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"content": "\u003cp>Decades before he hosted \u003cem>The Apprentice\u003c/em>, Donald Trump was … an apprentice.\u003c/p>\n\u003cp>His mentor: Roy Cohn, the ruthless attorney who was a prominent New York power broker in the ’70s and ’80s after famously serving as a top aide to Sen. Joseph McCarthy.\u003c/p>\n\u003cp>[aside postid='arts_13966278']The Trump-Cohn connection is well known. But in \u003cem>The Apprentice\u003c/em>, his provocative if not quite shocking, entertaining if not quite illuminating, impeccably acted and inherently controversial film, Ali Abbasi takes it farther.\u003c/p>\n\u003cp>It’s this relationship, posits the Danish Iranian director, that essentially made a young real estate heir — inexperienced but wildly ambitious — into the man who would become the 45th U.S. president, smashing the norms of American politics along the way.\u003c/p>\n\u003cp>Speaking of unlikely paths: The mere route of \u003cem>The Apprentice\u003c/em> to the big screen is fodder for its own movie.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Written by Gabriel Sherman and starring an ingeniously cast trio of Sebastian Stan as Trump, Jeremy Strong as Cohn and Maria Bakalova as Ivana Trump, the film failed to get picked up at Cannes in May. 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While it’s hardly a hit job — the early Trump scenes are somewhat sympathetic — his supporters, should they come at all, will likely not be fans of many later scenes, most dramatically a rape scene with wife Ivana. Trump is also shown having scalp-reduction surgery to combat baldness, among many other things.\u003c/p>\n\u003cp>But the core of the film is his relationship with Cohn, whom a young Trump, son of Queens developer Fred Trump, meets in the ’70s. “Anybody who’s anybody comes here,” he tells an uninterested date in an exclusive Manhattan club. “They say I’m the youngest person ever admitted.”\u003c/p>\n\u003cp>He’s invited to Cohn’s table. Trump hopes the brash attorney will help his family fight a federal case alleging they discriminate against Black tenants. Cohn eventually agrees. Soon, he’s also paying the bill for Trump’s much-needed upgrade to expensive Brioni suits. He invites Trump to one of his wild parties, attended by notables like Andy Warhol, where, “if you’re indicted, you’re invited.”\u003c/p>\n\u003cp>Most importantly, Cohn imparts to Trump his three most important rules. First, “Attack, attack, attack.” Then: “Admit nothing, deny everything.” And finally: “No matter what happens, you claim victory and never admit defeat.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0tXEN0WNJUg\u003c/p>\n\u003cp>The younger Trump is portrayed here as a bit of a charmer — there are even comparisons to Robert Redford — with lovingly tended hair, aching to succeed and please his exacting father. Stan, on a roll after the recent \u003ca href=\"https://www.kqed.org/arts/13965270/a-different-man-movie-review-a24-sebastian-stan-beauty-adam-pearson\">\u003cem>A Different Man\u003c/em>\u003c/a> about a wholly different kind of transformation, gives a nuanced performance that manages to capture Trumpian qualities but not to mimic. Although familiar mannerisms and speech patterns emerge as Trump ages, this is no \u003ca href=\"https://www.kqed.org/arts/13965835/snl-best-impersonations-of-politicians-kamala-harris-maya-rudolph-tina-fey-palin\">\u003cem>Saturday Night Live\u003c/em>\u003c/a> skit.\u003c/p>\n\u003cp>[aside postid='arts_13966259']As for Strong, who better to play Cohn than the exquisitely tortured Kendall Roy of \u003ca href=\"https://www.kqed.org/arts/tag/succession\">\u003cem>Succession\u003c/em>\u003c/a>? Strong, famous for losing himself in roles, seems to have heard the word “reptilian” and, through sheer force of will and talent, found a way to actually resemble a snake.\u003c/p>\n\u003cp>Trump proves an eager learner, and Cohn’s help proves instrumental in achieving the younger man’s vision: placing a luxury hotel right on 42nd Street, a sleazy area he aims to revitalize. With some Cohn-esque pressure on city officials, the gleaming Grand Hyatt opens in 1980.\u003c/p>\n\u003cp>That’s three years after Trump marries Ivana, the Czech-born model he meets at the club and doggedly woos. Bakalova, who earned an Oscar nod for \u003cem>Borat Subsequent Moviefilm\u003c/em>, is terrific, both warm-hearted and fiery in her famous blonde updo.\u003c/p>\n\u003cp>Their failing marriage makes for the film’s most shocking scene. Ivana tries to spice up their sex life, but her husband says he’s no longer attracted to her — he even hates the fake breasts he made her acquire. She insults him back, and he forces himself upon her violently. (Ivana Trump, who died in 2022, accused Trump of rape in a sworn statement in the ’90s but later said she didn’t mean it literally.)\u003c/p>\n\u003cp>[aside postid='arts_13965858']Ivana has turned cold and bitter by the time she informs Cohn, now dying of AIDS, that a bejeweled gift Trump just gave him is a mere cheap imitation. “Donald has no shame,” she says.\u003c/p>\n\u003cp>Soon, the mentor is gone. And 30 years after the film ends, Trump will become president. This film’s biggest lack is the connective tissue — we don’t ever really understand, alas, how young Trump became President Trump.\u003c/p>\n\u003cp>But we do at least see the power of Cohn’s lessons. As Trump sits down at the end with the writer he’s hired to co-author his 1987 book \u003cem>Trump: The Art of the Deal\u003c/em>, he recites for him his three most important rules.\u003c/p>\n\u003cp>Guess what they are?\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Apprentice’ is released nationwide on Oct. 11, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The Trump-Cohn connection is well known. But in \u003cem>The Apprentice\u003c/em>, his provocative if not quite shocking, entertaining if not quite illuminating, impeccably acted and inherently controversial film, Ali Abbasi takes it farther.\u003c/p>\n\u003cp>It’s this relationship, posits the Danish Iranian director, that essentially made a young real estate heir — inexperienced but wildly ambitious — into the man who would become the 45th U.S. president, smashing the norms of American politics along the way.\u003c/p>\n\u003cp>Speaking of unlikely paths: The mere route of \u003cem>The Apprentice\u003c/em> to the big screen is fodder for its own movie.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>He’s also not, he says, trying to be political — an admirable goal but perhaps an impossible one. In any case, it’s hard to imagine anybody coming to this film to make their mind up about Donald Trump. While it’s hardly a hit job — the early Trump scenes are somewhat sympathetic — his supporters, should they come at all, will likely not be fans of many later scenes, most dramatically a rape scene with wife Ivana. Trump is also shown having scalp-reduction surgery to combat baldness, among many other things.\u003c/p>\n\u003cp>But the core of the film is his relationship with Cohn, whom a young Trump, son of Queens developer Fred Trump, meets in the ’70s. “Anybody who’s anybody comes here,” he tells an uninterested date in an exclusive Manhattan club. “They say I’m the youngest person ever admitted.”\u003c/p>\n\u003cp>He’s invited to Cohn’s table. Trump hopes the brash attorney will help his family fight a federal case alleging they discriminate against Black tenants. Cohn eventually agrees. Soon, he’s also paying the bill for Trump’s much-needed upgrade to expensive Brioni suits. He invites Trump to one of his wild parties, attended by notables like Andy Warhol, where, “if you’re indicted, you’re invited.”