American Music Hall in SF\u003c/strong>\u003c/a> \u003cstrong>and the\u003c/strong> \u003ca href=\"https://www.ivyroom.com/#/events/117948\">\u003cstrong>Ivy Room in Albany\u003c/strong>\u003c/a>\u003cbr>\nOn any given day, Lydia Lunch’s provocative observations about herself, her life and the world around her are primed to provide solid distractions. This weekend she’s upping the ante with two spoken word sets of exclusively raunchy material. Lunch will perform a matinee show in San Francisco on Saturday and another in Albany on Sunday.\u003c/p>\n\u003cfigure id=\"attachment_13899160\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13899160\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Sunami.MAIN_.jpg\" alt=\"Josef Alfonso, singer of Sunami, at the Real Bay Shit show in San Jose on June 19, 2021.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Sunami.MAIN_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Sunami.MAIN_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Sunami.MAIN_-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Josef Alfonso, singer of Sunami, at the Real Bay Shit show in San Jose on June 19, 2021. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nov. 10–11: \u003ca href=\"https://sanjosetheaters.org/event/sunami-ingrown-torena-monster-energy-outbreak-tour/\">\u003cstrong>Sunami at the San Jose Civic Auditorium\u003c/strong>\u003c/a> \u003cstrong>and\u003c/strong> \u003ca href=\"https://www.instagram.com/924gilmanstreet/p/C-Vi2S0u0kE/\">\u003cstrong>Berkeley’s 924 Gilman\u003c/strong>\u003c/a>\u003cbr>\nSometimes you just gotta get mad. Enter Sunami, one of the Bay Area’s best and most aggressive hardcore bands, known for their crowd’s insane pits. If \u003ca href=\"https://www.kqed.org/arts/13899154/sunami-review-san-jose-drain-gulch-show\">slamming your body against hundreds of others\u003c/a> is your preferred method of catharsis, this is the show for you.\u003c/p>\n\u003cp>Nov. 10, 11 a.m.–3 p.m.: \u003ca href=\"https://www.kqed.org/arts/13967722/personal-space-slipper-vallejo-review\">\u003cstrong>‘Slipper’ at Personal Space, Vallejo\u003c/strong>\u003c/a>\u003cbr>\nThe artist-run space packs plenty of art viewing into its small footprint, bringing together a group of artists who make objects that slip between registers: flesh and machine, digital and handmade, 2D and 3D. Also: a giant “fur” coat made, in part, from human hair!\u003c/p>\n\u003cp>Nov. 11: \u003ca href=\"https://gracecathedral.org/calendar-events/sound-meditation-11-11/\">\u003cstrong>The Sound Healing Symphony at Grace Cathedral, San Francisco\u003c/strong>\u003c/a>\u003cbr>\nIf you need to simply chill out this weekend — but among others — the Sound Healing Symphony uses gongs, crystal bowls, vibraphone and didgeridoo to help attendees at scenic Grace Cathedral “go beyond the veil in a celebration of unity.”\u003c/p>\n\u003cp>Nov. 11: \u003ca href=\"https://www.axs.com/uk/events/670853/blood-incantation-tickets\">\u003cstrong>Blood Incantation at Cornerstone, Berkeley\u003c/strong>\u003c/a>\u003cbr>\nHow did this proggy metal band behind the landmark album \u003cem>Hidden History of the Human Race\u003c/em> kick things up a notch this year? With an even more complex, dizzying outing, \u003cem>Absolute Elsewhere\u003c/em>: a collision of death metal and krautrock.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Through Nov. 24: \u003ca href=\"https://haightstreetart.org/pages/home-show-a-chuck-sperry-retrospective\">\u003cstrong>A Chuck Sperry Retrospective at the Haight Street Art Center, SF\u003c/strong>\u003c/a>\u003cbr>\nSperry’s flower-power-infused visions of beauty are always a colorful shot of much-needed dopamine. The Haight Street Art Center is currently displaying a collection of the San Francisco artist’s silkscreen prints, rock posters and tapestries stretching across his 40-year career.\u003c/p>\n\n",
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"title": "Close Your Phone, Leave the House: Things to Do This Post-Election Weekend | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s no way to sugar-coat it: here in the Bay Area this week, a lot of people are holed up, feeling despair at another Trump presidency and doomscrolling on their phones.\u003c/p>\n\u003cp>Some of the more introverted among us prefer to stay home, and \u003ca href=\"https://introvertdear.com/news/id-rather-be-home-and-i-dont-feel-bad-about-it/\">that’s fine\u003c/a>. But man, there is no feeling so refreshing as getting outside and being among others, many of whom are probably feeling just the same as you.\u003c/p>\n\u003cp>Here’s a quick list of 25 outdoor events, concerts, exhibitions and more, all offering company or community, and all happening this weekend.\u003c/p>\n\u003cfigure id=\"attachment_13967872\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967872\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1.jpg\" alt=\"\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The View from Mission Peak trail. \u003ccite>(Sarah Mohamad/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/science/1995033/12-bay-area-hikes-for-escaping-the-election-even-for-a-few-hours\">\u003cstrong>Take a Hike\u003c/strong>\u003c/a>\u003cbr>\nNot to be all “touch grass,” but c’mon, you already know that going on a hike is helpful for anxiety. Call up that friend you haven’t seen in a while and consult our guide \u003ca href=\"https://www.kqed.org/science/1995033/12-bay-area-hikes-for-escaping-the-election-even-for-a-few-hours\">12 Bay Area Hikes and Nature Spots for Escaping the Election This Week\u003c/a>.\u003c/p>\n\u003cp>Opening Nov. 7, 6–8 p.m.: \u003ca href=\"https://altmansiegel.com/exhibitions/troy-lamarr-chew-ii/\">\u003cstrong>Troy Lamarr Chew II at Altman Siegel\u003c/strong>\u003c/a>\u003cbr>\nThe former Bay Area artist returns with a solo show of portraits that depict people as glassy, translucent outlines (à la \u003ci>The Secret World of Alex Mack\u003c/i>), underscoring their “invisibility” in contemporary society.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13959808/golden-boy-pizza-north-beach-sf-late-night\">\u003cstrong>Grab a slice at the new Golden Boy Pizza\u003c/strong>\u003c/a>\u003cbr>\nEveryone’s favorite San Francisco square slice shop just opened a brand new location. Golden Boy’s long-awaited Sunset location is slinging the same crunchy-bottomed, idiosyncratic pizzas that have been locally beloved since 1978, for takeout only. (Or you can, of course, always opt to head back to the North Beach original.)\u003c/p>\n\u003cfigure id=\"attachment_13967810\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967810\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/slj.png\" alt=\"An older Black man sits in an armchair, glancing over his shoulder disapprovingly.\" width=\"2000\" height=\"1295\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/slj.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/slj-800x518.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/slj-1020x660.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/slj-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/slj-768x497.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/slj-1536x995.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/slj-1920x1243.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Samuel L. Jackson stars in ‘The Piano Lesson.’ \u003ccite>(Netflix via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Opening Nov. 8: \u003ca href=\"https://www.kqed.org/arts/13967805/the-piano-lesson-august-wilson-malcolm-washington-samuel-jackson-streaming-netflix\">\u003cstrong>‘The Piano Lesson’\u003c/strong>\u003c/a>\u003cbr>\nBased on the recent Broadway production, this film version of August Wilson’s award-winning play should be excellent. With a cast including Samuel L. Jackson and John David Washington, it’s been getting good reviews.\u003c/p>\n\u003cp>Opening Nov. 8: \u003ca href=\"https://www.kqed.org/arts/13967549/heretic-movie-review-hugh-grant-horror-mormon-missionaries-monopoly\">\u003cstrong>‘Heretic’\u003c/strong>\u003c/a>\u003cbr>\nThere are those of us who can turn our brains off by watching Hugh Grant being dashing in rom-coms like \u003cem>Notting Hill\u003c/em>, and there are those of us who would rather see him cardigan-clad, chilling and chattering about religion in this new horror from A24. \u003cem>Heretic\u003c/em> will keep your nerves and brain in high gear for its unnerving entirety.\u003c/p>\n\u003cp>Nov. 8–10: \u003ca href=\"https://www.kqed.org/arts/13967748/klay-thompson-art-show\">\u003cstrong>Klay Thompson Art Show at SoleSpace in Oakland\u003c/strong>\u003c/a>\u003cbr>\nThe great Splash Brother makes his return to the Bay Area this weekend in — sigh — a Mavericks uniform. Before he plays against his former team, this sneaker shop and creative space hosts an art show dedicated to the beloved ex-Warriors player.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13967161/crass-logo-david-king-center-for-the-book-san-francisco-zines-flyers\">\u003cstrong>‘David King Publications 1977–2019’ at San Francisco Center for the Book \u003c/strong>\u003c/a>\u003cbr>\nBest known for designing the logo for punk band Crass, artist David King also illustrated zines and flyers, many of which make up this exhibit. In her review, Rae Alexandra said it “can only act as a sort of tasting menu — but oh, what a delicious introduction it is.”\u003c/p>\n\u003cfigure id=\"attachment_13966669\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966669\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/durian-king.jpg\" alt='A giant, plastic \"durian king\" mascot with a spiky shell and a crown on his head.' width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/durian-king.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/durian-king-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/durian-king-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/durian-king-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/durian-king-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/durian-king-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/durian-king-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The shop’s “durian king” mascot. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13966665/durian-east-bay-richmond-99-ranch-malaysian\">\u003cstrong>Buy a whole Malaysian durian at Liu Shang Pin\u003c/strong>\u003c/a>\u003cbr>\nBecause surely there’s someone in your life who would feel comforted by some ripe, pungent tropical fruit. And if so, this new durian shop in Richmond is the swankiest spot to get your stink on.\u003c/p>\n\u003cp>Opening Nov. 8: \u003ca href=\"https://museumca.org/on-view/born-of-the-bear-dance-dugan-aguilars-photographs-of-native-california/\">\u003cstrong>‘Born of the Bear Dance: Dugan Aguilar’s Photographs of Native California’ at the Oakland Museum of California\u003c/strong>\u003c/a>\u003cbr>\nThis show of photographs by Dugan Aguilar (just a fraction of the museum’s recently acquired collection of the late artist’s personal archive) documents the vibrancy of Native life in the state between 1982 to 2018.\u003c/p>\n\u003cfigure id=\"attachment_13955628\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955628\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-scaled.jpg\" alt=\"A conductor waves his baton as orchestra musicians look on,\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kedrick Armstrong conducts the Oakland Symphony in February 2024. \u003ccite>(Scott Chernis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nov. 8: \u003ca href=\"https://www.oaklandsymphony.org/event/two-black-churches-carmina-burana/\">\u003cstrong>Oakland Symphony’s ‘Two Black Churches + Carmina Burana’ at the Paramount Theatre\u003c/strong>\u003c/a>\u003cbr>\nNew music director Kedrick Armstrong leads the Oakland Symphony in his second program, featuring two pieces from living composer Shawn Okpebholo. (A post-election note, presented without comment: one of the first sections of Orff’s Carmina Burana is titled “I lament the wounds that fortune deals.”)\u003c/p>\n\u003cp>Nov. 8: \u003ca href=\"https://www.chinatownvolunteercoalition.org/\">\u003cstrong>Chinatown Night Market\u003c/strong>\u003c/a>\u003cbr>\nFriday nights in San Francisco Chinatown are never as packed and lively as they are during this monthly \u003ca href=\"https://www.kqed.org/arts/13963258/bay-area-night-markets-food-fall-guide-2024\">night market\u003c/a> — and this edition will be the \u003ca href=\"https://www.chinatownvolunteercoalition.org/\">last market of the year\u003c/a>. Come early to avoid the longest lines, and enjoy the dim sum and boba stands, cultural performances and fun, family-friendly atmosphere. (5:30–9 p.m. on Grant Avenue, b/w Sacramento and Jackson)\u003c/p>\n\u003cp>Nov. 9: \u003ca href=\"https://www.thenewparkway.com/?action=tribe_event_day&tribe_event_display=day&tribe-bar-date=2024-11-09\">\u003cstrong>Cereal Cinema at Oakland’s New Parkway\u003c/strong>\u003c/a>\u003cbr>\nNostalgia is comforting, so mentally travel back to your childhood (and take your own kids with you, if you have them) to Cereal Cinema. The New Parkway Theater’s Saturday morning screening of classic cartoons is accompanied by — what else? — all-you-can-eat cereal. The retro fun starts at 10:30 a.m.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13967093/marinmoca-san-rafael-opening-the-mountain-review\">\u003cstrong>Visit a brand new museum: MarinMOCA San Rafael\u003c/strong>\u003c/a>\u003cbr>\nIn this expansion beyond their Novato home base, MarinMOCA has curated an inaugural, intergenerational show that celebrates the exceptional art made in the shadow of Mount Tamalpais.\u003c/p>\n\u003cp>Nov. 9: \u003ca href=\"https://www.kqed.org/arts/13967848/dahomey-review-mati-diop-benin-documentary\">\u003cstrong>‘Dahomey’ opens at the Roxie, San Francisco\u003c/strong>\u003c/a>\u003cbr>\nMati Diop’s followup to her narrative film \u003ci>Atlantics\u003c/i> follows 26 statues and cultural objects on their repatriation journey from France to Benin. Our film critic calls it an “unexpectedly inspiring documentary” that “movingly captures the immediacy of art in contemporary life.”\u003c/p>\n\u003cfigure id=\"attachment_13967858\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967858\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/A-visitor-views-Ho-Tams-work-at-41-Ross-credit-Robert-Borsdorf_2000.jpg\" alt=\"woman looks at rows of yellow printed paper\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/A-visitor-views-Ho-Tams-work-at-41-Ross-credit-Robert-Borsdorf_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/A-visitor-views-Ho-Tams-work-at-41-Ross-credit-Robert-Borsdorf_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/A-visitor-views-Ho-Tams-work-at-41-Ross-credit-Robert-Borsdorf_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/A-visitor-views-Ho-Tams-work-at-41-Ross-credit-Robert-Borsdorf_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/A-visitor-views-Ho-Tams-work-at-41-Ross-credit-Robert-Borsdorf_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/A-visitor-views-Ho-Tams-work-at-41-Ross-credit-Robert-Borsdorf_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/A-visitor-views-Ho-Tams-work-at-41-Ross-credit-Robert-Borsdorf_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A visitor to 41 Ross views Ho Tam’s work during his artist residency. \u003ccite>(Robert Borsdorf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nov. 9, 12–4 p.m.: \u003ca href=\"https://www.kqed.org/arts/13967856/chinatown-ross-alley-zine-festival-hotam-press\">\u003cstrong>Chinatown Ross Alley Zine Festival, San Francisco\u003c/strong>\u003c/a>\u003cbr>\nCheck out work by 10 local publishers and 41 Ross Artist-in-Residence Hotam Press (all the way from Vancouver) in this afternoon-long event filled with art, zines, books and other cultural goodies.\u003c/p>\n\u003cp>Nov. 9: \u003ca href=\"https://sflivefest.com/afrolicious-ggp-nov9\">\u003cstrong>Afrolicious at the Golden Gate Park Bandshell, San Francisco\u003c/strong>\u003c/a>\u003cbr>\nAfrolicious always brings a dance party, and Saturday should be no exception in this, the final concert in the SF Live series. The Golden Gate Park bandshell sits right between the de Young and the California Academy of Sciences — two places to consider visiting to make a day of it. Los Calderones open.\u003c/p>\n\u003cp>Nov. 9: \u003ca href=\"https://www.eventbrite.com/e/white-crate-4-year-anniversary-party-tickets-1048372108197\">\u003cstrong>White Crate Anniversary Party at El Rio, San Francisco\u003c/strong>\u003c/a>\u003cbr>\nPicking up where the Bay Bridged left off, \u003ca href=\"https://www.kqed.org/arts/13960718/white-crate-bay-area-live-music\">White Crate\u003c/a> is a music site covering Bay Area indie music and beyond. Their fourth anniversary party at El Rio features bands Sour Widows, Tony Jay, Pocket Full of Crumbs and Margot James.\u003c/p>\n\u003cp>Nov. 9: \u003ca href=\"https://rootdivision.org/exhibition/huq-i-seek-no-favor/\">\u003cstrong>‘HUQ: I Seek No Favor’ at San Francisco’s Root Division\u003c/strong>\u003c/a>\u003cbr>\nIf solidarity is what you seek this weekend, consider joining Root Division on Saturday for the opening reception of this exhibit that brings together more than 100 artists and writers to collectively respond to the impact of 2022’s Dobbs decision on reproductive rights. ‘Huq’ is an Urdu/Arabic word that means both ‘rights’ and ‘truth.’\u003c/p>\n\u003cp>Nov. 9–10: \u003ca href=\"https://www.sfhiphopdancefest.com/dancefest\">\u003cstrong>San Francisco International Hip-Hop Dance Fest\u003c/strong>\u003c/a>\u003cbr>\nForget breakdancing in the Olympics. As part of \u003ca href=\"https://www.kqed.org/arts/13967488/san-francisco-hip-hop-month-november-2024\">San Francisco Hip-Hop Month\u003c/a>, this three-day fest brings dance troupes from all over the world together to battle for cash prizes.\u003c/p>\n\u003cp>Nov. 9–10: \u003ca href=\"https://wl.seetickets.us/event/a-special-spoken-word-matinee-lydia-lunch-eugene-robinson/623722?afflky=GreatAmericanMusicHall\">\u003cstrong>Lydia Lunch’s ‘Verbal Burlesque’ at the Great American Music Hall in SF\u003c/strong>\u003c/a> \u003cstrong>and the\u003c/strong> \u003ca href=\"https://www.ivyroom.com/#/events/117948\">\u003cstrong>Ivy Room in Albany\u003c/strong>\u003c/a>\u003cbr>\nOn any given day, Lydia Lunch’s provocative observations about herself, her life and the world around her are primed to provide solid distractions. This weekend she’s upping the ante with two spoken word sets of exclusively raunchy material. Lunch will perform a matinee show in San Francisco on Saturday and another in Albany on Sunday.\u003c/p>\n\u003cfigure id=\"attachment_13899160\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13899160\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Sunami.MAIN_.jpg\" alt=\"Josef Alfonso, singer of Sunami, at the Real Bay Shit show in San Jose on June 19, 2021.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Sunami.MAIN_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Sunami.MAIN_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Sunami.MAIN_-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Josef Alfonso, singer of Sunami, at the Real Bay Shit show in San Jose on June 19, 2021. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nov. 10–11: \u003ca href=\"https://sanjosetheaters.org/event/sunami-ingrown-torena-monster-energy-outbreak-tour/\">\u003cstrong>Sunami at the San Jose Civic Auditorium\u003c/strong>\u003c/a> \u003cstrong>and\u003c/strong> \u003ca href=\"https://www.instagram.com/924gilmanstreet/p/C-Vi2S0u0kE/\">\u003cstrong>Berkeley’s 924 Gilman\u003c/strong>\u003c/a>\u003cbr>\nSometimes you just gotta get mad. Enter Sunami, one of the Bay Area’s best and most aggressive hardcore bands, known for their crowd’s insane pits. If \u003ca href=\"https://www.kqed.org/arts/13899154/sunami-review-san-jose-drain-gulch-show\">slamming your body against hundreds of others\u003c/a> is your preferred method of catharsis, this is the show for you.\u003c/p>\n\u003cp>Nov. 10, 11 a.m.–3 p.m.: \u003ca href=\"https://www.kqed.org/arts/13967722/personal-space-slipper-vallejo-review\">\u003cstrong>‘Slipper’ at Personal Space, Vallejo\u003c/strong>\u003c/a>\u003cbr>\nThe artist-run space packs plenty of art viewing into its small footprint, bringing together a group of artists who make objects that slip between registers: flesh and machine, digital and handmade, 2D and 3D. Also: a giant “fur” coat made, in part, from human hair!\u003c/p>\n\u003cp>Nov. 11: \u003ca href=\"https://gracecathedral.org/calendar-events/sound-meditation-11-11/\">\u003cstrong>The Sound Healing Symphony at Grace Cathedral, San Francisco\u003c/strong>\u003c/a>\u003cbr>\nIf you need to simply chill out this weekend — but among others — the Sound Healing Symphony uses gongs, crystal bowls, vibraphone and didgeridoo to help attendees at scenic Grace Cathedral “go beyond the veil in a celebration of unity.”\u003c/p>\n\u003cp>Nov. 11: \u003ca href=\"https://www.axs.com/uk/events/670853/blood-incantation-tickets\">\u003cstrong>Blood Incantation at Cornerstone, Berkeley\u003c/strong>\u003c/a>\u003cbr>\nHow did this proggy metal band behind the landmark album \u003cem>Hidden History of the Human Race\u003c/em> kick things up a notch this year? With an even more complex, dizzying outing, \u003cem>Absolute Elsewhere\u003c/em>: a collision of death metal and krautrock.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Through Nov. 24: \u003ca href=\"https://haightstreetart.org/pages/home-show-a-chuck-sperry-retrospective\">\u003cstrong>A Chuck Sperry Retrospective at the Haight Street Art Center, SF\u003c/strong>\u003c/a>\u003cbr>\nSperry’s flower-power-infused visions of beauty are always a colorful shot of much-needed dopamine. The Haight Street Art Center is currently displaying a collection of the San Francisco artist’s silkscreen prints, rock posters and tapestries stretching across his 40-year career.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>French filmmaker Mati Diop’s evocative \u003cem>Dahomey\u003c/em> centers on 26 statues and cultural objects — a handful of the estimated 5,000 pieces stolen at the end of the 19th century — that France returned to Benin in 2021. Opening Friday, Nov. 8 at the \u003ca href=\"https://roxie.com/film/dahomey/\">Roxie\u003c/a> after its recent local premiere at the Mill Valley Film Festival, the unexpectedly inspiring documentary transports us along with the crates to West Africa, movingly capturing the immediacy of art in contemporary life.\u003c/p>\n\u003cp>Before the pieces deplane in Benin, however, and go on view at the Palais de la Marina (the presidential residence) in a historical and artistic celebration of national importance, Diop invites us to contemplate their painful exile in the recesses of Paris’ Musée du quai Branly – Jacques Chirac. She and Haitian novelist and poet Makenzy Orcel give the treasures an internal monologue that evokes the anguish of colonialism and the denial of self-determination.