\u003c/p>\n\u003cp>Most importantly, Cohn imparts to Trump his three most important rules. First, “Attack, attack, attack.” Then: “Admit nothing, deny everything.” And finally: “No matter what happens, you claim victory and never admit defeat.”\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/0tXEN0WNJUg'\n title='//www.youtube.com/embed/0tXEN0WNJUg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The younger Trump is portrayed here as a bit of a charmer — there are even comparisons to Robert Redford — with lovingly tended hair, aching to succeed and please his exacting father. Stan, on a roll after the recent \u003ca href=\"https://www.kqed.org/arts/13965270/a-different-man-movie-review-a24-sebastian-stan-beauty-adam-pearson\">\u003cem>A Different Man\u003c/em>\u003c/a> about a wholly different kind of transformation, gives a nuanced performance that manages to capture Trumpian qualities but not to mimic. Although familiar mannerisms and speech patterns emerge as Trump ages, this is no \u003ca href=\"https://www.kqed.org/arts/13965835/snl-best-impersonations-of-politicians-kamala-harris-maya-rudolph-tina-fey-palin\">\u003cem>Saturday Night Live\u003c/em>\u003c/a> skit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As for Strong, who better to play Cohn than the exquisitely tortured Kendall Roy of \u003ca href=\"https://www.kqed.org/arts/tag/succession\">\u003cem>Succession\u003c/em>\u003c/a>? Strong, famous for losing himself in roles, seems to have heard the word “reptilian” and, through sheer force of will and talent, found a way to actually resemble a snake.\u003c/p>\n\u003cp>Trump proves an eager learner, and Cohn’s help proves instrumental in achieving the younger man’s vision: placing a luxury hotel right on 42nd Street, a sleazy area he aims to revitalize. With some Cohn-esque pressure on city officials, the gleaming Grand Hyatt opens in 1980.\u003c/p>\n\u003cp>That’s three years after Trump marries Ivana, the Czech-born model he meets at the club and doggedly woos. Bakalova, who earned an Oscar nod for \u003cem>Borat Subsequent Moviefilm\u003c/em>, is terrific, both warm-hearted and fiery in her famous blonde updo.\u003c/p>\n\u003cp>Their failing marriage makes for the film’s most shocking scene. Ivana tries to spice up their sex life, but her husband says he’s no longer attracted to her — he even hates the fake breasts he made her acquire. She insults him back, and he forces himself upon her violently. (Ivana Trump, who died in 2022, accused Trump of rape in a sworn statement in the ’90s but later said she didn’t mean it literally.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Ivana has turned cold and bitter by the time she informs Cohn, now dying of AIDS, that a bejeweled gift Trump just gave him is a mere cheap imitation. “Donald has no shame,” she says.\u003c/p>\n\u003cp>Soon, the mentor is gone. And 30 years after the film ends, Trump will become president. This film’s biggest lack is the connective tissue — we don’t ever really understand, alas, how young Trump became President Trump.\u003c/p>\n\u003cp>But we do at least see the power of Cohn’s lessons. As Trump sits down at the end with the writer he’s hired to co-author his 1987 book \u003cem>Trump: The Art of the Deal\u003c/em>, he recites for him his three most important rules.\u003c/p>\n\u003cp>Guess what they are?\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Apprentice’ is released nationwide on Oct. 11, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Life Flies by in Florence Pugh, Andrew Garfield Romance ‘We Live in Time’",
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"content": "\u003cp>It’s not hard to spend a few hours watching Florence Pugh and Andrew Garfield fall and be in love. In \u003cem>We Live In Time\u003c/em>, filmmaker John Crowley puts the audience up close and personal with this photogenic British couple through the highs and lows of a relationship in their 30s.\u003c/p>\n\u003cp>Everyone starts to think about the idea of time, and not having enough of it to do everything they want, at some point. But it seems to hit a lot of us very acutely in that tricky, lovely third decade. There’s that cruel biological clock, of course, but also careers and homes and families getting older. Throw a cancer diagnosis in there and that timer gets ever more aggressive.\u003c/p>\n\u003cp>[aside postid='arts_13966185']While we, and Tobias (Garfield) and Almut (Pugh), do indeed live in time, as we’re constantly reminded in big and small ways — clocks and stopwatches are ever-present, literally and metaphorically — the movie hovers above it. The storytelling jumps back and forth through time like a scattershot memory as we piece together these lives that intersect in an elaborate, mystical and darkly comedic way: Almut runs into Tobias with her car. Their first chat is in a hospital hallway, with those glaring fluorescent lights and him bruised and cut all over. But he’s so struck by this beautiful woman in front of him, he barely seems to care.\u003c/p>\n\u003cp>I suppose this could be considered a Lubitschian “meet-cute” even if it knowingly pushes the boundaries of our understanding of that romance trope. Before the hit, Tobias was in a hotel, attempting to sign divorce papers and his pens were out of ink and pencils kept breaking. In a fit of near-mania he leaves, wearing only his bathrobe, to go to a corner store and buy more. Walking back, he drops something in the street and bang: A new relationship is born. It’s the ultimate metaphor for the out-of-body vulnerability required to fall in love.\u003c/p>\n\u003cp>There are several moments of mania that await both, particularly around a baby that just isn’t ready to come out yet — until it is and they’re nowhere near the hospital. I won’t ruin it, but it is one of the funnier, more emotional and memorable birthing scenes I’ve ever seen on screen. It’s one of those scenes where you don’t expect tears, but there they are.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MH02yagHaNw\u003c/p>\n\u003cp>Speaking of tears, there is a certain expectation, or assumption, that a movie like \u003cem>We Live in Time\u003c/em> is going to leave you a wreck, heaving with full body sobs. This was not my experience. Tear count is not exactly a science or even a reliable metric for quality: There have been truly bad movies that have had that effect and great ones that haven’t. But it did leave me wondering why, especially considering how Crowley knocked it out of the park with \u003cem>Brooklyn\u003c/em>.\u003c/p>\n\u003cp>Nick Payne’s script also leaves some things to be desired, especially in its fleshing out of Almut. By 34 she’s already a Michelin-starred chef and has a whole past life of athletic success that we learn about. And yet early in her relationship with Tobias when he asks her if she wants kids, she flips. Now, there are bad ways to approach this topic with women, but her response felt unnatural, especially considering that it’s entirely reasonable that adults who are getting serious have this conversation early. Instead, he’s the one who comes back and apologizes. Her decisions throughout are a little curious and will likely inspire some post-screening chats.\u003c/p>\n\u003cp>[aside postid='arts_13966146']The eventual child is also little more than a beautiful prop, with no spark or personality. We never see a tantrum, or a need or want from her that doesn’t keep the adult story chugging along. She is simply a shorthand for what will be left behind if Almut does not win the cancer fight.