\u003c/p>\n\u003cp>Diop imbues the pieces with a mournful anger that contrasts with the detached attitude of museum conservators and manual laborers who treat them as physical objects to be measured, packed and forklifted. This opening section effectively makes us question the significance of relics, the relevance of history and the latent power of art.\u003c/p>\n\u003cfigure id=\"attachment_13967854\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_4_2000.jpg\" alt=\"girl looks through glass in school uniform\" width=\"2000\" height=\"1055\" class=\"size-full wp-image-13967854\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_4_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_4_2000-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_4_2000-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_4_2000-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_4_2000-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_4_2000-1536x810.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_4_2000-1920x1013.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Still from Mati Diop’s ‘Dahomey.’ \u003ccite>(Courtesy of MUBI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This has been a topic of conversation forever, of course, in museums and art galleries (and beyond). It may seem more au courant in our digital world where people and events “trend” and vanish in hours. \u003cem>Dahomey\u003c/em> gains another resonance in the wake of an election that indicates, among other things, that Americans are largely uninterested in the past and cannot even recall events that took place four years ago.\u003c/p>\n\u003cp>But let us consider instead the Kingdom of Dahomey, which flourished, in part on enslaved labor and the transatlantic slave trade, for some 300 years. After a decade of wars with France and the overthrow of its King Béhanzin, Dahomey became part of French West Africa in 1904. The Republic of Dahomey won its independence in 1960, and the country renamed itself Benin in 1975.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mati Diop was born in Paris; she is an actor, writer and director whose acclaimed 2019 narrative feature debut, \u003cem>\u003ca href=\"https://www.netflix.com/title/81082007\">Atlantics\u003c/a>\u003c/em>, is streaming on Netflix. Diop’s Sengalese father, Wasis, is a musician and her late uncle, Djibril Diop Mambéty, was a filmmaker. She spent her formative years in France and Senegal, which accounts for her interest in the repatriation of (some of) Benin’s looted artworks.\u003c/p>\n\u003cfigure id=\"attachment_13967853\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_2_2000.jpg\" alt=\"man raises hand in seated group\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13967853\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_2_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_2_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_2_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_2_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_2_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_2_2000-1920x1080.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Still from Mati Diop’s ‘Dahomey.’ \u003ccite>(Courtesy of MUBI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once the artworks have landed in Benin, Diop exhibits both generosity and good judgment by devoting a chunk of the film (which clocks in at a succinct 68 minutes) to the opinions of the Beninese. Not through person-on-the-street interviews, mind you, but via an eloquent discussion among informed and impassioned University of Abomey-Calavi students.\u003c/p>\n\u003cp>[aside tag='film' label='More to watch']This sequence is the best part of \u003cem>Dahomey\u003c/em> for all sorts of reasons. The students speak beautifully about the pieces as relics from the reign of kings and symbols of Western colonialism, and also as works of art. They know their history as well as its limits; that is, they see the past primarily as instrumental in their responsibility for creating Benin’s future.\u003c/p>\n\u003cp>One student, in fact, downplaying the importance of the pieces still held in France, argues persuasively, “Our immaterial heritage — our dances, traditions and knowhow — are still in our country!” \u003c/p>\n\u003cp>\u003cem>Dahomey\u003c/em>, which won the Golden Bear at the Berlin International Film Festival, is unquestionably a dark-room theatrical experience. But it also deserves a permanent venue, such as a long-term installation at the Museum of the African Diaspora (MoAD) or the San Francisco Museum of Modern Art. Its themes of cultural identity and ownership, and independence and self-determination, are relevant to all former colonies.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://roxie.com/film/dahomey/\">Dahomey\u003c/a>’ opens Nov. 8, 2024 at the Roxie.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>French filmmaker Mati Diop’s evocative \u003cem>Dahomey\u003c/em> centers on 26 statues and cultural objects — a handful of the estimated 5,000 pieces stolen at the end of the 19th century — that France returned to Benin in 2021. Opening Friday, Nov. 8 at the \u003ca href=\"https://roxie.com/film/dahomey/\">Roxie\u003c/a> after its recent local premiere at the Mill Valley Film Festival, the unexpectedly inspiring documentary transports us along with the crates to West Africa, movingly capturing the immediacy of art in contemporary life.\u003c/p>\n\u003cp>Before the pieces deplane in Benin, however, and go on view at the Palais de la Marina (the presidential residence) in a historical and artistic celebration of national importance, Diop invites us to contemplate their painful exile in the recesses of Paris’ Musée du quai Branly – Jacques Chirac. She and Haitian novelist and poet Makenzy Orcel give the treasures an internal monologue that evokes the anguish of colonialism and the denial of self-determination.\u003c/p>\n\u003cp>Diop imbues the pieces with a mournful anger that contrasts with the detached attitude of museum conservators and manual laborers who treat them as physical objects to be measured, packed and forklifted. This opening section effectively makes us question the significance of relics, the relevance of history and the latent power of art.\u003c/p>\n\u003cfigure id=\"attachment_13967854\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_4_2000.jpg\" alt=\"girl looks through glass in school uniform\" width=\"2000\" height=\"1055\" class=\"size-full wp-image-13967854\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_4_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_4_2000-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_4_2000-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_4_2000-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_4_2000-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_4_2000-1536x810.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_4_2000-1920x1013.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Still from Mati Diop’s ‘Dahomey.’ \u003ccite>(Courtesy of MUBI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This has been a topic of conversation forever, of course, in museums and art galleries (and beyond). It may seem more au courant in our digital world where people and events “trend” and vanish in hours. \u003cem>Dahomey\u003c/em> gains another resonance in the wake of an election that indicates, among other things, that Americans are largely uninterested in the past and cannot even recall events that took place four years ago.\u003c/p>\n\u003cp>But let us consider instead the Kingdom of Dahomey, which flourished, in part on enslaved labor and the transatlantic slave trade, for some 300 years. After a decade of wars with France and the overthrow of its King Béhanzin, Dahomey became part of French West Africa in 1904. The Republic of Dahomey won its independence in 1960, and the country renamed itself Benin in 1975.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mati Diop was born in Paris; she is an actor, writer and director whose acclaimed 2019 narrative feature debut, \u003cem>\u003ca href=\"https://www.netflix.com/title/81082007\">Atlantics\u003c/a>\u003c/em>, is streaming on Netflix. Diop’s Sengalese father, Wasis, is a musician and her late uncle, Djibril Diop Mambéty, was a filmmaker. She spent her formative years in France and Senegal, which accounts for her interest in the repatriation of (some of) Benin’s looted artworks.\u003c/p>\n\u003cfigure id=\"attachment_13967853\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_2_2000.jpg\" alt=\"man raises hand in seated group\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13967853\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_2_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_2_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_2_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_2_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_2_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_2_2000-1920x1080.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Still from Mati Diop’s ‘Dahomey.’ \u003ccite>(Courtesy of MUBI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once the artworks have landed in Benin, Diop exhibits both generosity and good judgment by devoting a chunk of the film (which clocks in at a succinct 68 minutes) to the opinions of the Beninese. Not through person-on-the-street interviews, mind you, but via an eloquent discussion among informed and impassioned University of Abomey-Calavi students.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This sequence is the best part of \u003cem>Dahomey\u003c/em> for all sorts of reasons. The students speak beautifully about the pieces as relics from the reign of kings and symbols of Western colonialism, and also as works of art. They know their history as well as its limits; that is, they see the past primarily as instrumental in their responsibility for creating Benin’s future.\u003c/p>\n\u003cp>One student, in fact, downplaying the importance of the pieces still held in France, argues persuasively, “Our immaterial heritage — our dances, traditions and knowhow — are still in our country!” \u003c/p>\n\u003cp>\u003cem>Dahomey\u003c/em>, which won the Golden Bear at the Berlin International Film Festival, is unquestionably a dark-room theatrical experience. But it also deserves a permanent venue, such as a long-term installation at the Museum of the African Diaspora (MoAD) or the San Francisco Museum of Modern Art. Its themes of cultural identity and ownership, and independence and self-determination, are relevant to all former colonies.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://roxie.com/film/dahomey/\">Dahomey\u003c/a>’ opens Nov. 8, 2024 at the Roxie.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>An heirloom piano takes on immense significance for one family in 1936 Pittsburgh in August Wilson’s \u003cem>The Piano Lesson\u003c/em>. Generational ties also permeate the film adaptation, in which Malcolm Washington follows in his father Denzel Washington’s footsteps in helping to bring the entirety of The Pittsburgh Cycle — a series of 10 plays — to the screen.\u003c/p>\n\u003cp>[aside postid='arts_13967522']Malcolm Washington did not start from scratch in his accomplished feature filmmaking debut. He enlisted much of the cast from the recent Broadway revival with Samuel L. Jackson (Doaker Charles), his brother, John David Washington (Boy Willie), Ray Fisher (Lymon) and Michael Potts (Whining Boy). Berniece, played by Danielle Brooks in the play, is now beautifully portrayed by Danielle Deadwyler. With such rich material and a cast for whom it’s second nature, it would be hard, one imagines, to go wrong. Jackson’s own history with the play goes back to its original run in 1987 when he was Boy Willie.\u003c/p>\n\u003cp>It’s not the simplest thing to make a play feel cinematic, but Malcolm Washington was up to the task. His film opens up the world of the Charles family beyond the living room. In fact, this adaptation, which Washington co-wrote with \u003cem>Mudbound\u003c/em> screenwriter Virgil Williams, goes beyond Wilson’s text and shows us the past and the origins of the intricately engraved piano that’s central to all the fuss.\u003c/p>\n\u003cp>The film even opens on a big, action-filled set piece in 1911, during which the piano is stolen from a white family’s home. Another fleshes out Doaker’s monologue in which he explains to the uninitiated, Fisher’s Lymon, and the audience, the tortured history of the thing. While it might have been nice to keep the camera on Jackson, such a great, grounding presence throughout, the good news is that he really makes narration shine as well.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cZwjt0pjt8w\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Wilson purists will certainly have opinions on these artistic choices; But they let the film breathe a bit, offering some respite from the living room with the looming piano. And most of the film stays right there, in 1936. Boy Willie and Lymon descend early one morning, uninvited, on the Pittsburgh home of Berniece and her uncle Doaker.\u003c/p>\n\u003cp>It’s a family reunion with an agenda: They’ve driven a truck full of watermelons up north from Mississippi, and Willie, Berniece’s younger brother, wants to sell the watermelons and then the piano. The dusty old instrument represents to him a chance to let the past go and start a future. With the money, he wants to buy the land that his enslaved ancestors worked. Berniece has other ideas about the piano, namely keeping it. It’s a connection to the past, not an anchor. Besides, it might be haunted.\u003c/p>\n\u003cp>[aside postid='arts_13967549']Yes, \u003cem>The Piano Lesson\u003c/em>, in theaters Friday and streaming on Netflix on Nov. 22, isn’t just a meditation on family history. It’s also a literal ghost story, with creaks, spooks and shadows lurking when the piano is disturbed. Deadwyler is electric as Berniece, who bears the brunt of the haunting, walking on eggshells in her life, trying to care for her young daughter and fend off passes from men who assume she can only be fulfilled with one at her side. Now she must deal with her somewhat manic brother who might, Doaker wisely reminds, actually, annoyingly, have a point. Perhaps the film academy will make up for their snub of her performance in \u003cem>Till\u003c/em> with this turn.\u003c/p>\n\u003cp>Regardless of your familiarity with Wilson’s Pittsburgh Cycle, \u003cem>The Piano Lesson\u003c/em> is a worthwhile, captivating and moving watch full of charismatic performers. Talent isn’t always genetic, but the Washington family is putting in the work to prove otherwise. And with \u003cem>Fences\u003c/em>, \u003cem>Ma Rainey’s Black Bottom\u003c/em> and now \u003cem>The Piano Lesson\u003c/em>, they’re making a mark with a bold and ambitious project that is probably long overdue. Only seven more to go.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Piano Lesson’ is out nationwide on Nov. 8, 2024 and begins streaming on Netflix on Nov. 22.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Malcolm Washington did not start from scratch in his accomplished feature filmmaking debut. He enlisted much of the cast from the recent Broadway revival with Samuel L. Jackson (Doaker Charles), his brother, John David Washington (Boy Willie), Ray Fisher (Lymon) and Michael Potts (Whining Boy). Berniece, played by Danielle Brooks in the play, is now beautifully portrayed by Danielle Deadwyler. With such rich material and a cast for whom it’s second nature, it would be hard, one imagines, to go wrong. Jackson’s own history with the play goes back to its original run in 1987 when he was Boy Willie.\u003c/p>\n\u003cp>It’s not the simplest thing to make a play feel cinematic, but Malcolm Washington was up to the task. His film opens up the world of the Charles family beyond the living room. In fact, this adaptation, which Washington co-wrote with \u003cem>Mudbound\u003c/em> screenwriter Virgil Williams, goes beyond Wilson’s text and shows us the past and the origins of the intricately engraved piano that’s central to all the fuss.\u003c/p>\n\u003cp>The film even opens on a big, action-filled set piece in 1911, during which the piano is stolen from a white family’s home. Another fleshes out Doaker’s monologue in which he explains to the uninitiated, Fisher’s Lymon, and the audience, the tortured history of the thing. While it might have been nice to keep the camera on Jackson, such a great, grounding presence throughout, the good news is that he really makes narration shine as well.\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/cZwjt0pjt8w'\n title='//www.youtube.com/embed/cZwjt0pjt8w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Wilson purists will certainly have opinions on these artistic choices; But they let the film breathe a bit, offering some respite from the living room with the looming piano. And most of the film stays right there, in 1936. Boy Willie and Lymon descend early one morning, uninvited, on the Pittsburgh home of Berniece and her uncle Doaker.\u003c/p>\n\u003cp>It’s a family reunion with an agenda: They’ve driven a truck full of watermelons up north from Mississippi, and Willie, Berniece’s younger brother, wants to sell the watermelons and then the piano. The dusty old instrument represents to him a chance to let the past go and start a future. With the money, he wants to buy the land that his enslaved ancestors worked. Berniece has other ideas about the piano, namely keeping it. It’s a connection to the past, not an anchor. Besides, it might be haunted.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Yes, \u003cem>The Piano Lesson\u003c/em>, in theaters Friday and streaming on Netflix on Nov. 22, isn’t just a meditation on family history. It’s also a literal ghost story, with creaks, spooks and shadows lurking when the piano is disturbed. Deadwyler is electric as Berniece, who bears the brunt of the haunting, walking on eggshells in her life, trying to care for her young daughter and fend off passes from men who assume she can only be fulfilled with one at her side. Now she must deal with her somewhat manic brother who might, Doaker wisely reminds, actually, annoyingly, have a point. Perhaps the film academy will make up for their snub of her performance in \u003cem>Till\u003c/em> with this turn.\u003c/p>\n\u003cp>Regardless of your familiarity with Wilson’s Pittsburgh Cycle, \u003cem>The Piano Lesson\u003c/em> is a worthwhile, captivating and moving watch full of charismatic performers. Talent isn’t always genetic, but the Washington family is putting in the work to prove otherwise. And with \u003cem>Fences\u003c/em>, \u003cem>Ma Rainey’s Black Bottom\u003c/em> and now \u003cem>The Piano Lesson\u003c/em>, they’re making a mark with a bold and ambitious project that is probably long overdue. Only seven more to go.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Piano Lesson’ is out nationwide on Nov. 8, 2024 and begins streaming on Netflix on Nov. 22.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Kieran Culkin Shines in Jesse Eisenberg’s Deft, Accomplished ‘A Real Pain’",
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"content": "\u003cp>It’s part comedy, part tragedy. It’s part road-trip saga, part odd couple-buddy flick, and part Holocaust film. What could possibly have gone wrong?\u003c/p>\n\u003cp>Yup — everything could have gone wrong. So the first miracle about \u003cem>A Real Pain\u003c/em>, writer-director \u003ca href=\"https://www.kqed.org/pop/105694/rediscovering-the-breakfast-club-with-jesse-eisenberg\">Jesse Eisenberg\u003c/a>’s remarkably accomplished film about mismatched cousins on a somber trip through Poland, is how it pulls off the most delicate of balancing acts.\u003c/p>\n\u003cp>That it does so while also asking intriguing questions about the nature of pain — personal vs. universal, historic vs. contemporary — is all the more impressive. So is the fact that it showcases an Oscar-worthy performance.\u003c/p>\n\u003cp>[aside postid='arts_13967482']That stunning performance comes from \u003ca href=\"https://www.kqed.org/arts/13906871/kieran-culkin-is-having-fun-with-succession-and-he-hopes-you-are-too\">Kieran Culkin\u003c/a>, and what’s striking is that it doesn’t overpower the rest of the ensemble. That’s a testament mostly to the careful way Eisenberg, who co-stars in the less flashy role, has constructed and paced his film. And as for Culkin, well, if you needed proof that his searing, Emmy-winning work as tortured live-wire Roman Roy in \u003ca href=\"https://www.kqed.org/arts/tag/succession\">\u003cem>Succession\u003c/em>\u003c/a> wasn’t a fluke, here you have it.\u003c/p>\n\u003cp>The movie, which is only Eisenberg’s second directorial effort, stems from a trip the \u003ca href=\"https://www.kqed.org/arts/34570/social_network_fact_or_fiction_a_tangled_web\">\u003cem>Social Network\u003c/em>\u003c/a> star took some 20 years ago to Poland. There, he found the tiny house his aunt had lived in before the Holocaust uprooted the family. He wondered what his own life would have been like had World War II never happened.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And that’s one of the many conversations that David (Eisenberg) and Benji (Culkin) have as they travel through Poland on a mission to visit the house where their grandmother, who has recently died, once lived. (Eisenberg used the exact same house, which tells you just how personal this film was for him.)\u003c/p>\n\u003cp>It’s a poignant but also awkward reunion for the cousins, who were close as youngsters but are on very different paths as 40-something adults. David is the anxiety-ridden but highly functional type that Eisenberg the actor excels at; he works in tech and lives with his wife and young son in Brooklyn. As for Benji, he lives upstate and is largely unmoored, or undeveloped. He’s also a study in contrasts — the type, David notes, who can light up a room when he enters, and then crap on everyone. The death of their grandmother, with whom Benji was close, has taken a toll on his mental health.\u003c/p>\n\u003cp>The cousins first meet up at the airport in New York. Before they even get through security, Benji has terrified David by informing him he’s secured some really good weed for the journey. (Don’t worry, he’s mailed it to the hotel.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=b2et8Vpu7Ls\u003c/p>\n\u003cp>In Warsaw, they meet their small tour group and British guide James (Will Sharpe, of \u003cem>The White Lotus\u003c/em>), a scholar of wartime Poland. Fellow travelers include Marsha (Jennifer Grey), a divorcee who’s moved from LA back east and is trying to reconnect with her past; a Midwestern couple (Daniel Oreskes and Liza Sadovy); and Eloge (Kurt Egyiawan), a Rwandan-Canadian convert to Judasim who knows something about genocide.