\u003c/p>\n\u003cp>The main reason to see \u003cem>We Live in Time\u003c/em> is not the promise of crying or the realities of having a young kid, though, but the quietly affecting performances from Pugh and Garfield, who seems to fit right into the nice guy mold we’re all celebrating now thanks to Adam Brody’s Hot Rabbi. It is charming and silly and sometimes cringey — other people’s relationships always are— and in the end it works exceedingly well because of them and their wonderful chemistry.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘We Live in Time’ is released nationwide on Oct. 18, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s not hard to spend a few hours watching Florence Pugh and Andrew Garfield fall and be in love. In \u003cem>We Live In Time\u003c/em>, filmmaker John Crowley puts the audience up close and personal with this photogenic British couple through the highs and lows of a relationship in their 30s.\u003c/p>\n\u003cp>Everyone starts to think about the idea of time, and not having enough of it to do everything they want, at some point. But it seems to hit a lot of us very acutely in that tricky, lovely third decade. There’s that cruel biological clock, of course, but also careers and homes and families getting older. Throw a cancer diagnosis in there and that timer gets ever more aggressive.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>While we, and Tobias (Garfield) and Almut (Pugh), do indeed live in time, as we’re constantly reminded in big and small ways — clocks and stopwatches are ever-present, literally and metaphorically — the movie hovers above it. The storytelling jumps back and forth through time like a scattershot memory as we piece together these lives that intersect in an elaborate, mystical and darkly comedic way: Almut runs into Tobias with her car. Their first chat is in a hospital hallway, with those glaring fluorescent lights and him bruised and cut all over. But he’s so struck by this beautiful woman in front of him, he barely seems to care.\u003c/p>\n\u003cp>I suppose this could be considered a Lubitschian “meet-cute” even if it knowingly pushes the boundaries of our understanding of that romance trope. Before the hit, Tobias was in a hotel, attempting to sign divorce papers and his pens were out of ink and pencils kept breaking. In a fit of near-mania he leaves, wearing only his bathrobe, to go to a corner store and buy more. Walking back, he drops something in the street and bang: A new relationship is born. It’s the ultimate metaphor for the out-of-body vulnerability required to fall in love.\u003c/p>\n\u003cp>There are several moments of mania that await both, particularly around a baby that just isn’t ready to come out yet — until it is and they’re nowhere near the hospital. I won’t ruin it, but it is one of the funnier, more emotional and memorable birthing scenes I’ve ever seen on screen. It’s one of those scenes where you don’t expect tears, but there they are.\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/MH02yagHaNw'\n title='//www.youtube.com/embed/MH02yagHaNw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Speaking of tears, there is a certain expectation, or assumption, that a movie like \u003cem>We Live in Time\u003c/em> is going to leave you a wreck, heaving with full body sobs. This was not my experience. Tear count is not exactly a science or even a reliable metric for quality: There have been truly bad movies that have had that effect and great ones that haven’t. But it did leave me wondering why, especially considering how Crowley knocked it out of the park with \u003cem>Brooklyn\u003c/em>.\u003c/p>\n\u003cp>Nick Payne’s script also leaves some things to be desired, especially in its fleshing out of Almut. By 34 she’s already a Michelin-starred chef and has a whole past life of athletic success that we learn about. And yet early in her relationship with Tobias when he asks her if she wants kids, she flips. Now, there are bad ways to approach this topic with women, but her response felt unnatural, especially considering that it’s entirely reasonable that adults who are getting serious have this conversation early. Instead, he’s the one who comes back and apologizes. Her decisions throughout are a little curious and will likely inspire some post-screening chats.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The eventual child is also little more than a beautiful prop, with no spark or personality. We never see a tantrum, or a need or want from her that doesn’t keep the adult story chugging along. She is simply a shorthand for what will be left behind if Almut does not win the cancer fight.\u003c/p>\n\u003cp>The main reason to see \u003cem>We Live in Time\u003c/em> is not the promise of crying or the realities of having a young kid, though, but the quietly affecting performances from Pugh and Garfield, who seems to fit right into the nice guy mold we’re all celebrating now thanks to Adam Brody’s Hot Rabbi. It is charming and silly and sometimes cringey — other people’s relationships always are— and in the end it works exceedingly well because of them and their wonderful chemistry.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘We Live in Time’ is released nationwide on Oct. 18, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fresh off the success of his \u003ca href=\"https://www.kqed.org/arts/13939974/boots-riley-is-directing-the-future\">world-beating\u003c/a>, \u003ca href=\"https://www.nytimes.com/2023/06/22/arts/television/im-a-virgo-review.html\">critically acclaimed\u003c/a> television series \u003cem>I’m a Virgo\u003c/em>, Oakland filmmaker Boots Riley has \u003ca href=\"https://deadline.com/2024/10/keke-palmer-demi-moore-lakeith-stanfield-naomi-ackie-boots-riley-i-love-boosters-neon-1236109749/\">announced details\u003c/a> about his newest film project, \u003cem>I Love Boosters\u003c/em>.\u003c/p>\n\u003cp>Riley first teased the movie \u003ca href=\"https://www.worldofreel.com/blog/2024/5/23/boots-rileys-i-love-boosters-set-to-star-keke-palmer\">back in May\u003c/a>, when he first gave word that Neon would produce his new film starring Keke Palmer as Corvette, the leader of a ring of female shoplifters called the Velvet Gang. In the movie, the crew of “boosters” goes up against a cutthroat fashion maven. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now, \u003ca href=\"https://deadline.com/2024/10/keke-palmer-demi-moore-lakeith-stanfield-naomi-ackie-boots-riley-i-love-boosters-neon-1236109749/\">Deadline\u003c/a> reports additional details about \u003cem>I Love Boosters\u003c/em>, including the rest of what is shaping up to be a dream team of an ensemble cast: In addition to Palmer (\u003ca href=\"https://www.kqed.org/arts/13916536/jordan-peele-subverts-expectations-again-with-nope\">\u003cem>Nope\u003c/em>\u003c/a>), the film will also feature \u003cem>the \u003c/em>Demi Moore, Naomi Ackie \u003cem>(I Wanna Dance With\u003c/em> \u003cem>Somebody\u003c/em>) and previous Riley collaborator LaKeith Stanfield, whose breakout role was in Riley’s 2018 debut, the anti-capitalist masterpiece \u003cem>\u003ca href=\"https://www.kqed.org/arts/13836455/in-sorry-to-bother-you-an-alternate-universe-oakland-is-still-true-and-familiar\">Sorry to Bother You\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>An activist, MC and all around multihyphenate in addition to his burgeoning film career, Riley hasn’t been shy about weighing in on what he perceives to be a “\u003ca href=\"https://www.instagram.com/p/Cxdu9v8vb6e/?img_index=5\">fake ‘crime wave’ narrative\u003c/a>” in Oakland — largely centered on a rise in “\u003ca href=\"https://www.kqed.org/news/tag/bipping\">bipping\u003c/a>” and non-violent retail theft — that has been weaponized against Black folks and other people of color.