\u003c/p>\n\u003cp>[aside postid='arts_13967410']In short order, Benji both charms and exasperates the group — and this turbulent brand of charisma is Culkin’s specialty.\u003c/p>\n\u003cp>At a war memorial statue, he runs up to strike a playful action pose, embarrassing David. But somehow, the whole group ends up joining Benji in the childlike stunt, and David is left taking photos.\u003c/p>\n\u003cp>Then when the tour boards a train for Lublin, Benji suddenly explodes in anger at the group — how can they be sitting in first-class comfort when 80 years ago, their ancestors were corralled into cattle cars? He disappears to a lower-class car.\u003c/p>\n\u003cp>And at a visit to a wartime tombstone, Benji admonishes the mild-mannered guide, furiously, for focusing on statistics and not letting the group feel the pure emotion of the moment. (He’s not wrong, as the guide will later acknowledge.)\u003c/p>\n\u003cp>Eisenberg has said that when conceiving of his film, he was struck by a Polish ad that promised “Holocaust tours (with lunch.)” All these moments feel quite real; such tours are indeed filled with awkward (and rather inevitable) juxtapositions of modern tourist comforts and historical horrors.\u003c/p>\n\u003cp>Speaking of horrors, by far the most difficult scenes come when the group visits Majdanek, the Nazi camp. There, they walk past unspeakable sights of gas chambers and ovens and piles of abandoned shoes. One might at first gasp that Eisenberg is leading us here at all; wisely, he keeps these moments silent. When Benji breaks down, it’s on the way home — an acknowledgment that such reactions often come later.\u003c/p>\n\u003cp>At the end, with the cousins hugging goodbye uneasily in the same airport where we began, having completed a journey both physical and personal, it’s hard not to think back to the title of the movie. Yes, Benji is “a real pain.” But there are layers of pain at play here.\u003c/p>\n\u003cp>[aside postid='arts_13967293']There is David’s very real pain, an anxiety that forces him to take pills each day. There’s Benji’s pain, which not long ago has sent him into a very dangerous tailspin.\u003c/p>\n\u003cp>But, Eisenberg seems to be asking, how “valid” are these types of pain set against the historic pain that the film explores in Poland — a place where, as his camera shows empty streets where life once teemed, an entire people was erased by the Nazis?\u003c/p>\n\u003cp>It’s quite a journey for one film. All credit to Eisenberg, and his superb co-star, for making the road trip so thought-provoking.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘A Real Pain’ is released in Bay Area theaters on Nov. 14, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s part comedy, part tragedy. It’s part road-trip saga, part odd couple-buddy flick, and part Holocaust film. What could possibly have gone wrong?\u003c/p>\n\u003cp>Yup — everything could have gone wrong. So the first miracle about \u003cem>A Real Pain\u003c/em>, writer-director \u003ca href=\"https://www.kqed.org/pop/105694/rediscovering-the-breakfast-club-with-jesse-eisenberg\">Jesse Eisenberg\u003c/a>’s remarkably accomplished film about mismatched cousins on a somber trip through Poland, is how it pulls off the most delicate of balancing acts.\u003c/p>\n\u003cp>That it does so while also asking intriguing questions about the nature of pain — personal vs. universal, historic vs. contemporary — is all the more impressive. So is the fact that it showcases an Oscar-worthy performance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That stunning performance comes from \u003ca href=\"https://www.kqed.org/arts/13906871/kieran-culkin-is-having-fun-with-succession-and-he-hopes-you-are-too\">Kieran Culkin\u003c/a>, and what’s striking is that it doesn’t overpower the rest of the ensemble. That’s a testament mostly to the careful way Eisenberg, who co-stars in the less flashy role, has constructed and paced his film. And as for Culkin, well, if you needed proof that his searing, Emmy-winning work as tortured live-wire Roman Roy in \u003ca href=\"https://www.kqed.org/arts/tag/succession\">\u003cem>Succession\u003c/em>\u003c/a> wasn’t a fluke, here you have it.\u003c/p>\n\u003cp>The movie, which is only Eisenberg’s second directorial effort, stems from a trip the \u003ca href=\"https://www.kqed.org/arts/34570/social_network_fact_or_fiction_a_tangled_web\">\u003cem>Social Network\u003c/em>\u003c/a> star took some 20 years ago to Poland. There, he found the tiny house his aunt had lived in before the Holocaust uprooted the family. He wondered what his own life would have been like had World War II never happened.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And that’s one of the many conversations that David (Eisenberg) and Benji (Culkin) have as they travel through Poland on a mission to visit the house where their grandmother, who has recently died, once lived. (Eisenberg used the exact same house, which tells you just how personal this film was for him.)\u003c/p>\n\u003cp>It’s a poignant but also awkward reunion for the cousins, who were close as youngsters but are on very different paths as 40-something adults. David is the anxiety-ridden but highly functional type that Eisenberg the actor excels at; he works in tech and lives with his wife and young son in Brooklyn. As for Benji, he lives upstate and is largely unmoored, or undeveloped. He’s also a study in contrasts — the type, David notes, who can light up a room when he enters, and then crap on everyone. The death of their grandmother, with whom Benji was close, has taken a toll on his mental health.\u003c/p>\n\u003cp>The cousins first meet up at the airport in New York. Before they even get through security, Benji has terrified David by informing him he’s secured some really good weed for the journey. (Don’t worry, he’s mailed it to the hotel.)\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/b2et8Vpu7Ls'\n title='//www.youtube.com/embed/b2et8Vpu7Ls'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In Warsaw, they meet their small tour group and British guide James (Will Sharpe, of \u003cem>The White Lotus\u003c/em>), a scholar of wartime Poland. Fellow travelers include Marsha (Jennifer Grey), a divorcee who’s moved from LA back east and is trying to reconnect with her past; a Midwestern couple (Daniel Oreskes and Liza Sadovy); and Eloge (Kurt Egyiawan), a Rwandan-Canadian convert to Judasim who knows something about genocide.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In short order, Benji both charms and exasperates the group — and this turbulent brand of charisma is Culkin’s specialty.\u003c/p>\n\u003cp>At a war memorial statue, he runs up to strike a playful action pose, embarrassing David. But somehow, the whole group ends up joining Benji in the childlike stunt, and David is left taking photos.\u003c/p>\n\u003cp>Then when the tour boards a train for Lublin, Benji suddenly explodes in anger at the group — how can they be sitting in first-class comfort when 80 years ago, their ancestors were corralled into cattle cars? He disappears to a lower-class car.\u003c/p>\n\u003cp>And at a visit to a wartime tombstone, Benji admonishes the mild-mannered guide, furiously, for focusing on statistics and not letting the group feel the pure emotion of the moment. (He’s not wrong, as the guide will later acknowledge.)\u003c/p>\n\u003cp>Eisenberg has said that when conceiving of his film, he was struck by a Polish ad that promised “Holocaust tours (with lunch.)” All these moments feel quite real; such tours are indeed filled with awkward (and rather inevitable) juxtapositions of modern tourist comforts and historical horrors.\u003c/p>\n\u003cp>Speaking of horrors, by far the most difficult scenes come when the group visits Majdanek, the Nazi camp. There, they walk past unspeakable sights of gas chambers and ovens and piles of abandoned shoes. One might at first gasp that Eisenberg is leading us here at all; wisely, he keeps these moments silent. When Benji breaks down, it’s on the way home — an acknowledgment that such reactions often come later.\u003c/p>\n\u003cp>At the end, with the cousins hugging goodbye uneasily in the same airport where we began, having completed a journey both physical and personal, it’s hard not to think back to the title of the movie. Yes, Benji is “a real pain.” But there are layers of pain at play here.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There is David’s very real pain, an anxiety that forces him to take pills each day. There’s Benji’s pain, which not long ago has sent him into a very dangerous tailspin.\u003c/p>\n\u003cp>But, Eisenberg seems to be asking, how “valid” are these types of pain set against the historic pain that the film explores in Poland — a place where, as his camera shows empty streets where life once teemed, an entire people was erased by the Nazis?\u003c/p>\n\u003cp>It’s quite a journey for one film. All credit to Eisenberg, and his superb co-star, for making the road trip so thought-provoking.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘A Real Pain’ is released in Bay Area theaters on Nov. 14, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In new horror movie \u003cem>Heretic\u003c/em>, the terror begins with the promise of a home-cooked blueberry pie. The pie is just one of the ways in which the villain of the piece, Mr. Reed (a superbly sinister Hugh Grant) lures two Mormon missionaries into his spiraling nightmare of a home. The pie — or rather, the lack of one — is the first indication Sister Barnes (\u003cem>Yellowjackets\u003c/em>’ Sophie Thatcher) and Sister Paxton (Chloe East) have that they’re in danger. Blueberry pie appears again and again throughout.\u003c/p>\n\u003cp>[aside postid='pop_105670']That pie is just one of several seemingly innocuous items used to terrifying effect in \u003cem>Heretic\u003c/em>. There’s a watering can. The key to a bike lock. A scented candle. A record player. A letter opener. A box of matches. Not one but four different editions of Monopoly (yes, the board game). These are the objects that raise the stakes in \u003cem>Heretic\u003c/em>, a story that believably centers a homely Englishman in a cozy cardigan as its most malevolent presence. The film also consistently uses the good manners and polite vernaculars of its three central characters to fray nerves and raise tension. It is a masterful and refreshing way to reinvent the horror house trope.\u003c/p>\n\u003cp>Mr. Reed’s reasons for luring the missionaries into his home aren’t immediately clear. His pretense that he wishes to learn more about the Church of the Latter Day Saints lasts only minutes and, sensing something is amiss, the women make a very sensible attempt at escape that proves fruitless. (One of the engaging things about \u003cem>Heretic\u003c/em> is that the women at the center of it consistently make the best decisions available to them, unlike so many horror protagonists.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=O9i2vmFhSSY\u003c/p>\n\u003cp>Before long, once he has Barnes and Paxton captured, Reed does his darnedest to persuade the women that Jesus is a mere “echo of something real” that existed eons before the birth of Christ. (This section is so well done, it might have some viewers running home and checking the foundations of their own faith.) This all slowly escalates until Reed chillingly forces Barnes and Paxton to choose between two doors that may or may not lead to an exit from his home: one is marked “belief,” the other “disbelief.” What happens to them after that … I’d rather not spoil the experience.