\u003c/p>\n\u003cp>Fans of Riley’s work will have to wait until the film’s release to see what insight it offers into the politicization of those narratives, but a quick listen to this 2006 song by Riley’s band, The Coup — also called “\u003ca href=\"https://youtu.be/geY-ydeYb4M?si=BqjuBdAXGv7l5YVD\">I Love Boosters\u003c/a>!” — can give some glimpse into his sensibility:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>For some of y’all folks, this stuff might faze ya / This ain’t the way the society raised ya / But most of it was made by children in Asia / The stores make money off of very low wages / The next time you see two women running out the Gap / With arms full of clothes still strapped to the rack / Once they jump in the car, hit the gas and scat / If you have to say something, just stand and clap\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>\u003cem>I Love Boosters\u003c/em> is set to begin filming later this fall.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966268\" style=\"font-weight: bold;background-color: transparent;font-size: 16px\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wicker-man.png\" alt=\"A huge wicker structure built in the shape of a man, stands on a hillside with a ladder propped up against its center. On the ground a circle of people with torches stand.\" width=\"2000\" height=\"1568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wicker-man.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wicker-man-800x627.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wicker-man-1020x800.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wicker-man-160x125.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wicker-man-768x602.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wicker-man-1536x1204.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/wicker-man-1920x1505.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>In 1973’s ‘The Wicker Man,’ British policeman (Edward Woodward) visits a remote Scottish island to find that the locals have embraced a form of paganism.It’s October. Some of your neighbors will spend this, the official first weekend of spooky season, going all-out with inflatable yard skeletons and ghosts. They will embark upon the annual attempt to make candy corn, aka high-fructose ear wax, a thing. They’ll adorn their front porches with those cotton spider webs that look nothing like real spider webs and instead just make it look like they went and ritually murdered a white sweater so they could hang its dismembered corpse across their doorway as a grisly warning to all other knitwear.\u003c/p>\n\u003cp>[aside postid='arts_13962878']For me, it’s a more simple, elemental formula: Hot cider, cider donuts, folk horror.\u003c/p>\n\u003cp>The appeal of cider and donuts is universal, but folk horror might need some defining. Essentially, it’s horror set in remote, isolated areas where nature still holds sway. Well, nature paired with the superstitious beliefs of the locals, who tend to treat unwary outsiders with suspicion (if the outsiders are lucky) or malice (if they’re not).\u003c/p>\n\u003cp>The classic example is 1973’s \u003ca href=\"https://www.kqed.org/pop/112213/how-religious-sect-movies-like-midsommar-get-so-far-under-our-skin\">\u003cem>The Wicker Man\u003c/em>\u003c/a>, in which an uptight, devout, and veddy \u003cem>veddy \u003c/em>British policeman (Edward Woodward) visits a remote Scottish island to investigate the disappearance of a young girl. Turns out the locals have embraced a form of Celtic paganism, which doesn’t sit right with him. He says as much to the island’s aristocratic leader, a mysterious and charismatic sort played by Christopher Lee. Things don’t end well for our poor British bobby — though presumably the island \u003cem>will \u003c/em>enjoy a bountiful harvest, so, you know: Big picture, it’s still a win.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=a-tDnavDCwI\u003c/p>\n\u003cp>Other founding classics of the genre include 1968’s \u003cem>The Witchfinder General\u003c/em> and 1971’s \u003cem>The Blood on Satan’s Claws\u003c/em>, which of the three films has the least going for it, apart from its title, which is, all reasonable people can agree, \u003cem>metal AF\u003c/em>.\u003c/p>\n\u003cp>I love me some folk horror, and am never happier than when I can while away a damp, foggy (and thus obligingly atmospheric) October afternoon mainlining new and old examples of the form like \u003cem>Kill List\u003c/em>, \u003cem>You Won’t Be Alone\u003c/em>, \u003cem>Viv\u003c/em>,\u003cem> The Ritual\u003c/em>, \u003cem>Häxan\u003c/em>, \u003cem>The Medium\u003c/em>, \u003cem>Apostle\u003c/em>, \u003cem>Midsommar\u003c/em>, \u003cem>The Witch\u003c/em>, \u003cem>Hereditary\u003c/em>, \u003cem>Night of the Demon\u003c/em>, \u003cem>A Field in England\u003c/em>, \u003cem>Robin Redbreast\u003c/em>, and \u003cem>Men\u003c/em>. (Looking for more examples? Check out the documentary \u003cem>Woodlands Dark and Days Bewitched: A History of Folk Horror\u003c/em>.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iQXmlf3Sefg\u003c/p>\n\u003cp>Some folk horror involves supernatural elements, but I confess a particular fondness for those stories that don’t — stories where it’s the folk themselves (read: the locals, and their beliefs) who are the true and only source of the horror. (I won’t spoil which of the above films traffic in human vs. supernatural evil, in case you haven’t seen them.)\u003c/p>\n\u003ch3>Talismans and turtlenecks\u003c/h3>\n\u003cp>\u003cem>The Wicker Man\u003c/em> was the first folk horror film I saw as a kid, which is maybe why I harbor a deep love of folk horror set in ’70s Britain, a time and place when an interest in the occult became faddish, inspiring a wave of folk horror specifically inflected with Satanic panic. Many of these films were set in the past, but those like \u003cem>The Wicker Man \u003c/em>were set in the then-present, a time when men wore wavy hair and tight bell bottoms. Christopher Lee’s Lord Summerisle, for example, sported a kicky tweed leisure suit topped off by a burnt-orange sweater.\u003c/p>\n\u003cp>[aside postid='arts_13964075']It’s why I think of this very specific subgenre of ’70s folk horror as Talismans and Turtlenecks.\u003c/p>\n\u003cp>I just came across a new-to-me example of T & T last Sunday afternoon, which was suitably cold and wet and misty: 1970’s \u003cem>The Dunwich Horror\u003c/em>. A stiff-haired Sandra Dee, desperately attempting to shake her goody-goody image, plays a woman who falls under the sway of a young and hilariously intense, wide-eyed Dean Stockwell. (Seriously, you keep waiting for his character to blink, but instead he just keeps goggling fixedly at the world around him. At one point he makes a pot of tea, staring at it so fiercely through every stage of the process you start to wonder if he’s trying to convince it to hop into bed with him.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QA1WCp8hGB0\u003c/p>\n\u003cp>Don’t get me wrong: It’s a cheesy film, filled with crummy dialogue and hammy acting and cheap sets and one fight scene so wildly inept that has to be seen to be disbelieved. I won’t reveal if the threat hanging over the film is human or supernatural (though the fact that it’s based on an H.P. Lovecraft short story should tip you off). But I \u003cem>will \u003c/em>say that Stockwell sports a thick, curly hairdo, a cravat, two count-em \u003cem>two \u003c/em>pinky rings, and a huge mustache that curls \u003cem>under \u003c/em>itself at either end, in the process effectively turning my guy’s mouth into a parenthetical statement.\u003c/p>\n\u003cp>[aside postid='arts_13962666']You can watch it for free, with commercials, on Pluto TV, which I swear is a real streaming service and not something I made up. \u003cem>The Dunwich Horror\u003c/em> is not remotely scary, but it does have something to say, I suppose, about the madness of crowds and what, back in grad school, we used to call “othering.” (The Stockwell character is the scion of an eccentric family that the local community has shunned for generations, you see.)\u003c/p>\n\u003cp>And that, of course, is the abiding appeal of folk horror: It takes those universal feelings of alienation and isolation that make us all feel like outsiders in our own communities and gives them flesh. When the supernatural is involved, sometimes that flesh pulses and oozes. Sometimes it’s furry and clawed.\u003c/p>\n\u003cp>But whenever the story is about our collective tendency to cling to belief in the supernatural, the flesh involved is all too human, and probably gets stabbed with a sacrificial dagger in the final reel. Happy spooky season, y’all.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1Vnghdsjmd0\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/pop-culture\">\u003cem>Sign up for the newsletter\u003c/em>\u003c/a>\u003cem> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\n",
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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/a-tDnavDCwI'\n title='//www.youtube.com/embed/a-tDnavDCwI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Other founding classics of the genre include 1968’s \u003cem>The Witchfinder General\u003c/em> and 1971’s \u003cem>The Blood on Satan’s Claws\u003c/em>, which of the three films has the least going for it, apart from its title, which is, all reasonable people can agree, \u003cem>metal AF\u003c/em>.\u003c/p>\n\u003cp>I love me some folk horror, and am never happier than when I can while away a damp, foggy (and thus obligingly atmospheric) October afternoon mainlining new and old examples of the form like \u003cem>Kill List\u003c/em>, \u003cem>You Won’t Be Alone\u003c/em>, \u003cem>Viv\u003c/em>,\u003cem> The Ritual\u003c/em>, \u003cem>Häxan\u003c/em>, \u003cem>The Medium\u003c/em>, \u003cem>Apostle\u003c/em>, \u003cem>Midsommar\u003c/em>, \u003cem>The Witch\u003c/em>, \u003cem>Hereditary\u003c/em>, \u003cem>Night of the Demon\u003c/em>, \u003cem>A Field in England\u003c/em>, \u003cem>Robin Redbreast\u003c/em>, and \u003cem>Men\u003c/em>. (Looking for more examples? Check out the documentary \u003cem>Woodlands Dark and Days Bewitched: A History of Folk Horror\u003c/em>.)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/iQXmlf3Sefg'\n title='//www.youtube.com/embed/iQXmlf3Sefg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Some folk horror involves supernatural elements, but I confess a particular fondness for those stories that don’t — stories where it’s the folk themselves (read: the locals, and their beliefs) who are the true and only source of the horror. (I won’t spoil which of the above films traffic in human vs. supernatural evil, in case you haven’t seen them.)\u003c/p>\n\u003ch3>Talismans and turtlenecks\u003c/h3>\n\u003cp>\u003cem>The Wicker Man\u003c/em> was the first folk horror film I saw as a kid, which is maybe why I harbor a deep love of folk horror set in ’70s Britain, a time and place when an interest in the occult became faddish, inspiring a wave of folk horror specifically inflected with Satanic panic. Many of these films were set in the past, but those like \u003cem>The Wicker Man \u003c/em>were set in the then-present, a time when men wore wavy hair and tight bell bottoms. Christopher Lee’s Lord Summerisle, for example, sported a kicky tweed leisure suit topped off by a burnt-orange sweater.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s why I think of this very specific subgenre of ’70s folk horror as Talismans and Turtlenecks.\u003c/p>\n\u003cp>I just came across a new-to-me example of T & T last Sunday afternoon, which was suitably cold and wet and misty: 1970’s \u003cem>The Dunwich Horror\u003c/em>. A stiff-haired Sandra Dee, desperately attempting to shake her goody-goody image, plays a woman who falls under the sway of a young and hilariously intense, wide-eyed Dean Stockwell. (Seriously, you keep waiting for his character to blink, but instead he just keeps goggling fixedly at the world around him. At one point he makes a pot of tea, staring at it so fiercely through every stage of the process you start to wonder if he’s trying to convince it to hop into bed with him.)\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/QA1WCp8hGB0'\n title='//www.youtube.com/embed/QA1WCp8hGB0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Don’t get me wrong: It’s a cheesy film, filled with crummy dialogue and hammy acting and cheap sets and one fight scene so wildly inept that has to be seen to be disbelieved. I won’t reveal if the threat hanging over the film is human or supernatural (though the fact that it’s based on an H.P. Lovecraft short story should tip you off). But I \u003cem>will \u003c/em>say that Stockwell sports a thick, curly hairdo, a cravat, two count-em \u003cem>two \u003c/em>pinky rings, and a huge mustache that curls \u003cem>under \u003c/em>itself at either end, in the process effectively turning my guy’s mouth into a parenthetical statement.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>You can watch it for free, with commercials, on Pluto TV, which I swear is a real streaming service and not something I made up. \u003cem>The Dunwich Horror\u003c/em> is not remotely scary, but it does have something to say, I suppose, about the madness of crowds and what, back in grad school, we used to call “othering.” (The Stockwell character is the scion of an eccentric family that the local community has shunned for generations, you see.)\u003c/p>\n\u003cp>And that, of course, is the abiding appeal of folk horror: It takes those universal feelings of alienation and isolation that make us all feel like outsiders in our own communities and gives them flesh. When the supernatural is involved, sometimes that flesh pulses and oozes. Sometimes it’s furry and clawed.\u003c/p>\n\u003cp>But whenever the story is about our collective tendency to cling to belief in the supernatural, the flesh involved is all too human, and probably gets stabbed with a sacrificial dagger in the final reel. Happy spooky season, y’all.\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/1Vnghdsjmd0'\n title='//www.youtube.com/embed/1Vnghdsjmd0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/pop-culture\">\u003cem>Sign up for the newsletter\u003c/em>\u003c/a>\u003cem> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A movie documentary that uses only Lego pieces might seem an unconventional choice. When that documentary is about renowned musician-producer Pharrell Williams, it’s actually sort of on-brand.\u003c/p>\n\u003cp>\u003cem>Piece by Piece\u003c/em> is a bright, clever song-filled biopic that pretends it’s a behind-the-scenes documentary using small plastic bricks, angles and curves to celebrate an artist known for his quirky soul. It is deep and surreal and often adorable. Is it high concept or low? Like Williams, it’s a bit of both.\u003c/p>\n\u003cp>[aside postid='arts_13966146']Director Morgan Neville — who has gotten more and more experimental exploring other celebrity lives like Fred Rogers in \u003cem>Won’t You Be My Neighbor?, Roadrunner: A Film About Anthony Bourdain\u003c/em> and \u003cem>Steve! (Martin): A Documentary in Two Pieces\u003c/em> — this time uses real interviews but masks them under little Lego figurines with animated faces. Call this one a documentary in a million pieces.