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What I will say is that one of \u003cem>Heretic\u003c/em>’s greatest successes is the way it permits its central characters to do spiritual battle. Mr. Reed is a theologian who desperately wants to take two sheltered missionaries down a peg or two. He — and the audience — is not expecting it when the young, seemingly naive women turn out to be worthy intellectual adversaries. Of course, the greatest (and darkest) surprises of all come once everyone reaches the lowest point of the house. The camera’s brief nod to an illustration of Dante’s \u003cem>Inferno\u003c/em> is no accident.\u003c/p>\n\u003cp>[aside postid='arts_13904911']\u003cem>Heretic\u003c/em> is the kind of perfect storm that doesn’t come along often enough in the horror genre. It benefits from excellent casting (Grant is a revelation), beautiful but discombobulating direction and a brilliantly cerebral undercurrent that runs throughout. But it doesn’t skimp on the things horror fans expect from their genre either: grotesque imagery, out-of-left-field shocks, red herrings and, yes, a decent amount of bloodletting.\u003c/p>\n\u003cp>Horror has been guilty for many years of taking Christian concepts and boiling them down to their most simplistic tenets. It’s all too easy to pit evil against good, demon against holy person and have God (or Satan — thanks, \u003cem>Hereditary\u003c/em>!) win out in the end. What \u003cem>Heretic\u003c/em> does is infinitely more complex and thought-provoking. And that’s a more delicious experience than gobbling down any number of blueberry pies.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Heretic’ opens nationwide on Nov. 8, 2024.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That pie is just one of several seemingly innocuous items used to terrifying effect in \u003cem>Heretic\u003c/em>. There’s a watering can. The key to a bike lock. A scented candle. A record player. A letter opener. A box of matches. Not one but four different editions of Monopoly (yes, the board game). These are the objects that raise the stakes in \u003cem>Heretic\u003c/em>, a story that believably centers a homely Englishman in a cozy cardigan as its most malevolent presence. The film also consistently uses the good manners and polite vernaculars of its three central characters to fray nerves and raise tension. It is a masterful and refreshing way to reinvent the horror house trope.\u003c/p>\n\u003cp>Mr. Reed’s reasons for luring the missionaries into his home aren’t immediately clear. His pretense that he wishes to learn more about the Church of the Latter Day Saints lasts only minutes and, sensing something is amiss, the women make a very sensible attempt at escape that proves fruitless. (One of the engaging things about \u003cem>Heretic\u003c/em> is that the women at the center of it consistently make the best decisions available to them, unlike so many horror protagonists.)\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/O9i2vmFhSSY'\n title='//www.youtube.com/embed/O9i2vmFhSSY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Before long, once he has Barnes and Paxton captured, Reed does his darnedest to persuade the women that Jesus is a mere “echo of something real” that existed eons before the birth of Christ. (This section is so well done, it might have some viewers running home and checking the foundations of their own faith.) This all slowly escalates until Reed chillingly forces Barnes and Paxton to choose between two doors that may or may not lead to an exit from his home: one is marked “belief,” the other “disbelief.” What happens to them after that … I’d rather not spoil the experience.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What I will say is that one of \u003cem>Heretic\u003c/em>’s greatest successes is the way it permits its central characters to do spiritual battle. Mr. Reed is a theologian who desperately wants to take two sheltered missionaries down a peg or two. He — and the audience — is not expecting it when the young, seemingly naive women turn out to be worthy intellectual adversaries. Of course, the greatest (and darkest) surprises of all come once everyone reaches the lowest point of the house. The camera’s brief nod to an illustration of Dante’s \u003cem>Inferno\u003c/em> is no accident.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Heretic\u003c/em> is the kind of perfect storm that doesn’t come along often enough in the horror genre. It benefits from excellent casting (Grant is a revelation), beautiful but discombobulating direction and a brilliantly cerebral undercurrent that runs throughout. But it doesn’t skimp on the things horror fans expect from their genre either: grotesque imagery, out-of-left-field shocks, red herrings and, yes, a decent amount of bloodletting.\u003c/p>\n\u003cp>Horror has been guilty for many years of taking Christian concepts and boiling them down to their most simplistic tenets. It’s all too easy to pit evil against good, demon against holy person and have God (or Satan — thanks, \u003cem>Hereditary\u003c/em>!) win out in the end. What \u003cem>Heretic\u003c/em> does is infinitely more complex and thought-provoking. And that’s a more delicious experience than gobbling down any number of blueberry pies.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Heretic’ opens nationwide on Nov. 8, 2024.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Blitz\u003c/em>, set in London during World War II, might technically be \u003ca href=\"https://video.kqed.org/video/immersive-art-1718306239/\">Steve McQueen\u003c/a>’s first war movie. But struggle and survival has long marked the filmmaker’s tough and tortured work.\u003c/p>\n\u003cp>No matter the circumstance — slavery in \u003cem>12 Years a Slave\u003c/em>, the 1960s-1980s London of West Indian immigrants in \u003cem>Small Axe\u003c/em>, the Irish hunger strike of \u003cem>Shame\u003c/em> — McQueen has been drawn to moments of history less for their dramatic extremes than for how they test the morality of those in and around the fight. Did they turn a blind eye? Did they risk themselves? Do we remember?\u003c/p>\n\u003cp>McQueen’s films tend to ask questions — often uncomfortable ones. That’s been true in his nonfiction work, too. His 2023 short film \u003cem>Grenfell\u003c/em> captured the aftermath of the tragic Grenfell Tower blaze. Last year’s \u003cem>Occupied City\u003c/em> compared present-day street addresses in Amsterdam to what happened in those precise locations during the Nazi occupation of WWII.\u003c/p>\n\u003cp>[aside postid='arts_13959414']In that film, McQueen juxtaposed past and present, death and life, and some of the same collisions are found in the 1940-set \u003cem>Blitz\u003c/em>, which opens Friday in theaters and streams Nov. 22 on Apple TV+. It’s told largely from the perspective of a 9-year-old boy, George (Elliott Heffernan), whose single mother, Rita (a steely Saoirse Ronan), has made the anguished decision to send him to the countryside with thousands of other schoolchildren fleeing the Blitz.\u003c/p>\n\u003cp>A year into the war, the bombing is already intense, and so is the questionable nature of how some are responding to the omnipresent danger and the loosening of order. The film opens in a fiery blaze as firefighters wrestle with an out-of-control hose, and a mass of people rush toward the underground to take cover from the bombers overhead. Outside the station, the gates are locked, and the nearby police refuse to open them. It’s an early hint that McQueen’s treatment of the war will be more complicated and unsparing than the average WWII drama.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Blitz\u003c/em> properly gets underway once Rita leaves George at the train station. The parting is bitter (“I hate you,” George says on the platform) only because their bond is so evidently strong. It’s not long once aboard the train that George sees a chance to flee and hops off. \u003cem>Blitz\u003c/em> proceeds as George’s odyssey in trying to get home.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iZwykQK9aZo\u003c/p>\n\u003cp>It’s an awkwardly condensed tale — the film takes place over one day but feels like a lifetime — that clunkily cuts between George and Rita. \u003cem>Blitz\u003c/em> feels stuck between a conventional war drama and something more adventurous and probing. It doesn’t coalesce the way McQueen’s best work does, but the frictions that drive \u003cem>Blitz\u003c/em> make it a singular and sporadically moving experience.\u003c/p>\n\u003cp>A representative sequence happens early in the film. George, who’s Black and surely feels some growing anxiety leaving London, climbs into a passing train only to find three young brothers are also stowaways there. After a tense moment, they find camaraderie together. Riding atop the train, they seem almost carefree. But moments later, when they’re fleeing authorities at the trainyard, one of the boys is killed in an instant by a moving train.\u003c/p>\n\u003cp>Throughout, \u003cem>Blitz\u003c/em> toggles between moments of tenderness and violence, a back and forth that McQueen suggests isn’t just part of wartime. Following the trainyard moment, the film slides into a flashback of Rita and George’s otherwise unseen Grenadian immigrant father, Marcus (CJ Beckford). On their way home from a joyous night dancing at a jazz club, a man intentionally bumps into Marcus. In the ensuing tussle Marcus is arrested, and later, swiftly deported. In an instant, cruelty and racism can wreck a life just as surely as a Nazi bomb from above.\u003c/p>\n\u003cp>[aside postid='arts_13967293']The film stays close to George as he makes his way closer to home in Stepney Green in the East End. \u003cem>Blitz\u003c/em> is far less concerned with the aerial bombardment above than the festering prejudices and injustices on the ground. In the movie’s most Dickens-esque sequence, George is taken in, and held prisoner, by a Fagin-like criminal (Stephen Graham) whose band of thieves steal from the dead and plunder freshly bombed-out flats. There are chillingly ghostly sequences, most of all one set in the Café de Paris. One moment it’s a teaming, multiracial jazz club, the next — as captured in one sweeping, grotesque shot by Yorick Le Saux — it’s a bloody ruin.\u003c/p>\n\u003cp>There are moments of uplift, or at least temporary relief. One comes when Rita, who works in a munitions factory with a Rosie the Riveter headscarf, sings for a BBC radio program from the factory floor. Once Rita learns that George is lost, there’s an ill-fitting side plot of her feuding with an unsympathetic boss, arguing with those in charge of the evacuation and her attempting to find George with the help of a police officer (Harris Dickinson, in a role too vague to resonate).\u003c/p>\n\u003cp>Again and again we see, though, that going against a tide of indifference takes the conviction and courage of individuals. That includes the activist Mikey Davies (Leigh Gill), who makes a stirring speech in a shelter. And, most of all, it includes a Nigerian ARP warden Ife (Benjamin Clémentine), who George meets outside a store advertising coffee and sugar from Africa with caricatures of Black faces. Clémentine, the talented singer-songwriter, has a radiant presence that warms a fiercely unsentimental film. Ife imbues George with a pride and confidence with himself as a young Black man. For his part, the young Heffernan shows no strain in carrying the movie, his first.