\u003c/p>\n\u003cp>The filmmakers try to explain their device — “What if nothing is real? What if life is like a Lego set?” Williams says at the beginning — but it’s very tenuous. Just submit and enjoy the ride of a poor kid from Virginia Beach, Virginia, who rose to dominate music and become a creative director at Louis Vuitton.\u003c/p>\n\u003cp>Williams, by his own admission, is a little detached, a little odd. Music triggers colors in his brain — he has synesthesia, beautifully portrayed here — and it’s his forward-looking musical brain that will make him a star, first as part of the producing team The Neptunes and then as an in-demand solo producer and songwriter. There are highs and lows and then highs again.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A verse Williams wrote for “Rump Shaker” by Wreckx-N-Effect when he was making a living selling beats would lead to superstars demanding to work with him and partner Chad Hugo — Kendrick Lamar, Justin Timberlake, Snoop Dogg, Busta Rhymes, Gwen Stefani, Missy Elliott and Jay-Z. All those superstars sit for interviews and have hysterically been depicted as Lego minifigures, right down to No Doubt’s Adrian Young’s mohawk. (Take my money, Lego.)\u003c/p>\n\u003cp>We also learn something about his wife, Helen, and his anguish over being a solo artist, an opportunity he spurned when it was his for the taking. Ultimately, we learn to understand his futuristic approach to fashion and music. “What I am is a maverick,” he says. No one will question him on that.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7Bc6trBc1kc&t=59s\u003c/p>\n\u003cp>The 3D world the filmmakers have made is astonishing, with waves of clear Lego pieces washing up on a beach made of slats of Lego baseplates and Williams’ collection of cool beats depicted as bouncing bricks with lights in them. There’s Lego McDonald’s nuggets, Lego pretzels, singing Lego fish and a Lego Anna Wintour, chilly and haughty in plastic, too.\u003c/p>\n\u003cp>Lego, while seemingly a restrictive medium — the hands are clips and everyone’s walking is robotic since there are no Lego knees — can also, apparently, in the right hands soar, and here they do, with Williams in one gorgeous dream sequence watching the Earth’s lights as an distant astronaut. It is when the filmmakers make Lego appear as water and music that are their crowning achievements. (Special kudos to the team that made Lego champagne bubbles.)\u003c/p>\n\u003cp>Music credits are notoriously hard to pin down — Williams claims to have created McDonald’s notoriously mysterious jingle “I’m lovin’ it” — and the filmmakers try to cover any misinformation with a simple disclaimer in the end credits: “Not everything in this film is 100% accurate. For example, Pharrell never went to space.”\u003c/p>\n\u003cp>[aside postid='arts_13965858']There are also some extraordinary moments that snap by but likely took months to make, like a Lego glimpse of the “I Have A Dream” speech by the Rev. Martin Luther King Jr. at the Lincoln Memorial and protest footage from Black Lives Matter figurines shouting “Don’t shoot!”\u003c/p>\n\u003cp>The documentary lags a little during Williams’ way up and rushes the years on top, although recreations of some of the music videos he fueled are too funny. Why he and Hugo broke up is papered over and the filmmakers struggle to find an ending, making several stutter steps.\u003c/p>\n\u003cp>“I think we’re done,” are the last words we hear as the filmmakers finally give up. But they’ve left behind a trippy, sweet portrait of a genius, forever in building blocks.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Piece by Piece’ is released nationwide on Oct. 11, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A movie documentary that uses only Lego pieces might seem an unconventional choice. When that documentary is about renowned musician-producer Pharrell Williams, it’s actually sort of on-brand.\u003c/p>\n\u003cp>\u003cem>Piece by Piece\u003c/em> is a bright, clever song-filled biopic that pretends it’s a behind-the-scenes documentary using small plastic bricks, angles and curves to celebrate an artist known for his quirky soul. It is deep and surreal and often adorable. Is it high concept or low? Like Williams, it’s a bit of both.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Director Morgan Neville — who has gotten more and more experimental exploring other celebrity lives like Fred Rogers in \u003cem>Won’t You Be My Neighbor?, Roadrunner: A Film About Anthony Bourdain\u003c/em> and \u003cem>Steve! (Martin): A Documentary in Two Pieces\u003c/em> — this time uses real interviews but masks them under little Lego figurines with animated faces. Call this one a documentary in a million pieces.\u003c/p>\n\u003cp>The filmmakers try to explain their device — “What if nothing is real? What if life is like a Lego set?” Williams says at the beginning — but it’s very tenuous. Just submit and enjoy the ride of a poor kid from Virginia Beach, Virginia, who rose to dominate music and become a creative director at Louis Vuitton.\u003c/p>\n\u003cp>Williams, by his own admission, is a little detached, a little odd. Music triggers colors in his brain — he has synesthesia, beautifully portrayed here — and it’s his forward-looking musical brain that will make him a star, first as part of the producing team The Neptunes and then as an in-demand solo producer and songwriter. There are highs and lows and then highs again.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A verse Williams wrote for “Rump Shaker” by Wreckx-N-Effect when he was making a living selling beats would lead to superstars demanding to work with him and partner Chad Hugo — Kendrick Lamar, Justin Timberlake, Snoop Dogg, Busta Rhymes, Gwen Stefani, Missy Elliott and Jay-Z. All those superstars sit for interviews and have hysterically been depicted as Lego minifigures, right down to No Doubt’s Adrian Young’s mohawk. (Take my money, Lego.)\u003c/p>\n\u003cp>We also learn something about his wife, Helen, and his anguish over being a solo artist, an opportunity he spurned when it was his for the taking. Ultimately, we learn to understand his futuristic approach to fashion and music. “What I am is a maverick,” he says. No one will question him on that.\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/7Bc6trBc1kc'\n title='//www.youtube.com/embed/7Bc6trBc1kc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The 3D world the filmmakers have made is astonishing, with waves of clear Lego pieces washing up on a beach made of slats of Lego baseplates and Williams’ collection of cool beats depicted as bouncing bricks with lights in them. There’s Lego McDonald’s nuggets, Lego pretzels, singing Lego fish and a Lego Anna Wintour, chilly and haughty in plastic, too.\u003c/p>\n\u003cp>Lego, while seemingly a restrictive medium — the hands are clips and everyone’s walking is robotic since there are no Lego knees — can also, apparently, in the right hands soar, and here they do, with Williams in one gorgeous dream sequence watching the Earth’s lights as an distant astronaut. It is when the filmmakers make Lego appear as water and music that are their crowning achievements. (Special kudos to the team that made Lego champagne bubbles.)\u003c/p>\n\u003cp>Music credits are notoriously hard to pin down — Williams claims to have created McDonald’s notoriously mysterious jingle “I’m lovin’ it” — and the filmmakers try to cover any misinformation with a simple disclaimer in the end credits: “Not everything in this film is 100% accurate. For example, Pharrell never went to space.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There are also some extraordinary moments that snap by but likely took months to make, like a Lego glimpse of the “I Have A Dream” speech by the Rev. Martin Luther King Jr. at the Lincoln Memorial and protest footage from Black Lives Matter figurines shouting “Don’t shoot!”\u003c/p>\n\u003cp>The documentary lags a little during Williams’ way up and rushes the years on top, although recreations of some of the music videos he fueled are too funny. Why he and Hugo broke up is papered over and the filmmakers struggle to find an ending, making several stutter steps.\u003c/p>\n\u003cp>“I think we’re done,” are the last words we hear as the filmmakers finally give up. But they’ve left behind a trippy, sweet portrait of a genius, forever in building blocks.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Piece by Piece’ is released nationwide on Oct. 11, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Brad Pitt and George Clooney Are Perfectly Cast as Two Old Pros in ‘Wolfs’",
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"content": "\u003cp>For most of its history, Hollywood made its money by putting stars the public liked to watch in stories that wouldn’t be worth watching without them. These days, such star-driven films are falling out of fashion — except on our streamers.\u003c/p>\n\u003cp>That’s where you’ll find \u003cem>Wolfs\u003c/em>, an AppleTV+ vehicle that features \u003ca href=\"https://www.kqed.org/arts/13890684/george-clooney-says-midnight-sky-is-about-our-desperate-need-to-be-with-loved-ones\">George Clooney\u003c/a> and \u003ca href=\"https://www.kqed.org/pop/tag/brad-pitt\">Brad Pitt\u003c/a> skating through a crime plot in glamorously grizzled mode. They play two professional “fixers” — they’ll do \u003cem>anything \u003c/em>to clean up a client’s mess — who collide while working the same job. Written and directed by Jon Watts (who did a popular \u003ca href=\"https://www.kqed.org/pop/91487/origin-al-sin-what-hollywood-must-learn-from-spider-man-homecoming\">Spider-Man\u003c/a> reboot), \u003cem>Wolfs\u003c/em> matters more for its stars than for the characters they play.\u003c/p>\n\u003cp>[aside postid='arts_13966048']The action begins when a New York politico played by Amy Ryan has a casual fling at a posh hotel that goes terribly wrong. She calls Clooney, a seasoned pro who knows how to make trouble disappear. He’s doing just that when they’re interrupted. Enter Pitt who, as it turns out, is working for the hotel, which also wants the problem to go away. Because Clooney and Pitt (their characters don’t use names) always work alone, both bristle at each other’s presence.\u003c/p>\n\u003cp>The two bicker and gibe and question each other’s expertise — Pitt keeps hinting that Clooney’s an old man. And naturally, they discover that their task is more challenging than it looked.\u003c/p>\n\u003cp>All too soon they’re dealing with four bricks of stolen drugs, a goofy college kid and a group of murderous gangsters. Over the course of a long night the two come to a kind of understanding — not only with one another, but about their larger role in the world.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wLJUPjiRbAM\u003c/p>\n\u003cp>If I’d paid to see \u003cem>Wolfs\u003c/em> in a theater rather than screened it on TV — which has the lowered expectations of in-flight viewing — I’d probably have been bugged by its lack of imagination and urgency. Watts’ script gives you no singing dialogue a la Elmore Leonard or \u003ca href=\"https://www.kqed.org/arts/11191894/tarantino-holes-up-a-few-outlaws-in-the-hateful-eight\">Quentin Tarantino\u003c/a>, none of the stinging emotional force you find in comparable two-hander stories — Elaine May’s \u003cem>Mikey and Nicky\u003c/em>, say, or Martin McDonagh’s \u003cem>In Bruges\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13965877']And yet the movie’s still enjoyable. Clooney and Pitt are such deft, charismatic actors that, even in a lazy, low-key picture like this one, you get a lot of pleasure from their barbed asides and mocking silences. It’s clear why they’ve been stars for three decades.\u003c/p>\n\u003cp>Thirty years ago, one would have wagered that Clooney, a smart man with a wide-ranging mind, would wind up with the weightier resume of the two. And indeed, he’s been in lots of terrific movies, like \u003cem>Out of Sight\u003c/em>, \u003cem>Up in the Air\u003c/em> and his work with the \u003ca href=\"https://www.kqed.org/arts/11762007/coen-brothers-inspired-dark-comedy-with-actors-from-veep-true-blood\">Coen Brothers\u003c/a>. Yet just as he’s drawn to the idea of Frank Sinatra’s Rat Pack — he has one of his own — he often throws himself into projects that feel like throwbacks to the 1950s or ‘60s. He’s an old-fashioned kind of star. And while a lot of his movies are fun — think \u003ca href=\"https://video.kqed.org/video/oceans-11-web-extra-kbfvd7/\">\u003cem>Ocean’s Eleven\u003c/em>\u003c/a> — they rarely resonate in the culture as much as he does off the screen.\u003c/p>\n\u003cp>For all his prettiness and ubiquity in the tabloids, Pitt’s movies do. Maybe because he’s always been running away from his beauty — he’s never happier than when scruffed up — he’s chosen a more adventurous path. From \u003ca href=\"https://www.kqed.org/arts/13897161/thirty-years-after-thelma-louise-feminist-revenge-movie-endings-still-suck\">\u003cem>Thelma & Louise\u003c/em>\u003c/a> and \u003cem>Se7en\u003c/em>, to \u003cem>Fight Club\u003c/em> and \u003ca href=\"https://www.kqed.org/arts/56273/the_tree_of_life\">\u003cem>The Tree of Life\u003c/em>\u003c/a>, to \u003ca href=\"https://www.kqed.org/arts/128101/for_a_free_spirit_a_grim_12_years_in_chains\">\u003cem>12 Years a Slave\u003c/em> \u003c/a>and \u003ca href=\"https://www.kqed.org/news/tag/moneyball\">\u003cem>Moneyball\u003c/em> \u003c/a>and \u003ca href=\"https://www.kqed.org/pop/113016/tarantinos-turned-on-tuned-in-tinseltown-once-upon-a-time-in-hollywood\">\u003cem>Once Upon a Time in … Hollywood\u003c/em>\u003c/a>, he’s made movies that feel in touch with our present moment.\u003c/p>\n\u003cp>[aside postid='arts_13965858']What Clooney and Pitt share, beyond friendship, is that both achieved stardom by doing the kind of movies that rarely get made anymore. That’s why, even though \u003cem>Wolfs\u003c/em> is slight, I can see how they might find it meaningful.\u003c/p>\n\u003cp>After all, this is a story about two old pros who each start out thinking he’s irreplaceable — the only one who can do this special job. Then each discovers that, far from being unique, there’s somebody else who does exactly what they do. And so far from being indispensable, they’re working for soulless people who have no qualms about getting rid of them and hiring somebody new. Which is to say, \u003cem>Wolfs\u003c/em> isn’t really a film about being a fixer. It’s a film about being an aging movie star.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Wolfs’ is streaming on Apple TV+ now.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For most of its history, Hollywood made its money by putting stars the public liked to watch in stories that wouldn’t be worth watching without them. These days, such star-driven films are falling out of fashion — except on our streamers.\u003c/p>\n\u003cp>That’s where you’ll find \u003cem>Wolfs\u003c/em>, an AppleTV+ vehicle that features \u003ca href=\"https://www.kqed.org/arts/13890684/george-clooney-says-midnight-sky-is-about-our-desperate-need-to-be-with-loved-ones\">George Clooney\u003c/a> and \u003ca href=\"https://www.kqed.org/pop/tag/brad-pitt\">Brad Pitt\u003c/a> skating through a crime plot in glamorously grizzled mode. They play two professional “fixers” — they’ll do \u003cem>anything \u003c/em>to clean up a client’s mess — who collide while working the same job. Written and directed by Jon Watts (who did a popular \u003ca href=\"https://www.kqed.org/pop/91487/origin-al-sin-what-hollywood-must-learn-from-spider-man-homecoming\">Spider-Man\u003c/a> reboot), \u003cem>Wolfs\u003c/em> matters more for its stars than for the characters they play.