\u003c/p>\n\u003cp>Ultimately, that there is a war on in \u003cem>Blitz\u003c/em> may not be its defining feature. The London under siege in McQueen’s film is as much at risk from injustice as it is German planes. For George, Rita and the others pushing back, resistance isn’t just wartime survival. It’s a way of life.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Blitz’ is released in the Bay Area on Nov. 7, 2024. The film begins streaming on Apple TV+ on Nov. 22.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In that film, McQueen juxtaposed past and present, death and life, and some of the same collisions are found in the 1940-set \u003cem>Blitz\u003c/em>, which opens Friday in theaters and streams Nov. 22 on Apple TV+. It’s told largely from the perspective of a 9-year-old boy, George (Elliott Heffernan), whose single mother, Rita (a steely Saoirse Ronan), has made the anguished decision to send him to the countryside with thousands of other schoolchildren fleeing the Blitz.\u003c/p>\n\u003cp>A year into the war, the bombing is already intense, and so is the questionable nature of how some are responding to the omnipresent danger and the loosening of order. The film opens in a fiery blaze as firefighters wrestle with an out-of-control hose, and a mass of people rush toward the underground to take cover from the bombers overhead. Outside the station, the gates are locked, and the nearby police refuse to open them. It’s an early hint that McQueen’s treatment of the war will be more complicated and unsparing than the average WWII drama.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Blitz\u003c/em> properly gets underway once Rita leaves George at the train station. The parting is bitter (“I hate you,” George says on the platform) only because their bond is so evidently strong. It’s not long once aboard the train that George sees a chance to flee and hops off. \u003cem>Blitz\u003c/em> proceeds as George’s odyssey in trying to get home.\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/iZwykQK9aZo'\n title='//www.youtube.com/embed/iZwykQK9aZo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s an awkwardly condensed tale — the film takes place over one day but feels like a lifetime — that clunkily cuts between George and Rita. \u003cem>Blitz\u003c/em> feels stuck between a conventional war drama and something more adventurous and probing. It doesn’t coalesce the way McQueen’s best work does, but the frictions that drive \u003cem>Blitz\u003c/em> make it a singular and sporadically moving experience.\u003c/p>\n\u003cp>A representative sequence happens early in the film. George, who’s Black and surely feels some growing anxiety leaving London, climbs into a passing train only to find three young brothers are also stowaways there. After a tense moment, they find camaraderie together. Riding atop the train, they seem almost carefree. But moments later, when they’re fleeing authorities at the trainyard, one of the boys is killed in an instant by a moving train.\u003c/p>\n\u003cp>Throughout, \u003cem>Blitz\u003c/em> toggles between moments of tenderness and violence, a back and forth that McQueen suggests isn’t just part of wartime. Following the trainyard moment, the film slides into a flashback of Rita and George’s otherwise unseen Grenadian immigrant father, Marcus (CJ Beckford). On their way home from a joyous night dancing at a jazz club, a man intentionally bumps into Marcus. In the ensuing tussle Marcus is arrested, and later, swiftly deported. In an instant, cruelty and racism can wreck a life just as surely as a Nazi bomb from above.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The film stays close to George as he makes his way closer to home in Stepney Green in the East End. \u003cem>Blitz\u003c/em> is far less concerned with the aerial bombardment above than the festering prejudices and injustices on the ground. In the movie’s most Dickens-esque sequence, George is taken in, and held prisoner, by a Fagin-like criminal (Stephen Graham) whose band of thieves steal from the dead and plunder freshly bombed-out flats. There are chillingly ghostly sequences, most of all one set in the Café de Paris. One moment it’s a teaming, multiracial jazz club, the next — as captured in one sweeping, grotesque shot by Yorick Le Saux — it’s a bloody ruin.\u003c/p>\n\u003cp>There are moments of uplift, or at least temporary relief. One comes when Rita, who works in a munitions factory with a Rosie the Riveter headscarf, sings for a BBC radio program from the factory floor. Once Rita learns that George is lost, there’s an ill-fitting side plot of her feuding with an unsympathetic boss, arguing with those in charge of the evacuation and her attempting to find George with the help of a police officer (Harris Dickinson, in a role too vague to resonate).\u003c/p>\n\u003cp>Again and again we see, though, that going against a tide of indifference takes the conviction and courage of individuals. That includes the activist Mikey Davies (Leigh Gill), who makes a stirring speech in a shelter. And, most of all, it includes a Nigerian ARP warden Ife (Benjamin Clémentine), who George meets outside a store advertising coffee and sugar from Africa with caricatures of Black faces. Clémentine, the talented singer-songwriter, has a radiant presence that warms a fiercely unsentimental film. Ife imbues George with a pride and confidence with himself as a young Black man. For his part, the young Heffernan shows no strain in carrying the movie, his first.\u003c/p>\n\u003cp>Ultimately, that there is a war on in \u003cem>Blitz\u003c/em> may not be its defining feature. The London under siege in McQueen’s film is as much at risk from injustice as it is German planes. For George, Rita and the others pushing back, resistance isn’t just wartime survival. It’s a way of life.\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>‘Blitz’ is released in the Bay Area on Nov. 7, 2024. The film begins streaming on Apple TV+ on Nov. 22.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>November is Hip-Hop History Month — Congress officially designated it last year — and the Bay Area is celebrating how we dance a little different. Starting Nov. 1, the organization \u003ca href=\"https://url.us.m.mimecastprotect.com/s/nfIqCrkYKnfnW234h7fxF4nfhf?domain=sfhiphop.org\">SF Hip-Hop\u003c/a> is rolling out a slate of events that kick off with \u003ca href=\"https://www.ticketmaster.com/event/1C0060D2D2D52EE7\">Hip-Hop Made the Bay\u003c/a>, a celebration of the old school at the SAP Center in San José. Local legends Too Short and RBL Posse will join Bone Thugs-N-Harmony, Ja Rule, Xzibit, DJ Quik, Baby Bash, Tha Dogg Pound and Lighter Shade of Brown.\u003c/p>\n\u003cp>“San Francisco’s always been at the forefront of breaking ground for a lot of new artists,” says Alex Aquino, who co-organized SF Hip-Hop Month with Kamel Jacot-Bell. Aquino points to the local radio station KPOO, which was one of the first to create a hip-hop show in the early ’80s.\u003c/p>\n\u003cp>“I think all these artists that are on those big shows have some San Francisco story of how we embraced them,” he adds.\u003c/p>\n\u003cp>As part of the festivities, Erykah Badu, whose Bay Area concerts always draw an intergenerational crowd in creative outfits, plays \u003ca href=\"https://www.ticketmaster.com/erykah-badu-san-francisco-california-11-16-2024/event/1C006108E7194ACE?\">Bill Graham Civic Auditorium on Nov. 16\u003c/a>. And San Francisco rapper Cellski — who started dancing as a b-boy and strutter as a kid in the ’80s — plays \u003ca href=\"https://sfhiphop.org/events2024/cellski-friends-the-midway-sf\">The Midway with Sacramento’s C-Bo and Oakland’s J Stalin on Nov. 15\u003c/a>. \u003ca href=\"https://www.ticketmaster.com/dave-chappelle-killer-mike-oakland-california-11-23-2024/event/1C006155196B36B2\">Dave Chappelle and Killer Mike\u003c/a> hit Oakland’s Paramount Theatre on Nov. 23, and Cream of Beat dance party arrives at San Francisco’s Great Northern on Nov. 28.\u003c/p>\n\u003cp>“He’s been a hip-hop pioneer since day one here,” says Aquino. “And so we just wanted to make sure that he gets his limelight.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dance crews from around the globe will showcase their best moves at the 26th annual \u003ca href=\"https://www.sfhiphopdancefest.com/dancefest\">San Francisco International Hip-Hop Dance Fest\u003c/a> Nov. 9–10 at San Francisco’s Palace of Fine Arts. And in San José on Nov. 23, \u003ca href=\"https://www.eventbrite.com/e/style-elements-crew-30th-anniversary-celebration-tickets-1034572804107\">Style Elements Crew\u003c/a> celebrates their 30th anniversary with dance performances and battles.\u003c/p>\n\u003cp>San Francisco Hip-Hop Month also offers a handful of free events. There are two movie nights (\u003ca href=\"https://sfhiphop.org/events2024/blackscalemovienight\">Hype Williams’ crime thriller \u003ci>Belly\u003c/i>\u003c/a> on Nov. 8 at 1121 Polk St. and \u003ca href=\"https://sfhiphop.org/events2024/truemovienight\">Spike Lee’s 1989 comedy-drama \u003ci>Do the Right Thing\u003c/i>\u003c/a> on Nov. 22 at 1409 Haight St.). San Francisco’s Fulton Plaza, right outside of Civic Center BART, will host a \u003ca href=\"https://sfhiphop.org/events2024/all-the-way-live-b-boy-turntablism-showcase-fulton-plaza-sf\">turntablism showcase on Nov. 9\u003c/a>. And SF Hip-Hop Month wraps up on Nov. 29 with a look into the future: a hip-hop and AI panel with an undisclosed lineup of industry experts at The Midway.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Visit \u003ca href=\"https://www.instagram.com/sf.hiphop/\">SF Hip-Hop on Instagram\u003c/a> for the latest schedule and updates.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>November is Hip-Hop History Month — Congress officially designated it last year — and the Bay Area is celebrating how we dance a little different. Starting Nov. 1, the organization \u003ca href=\"https://url.us.m.mimecastprotect.com/s/nfIqCrkYKnfnW234h7fxF4nfhf?domain=sfhiphop.org\">SF Hip-Hop\u003c/a> is rolling out a slate of events that kick off with \u003ca href=\"https://www.ticketmaster.com/event/1C0060D2D2D52EE7\">Hip-Hop Made the Bay\u003c/a>, a celebration of the old school at the SAP Center in San José. Local legends Too Short and RBL Posse will join Bone Thugs-N-Harmony, Ja Rule, Xzibit, DJ Quik, Baby Bash, Tha Dogg Pound and Lighter Shade of Brown.\u003c/p>\n\u003cp>“San Francisco’s always been at the forefront of breaking ground for a lot of new artists,” says Alex Aquino, who co-organized SF Hip-Hop Month with Kamel Jacot-Bell. Aquino points to the local radio station KPOO, which was one of the first to create a hip-hop show in the early ’80s.\u003c/p>\n\u003cp>“I think all these artists that are on those big shows have some San Francisco story of how we embraced them,” he adds.\u003c/p>\n\u003cp>As part of the festivities, Erykah Badu, whose Bay Area concerts always draw an intergenerational crowd in creative outfits, plays \u003ca href=\"https://www.ticketmaster.com/erykah-badu-san-francisco-california-11-16-2024/event/1C006108E7194ACE?\">Bill Graham Civic Auditorium on Nov. 16\u003c/a>. And San Francisco rapper Cellski — who started dancing as a b-boy and strutter as a kid in the ’80s — plays \u003ca href=\"https://sfhiphop.org/events2024/cellski-friends-the-midway-sf\">The Midway with Sacramento’s C-Bo and Oakland’s J Stalin on Nov. 15\u003c/a>. \u003ca href=\"https://www.ticketmaster.com/dave-chappelle-killer-mike-oakland-california-11-23-2024/event/1C006155196B36B2\">Dave Chappelle and Killer Mike\u003c/a> hit Oakland’s Paramount Theatre on Nov. 23, and Cream of Beat dance party arrives at San Francisco’s Great Northern on Nov. 28.\u003c/p>\n\u003cp>“He’s been a hip-hop pioneer since day one here,” says Aquino. “And so we just wanted to make sure that he gets his limelight.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dance crews from around the globe will showcase their best moves at the 26th annual \u003ca href=\"https://www.sfhiphopdancefest.com/dancefest\">San Francisco International Hip-Hop Dance Fest\u003c/a> Nov. 9–10 at San Francisco’s Palace of Fine Arts. And in San José on Nov. 23, \u003ca href=\"https://www.eventbrite.com/e/style-elements-crew-30th-anniversary-celebration-tickets-1034572804107\">Style Elements Crew\u003c/a> celebrates their 30th anniversary with dance performances and battles.\u003c/p>\n\u003cp>San Francisco Hip-Hop Month also offers a handful of free events. There are two movie nights (\u003ca href=\"https://sfhiphop.org/events2024/blackscalemovienight\">Hype Williams’ crime thriller \u003ci>Belly\u003c/i>\u003c/a> on Nov. 8 at 1121 Polk St. and \u003ca href=\"https://sfhiphop.org/events2024/truemovienight\">Spike Lee’s 1989 comedy-drama \u003ci>Do the Right Thing\u003c/i>\u003c/a> on Nov. 22 at 1409 Haight St.). San Francisco’s Fulton Plaza, right outside of Civic Center BART, will host a \u003ca href=\"https://sfhiphop.org/events2024/all-the-way-live-b-boy-turntablism-showcase-fulton-plaza-sf\">turntablism showcase on Nov. 9\u003c/a>. And SF Hip-Hop Month wraps up on Nov. 29 with a look into the future: a hip-hop and AI panel with an undisclosed lineup of industry experts at The Midway.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Visit \u003ca href=\"https://www.instagram.com/sf.hiphop/\">SF Hip-Hop on Instagram\u003c/a> for the latest schedule and updates.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There is so much going on in \u003cem>Emilia Pérez\u003c/em>, the audacious musical/melodrama/crime-thriller from filmmaker Jacques Audiard, it’s impossible not to appreciate the sheer ambition of it all.\u003c/p>\n\u003cp>There is obvious craft and moments of true transcendence, beauty and horror. Set around Mexico City, this is a movie about family, about ambition, about the possibility of change, cartels, human disappearances, gender-affirmation, money and corruption.\u003c/p>\n\u003cp>[aside postid='arts_13967226']Sometimes the characters break into fantastical musical numbers: Some are filled with rage, others with joy and hope. Other times the songs come out in barely a whisper. And yet even with all that life and color and passion on screen, there’s a distinct rift between all those big emotions that the characters are cycling through and what the audience is feeling, which is practically nothing. It’s almost as if \u003cem>Emilia Pérez\u003c/em> forgot to invite us along for the ride.\u003c/p>\n\u003cp>And it is quite a ride: One day a cartel boss named Manitas (Karla Sofía Gascón) has a smart, but undervalued lawyer Rita Mora Castro (Zoe Saldaña) kidnapped. Manitas wants gender confirmation surgery, and for Rita to handle the logistics: Hiring the discreet surgeon, faking Manitas’ death and transporting the wife, Jessi (Selena Gomez) and two kids to their new home in Switzerland. In return, Rita will get rich. Somehow, this is only the first act.\u003c/p>\n\u003cp>Four years later, Rita’s gotten a glow up. Gone are her bush eyebrows and frumpy suit, replaced with the kind of grooming only money and genetics like Saldaña’s can produce. And she’s leading a cosmopolitan life in London, something that we get to see all too briefly, when she meets another woman who’s gone through a major transformation, Emilia Pérez (Gascón).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4h7j_EcZ5fU\u003c/p>\n\u003cp>Audiard plays briefly with the idea that Rita assumes Emilia is there to kill her, to rid the world of any remaining evidence of those who know what happened. In actuality, she just misses her kids and wants them back in Mexico to live with her. It’s up to Rita to get them to move once more, in with Emilia, posing as an aunt they’ve never met before if you’re wondering where all those \u003cem>Mrs. Doubtfire\u003c/em> comparisons come into play. (The bloody \u003cem>Sicario\u003c/em> stuff is yet to come).\u003c/p>\n\u003cp>Saldaña lends a captivating fierceness to Rita, despite being a terribly underwritten character. It’s strange to spend so much time with someone and feel entirely detached from who they are and what they want. She just follows others around, a receptacle for everyone else’s decisions with little arc or agency of her own.\u003c/p>\n\u003cp>[aside postid='arts_13967410']Early on in the film Rita debates (in song) with a plastic surgeon in Hong Kong about whether or not changing the body has any effect on the soul. He doesn’t think so. She does, and even goes a step further, singing “changing the soul changes society, changing society changes everything.” It’s a lovely idea that the film handles clumsily in its maximalist, go-for-broke way that values massive set-pieces and high drama over authentic emotion.\u003c/p>\n\u003cp>At first Emilia seems entirely changed, no longer the vindictive, jealous, violent cartel leader she once was. She is soft spoken, empathetic and happy. She starts a foundation to find all the disappeared people and give their families the chance of a proper burial and farewell. She even finds love. And yet she can’t handle watching Jessi move on. It’s the stuff of soap operas — and not necessarily the fun ones. Here, it could even read as dangerously reductive.\u003c/p>\n\u003cp>Jessi sometimes feels like she’s part of an entirely different film, or rather a music video that seems to be paying homage somehow to Pedro Almodóvar, David Lynch and Robert Rodriguez. It is fun and wild at times, and Gomez fully commits to the bit of this woman who is being gaslit into insanity. But she and the film crescendo into absurdity, with little in the way of relief or catharsis. After all those big ideas, all those grand themes and genre-subverting gestures, we’re left with shockingly little to hold on to.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Emilia Pérez’ is released nationwide on Nov. 1, 2024. The movie begins streaming on Netflix on Nov. 13.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Sometimes the characters break into fantastical musical numbers: Some are filled with rage, others with joy and hope. Other times the songs come out in barely a whisper. And yet even with all that life and color and passion on screen, there’s a distinct rift between all those big emotions that the characters are cycling through and what the audience is feeling, which is practically nothing. It’s almost as if \u003cem>Emilia Pérez\u003c/em> forgot to invite us along for the ride.\u003c/p>\n\u003cp>And it is quite a ride: One day a cartel boss named Manitas (Karla Sofía Gascón) has a smart, but undervalued lawyer Rita Mora Castro (Zoe Saldaña) kidnapped. Manitas wants gender confirmation surgery, and for Rita to handle the logistics: Hiring the discreet surgeon, faking Manitas’ death and transporting the wife, Jessi (Selena Gomez) and two kids to their new home in Switzerland. In return, Rita will get rich. Somehow, this is only the first act.\u003c/p>\n\u003cp>Four years later, Rita’s gotten a glow up. Gone are her bush eyebrows and frumpy suit, replaced with the kind of grooming only money and genetics like Saldaña’s can produce. And she’s leading a cosmopolitan life in London, something that we get to see all too briefly, when she meets another woman who’s gone through a major transformation, Emilia Pérez (Gascón).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Early on in the film Rita debates (in song) with a plastic surgeon in Hong Kong about whether or not changing the body has any effect on the soul. He doesn’t think so. She does, and even goes a step further, singing “changing the soul changes society, changing society changes everything.” It’s a lovely idea that the film handles clumsily in its maximalist, go-for-broke way that values massive set-pieces and high drama over authentic emotion.\u003c/p>\n\u003cp>At first Emilia seems entirely changed, no longer the vindictive, jealous, violent cartel leader she once was. She is soft spoken, empathetic and happy. She starts a foundation to find all the disappeared people and give their families the chance of a proper burial and farewell. She even finds love. And yet she can’t handle watching Jessi move on. It’s the stuff of soap operas — and not necessarily the fun ones. Here, it could even read as dangerously reductive.\u003c/p>\n\u003cp>Jessi sometimes feels like she’s part of an entirely different film, or rather a music video that seems to be paying homage somehow to Pedro Almodóvar, David Lynch and Robert Rodriguez. It is fun and wild at times, and Gomez fully commits to the bit of this woman who is being gaslit into insanity. But she and the film crescendo into absurdity, with little in the way of relief or catharsis. After all those big ideas, all those grand themes and genre-subverting gestures, we’re left with shockingly little to hold on to.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Emilia Pérez’ is released nationwide on Nov. 1, 2024. The movie begins streaming on Netflix on Nov. 13.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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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>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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>\u003c/p>\u003c/div>",
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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": "\u003cdiv class=\"post-body\">\u003cp>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\u003c/div>\u003c/p>",
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"slug": "arab-film-festival-from-ground-zero-gaza-palestinian-short-films",
"title": "‘From Ground Zero’ Documents Gaza Life During Wartime",
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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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"title": "‘From Ground Zero’ Documents Gaza Life During Wartime | KQED",
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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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"title": "Tom Hardy’s Double Act Can’t Save ‘Venom: The Last Dance’",
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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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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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},
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"tagline": "Art is where you find it",
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"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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