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The action begins when a New York politico played by Amy Ryan has a casual fling at a posh hotel that goes terribly wrong. She calls Clooney, a seasoned pro who knows how to make trouble disappear. He’s doing just that when they’re interrupted. Enter Pitt who, as it turns out, is working for the hotel, which also wants the problem to go away. Because Clooney and Pitt (their characters don’t use names) always work alone, both bristle at each other’s presence.\u003c/p>\n\u003cp>The two bicker and gibe and question each other’s expertise — Pitt keeps hinting that Clooney’s an old man. And naturally, they discover that their task is more challenging than it looked.\u003c/p>\n\u003cp>All too soon they’re dealing with four bricks of stolen drugs, a goofy college kid and a group of murderous gangsters. Over the course of a long night the two come to a kind of understanding — not only with one another, but about their larger role in the world.\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/wLJUPjiRbAM'\n title='//www.youtube.com/embed/wLJUPjiRbAM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If I’d paid to see \u003cem>Wolfs\u003c/em> in a theater rather than screened it on TV — which has the lowered expectations of in-flight viewing — I’d probably have been bugged by its lack of imagination and urgency. Watts’ script gives you no singing dialogue a la Elmore Leonard or \u003ca href=\"https://www.kqed.org/arts/11191894/tarantino-holes-up-a-few-outlaws-in-the-hateful-eight\">Quentin Tarantino\u003c/a>, none of the stinging emotional force you find in comparable two-hander stories — Elaine May’s \u003cem>Mikey and Nicky\u003c/em>, say, or Martin McDonagh’s \u003cem>In Bruges\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And yet the movie’s still enjoyable. Clooney and Pitt are such deft, charismatic actors that, even in a lazy, low-key picture like this one, you get a lot of pleasure from their barbed asides and mocking silences. It’s clear why they’ve been stars for three decades.\u003c/p>\n\u003cp>Thirty years ago, one would have wagered that Clooney, a smart man with a wide-ranging mind, would wind up with the weightier resume of the two. And indeed, he’s been in lots of terrific movies, like \u003cem>Out of Sight\u003c/em>, \u003cem>Up in the Air\u003c/em> and his work with the \u003ca href=\"https://www.kqed.org/arts/11762007/coen-brothers-inspired-dark-comedy-with-actors-from-veep-true-blood\">Coen Brothers\u003c/a>. Yet just as he’s drawn to the idea of Frank Sinatra’s Rat Pack — he has one of his own — he often throws himself into projects that feel like throwbacks to the 1950s or ‘60s. He’s an old-fashioned kind of star. And while a lot of his movies are fun — think \u003ca href=\"https://video.kqed.org/video/oceans-11-web-extra-kbfvd7/\">\u003cem>Ocean’s Eleven\u003c/em>\u003c/a> — they rarely resonate in the culture as much as he does off the screen.\u003c/p>\n\u003cp>For all his prettiness and ubiquity in the tabloids, Pitt’s movies do. Maybe because he’s always been running away from his beauty — he’s never happier than when scruffed up — he’s chosen a more adventurous path. From \u003ca href=\"https://www.kqed.org/arts/13897161/thirty-years-after-thelma-louise-feminist-revenge-movie-endings-still-suck\">\u003cem>Thelma & Louise\u003c/em>\u003c/a> and \u003cem>Se7en\u003c/em>, to \u003cem>Fight Club\u003c/em> and \u003ca href=\"https://www.kqed.org/arts/56273/the_tree_of_life\">\u003cem>The Tree of Life\u003c/em>\u003c/a>, to \u003ca href=\"https://www.kqed.org/arts/128101/for_a_free_spirit_a_grim_12_years_in_chains\">\u003cem>12 Years a Slave\u003c/em> \u003c/a>and \u003ca href=\"https://www.kqed.org/news/tag/moneyball\">\u003cem>Moneyball\u003c/em> \u003c/a>and \u003ca href=\"https://www.kqed.org/pop/113016/tarantinos-turned-on-tuned-in-tinseltown-once-upon-a-time-in-hollywood\">\u003cem>Once Upon a Time in … Hollywood\u003c/em>\u003c/a>, he’s made movies that feel in touch with our present moment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>What Clooney and Pitt share, beyond friendship, is that both achieved stardom by doing the kind of movies that rarely get made anymore. That’s why, even though \u003cem>Wolfs\u003c/em> is slight, I can see how they might find it meaningful.\u003c/p>\n\u003cp>After all, this is a story about two old pros who each start out thinking he’s irreplaceable — the only one who can do this special job. Then each discovers that, far from being unique, there’s somebody else who does exactly what they do. And so far from being indispensable, they’re working for soulless people who have no qualms about getting rid of them and hiring somebody new. Which is to say, \u003cem>Wolfs\u003c/em> isn’t really a film about being a fixer. It’s a film about being an aging movie star.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Wolfs’ is streaming on Apple TV+ now.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“Painting is a ritual to confront the past and heal what is broken,” Mabel Valdiviezo says in the first moments of her film, \u003cem>\u003ca href=\"https://www.prodigaldaughterthemovie.com/\">Prodigal Daughter\u003c/a>\u003c/em>. “It reveals layers that the camera cannot capture and obscures what we would rather forget.”\u003c/p>\n\u003cp>[aside postid='arts_13964034']Art is present throughout the documentary. It’s Valdiviezo’s only consistent anchor as she navigates stormy and uncertain waters. As a teenager growing up mired in the political turbulence of 1980s and ’90s Peru, she made experimental videos that helped her express ideas about politics and patriarchy. At the age of 25, when Valdiviezo fled the dictatorship that had just taken over her home country, she chose San Francisco as her destination because of its reputation as a “haven for artists.” After the artist found work dancing in the strip clubs of North Beach, she channeled her feelings about female power into her collages and paintings. And as Valdiviezo struggled with family trauma and resentments, she reframed photos from her past using painted embellishments.\u003c/p>\n\u003cp>\u003cem>Prodigal Daughter\u003c/em> captures Valdiviezo as she returns to her family in Peru after 16 years of no contact. The journey of reconnection that she goes on with her parents, brother and centenarian grandmother is a swirling mess of painful confessions, guilt, forgiveness and healing. There are moments of culture clash too, as Valdiviezo tries to process old wounds with parents who would rather keep uncomfortable truths hidden behind closed mouths and locked doors. Valdiviezo’s more Californian sensibilities are simply not understood by the people who raised her.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yzzq3BWjmhQ\u003c/p>\n\u003cp>Hanging over the film are the impossible decisions undocumented immigrants are forced to make. Valdiviezo first opted to cease all contact with her family because she believed they misunderstood and were ashamed of her. However, it’s clear that her prolonged disconnection from them was indelibly linked to her precarious legal situation in the U.S. Without any official status, Valdiviezo was unable to leave her life in America without being barred from returning to it altogether. The journey home to Peru is only possible after marriage to her Filipino American partner earns her a green card.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Prodigal Daughter\u003c/em> offers jumping off points to explain Peru’s turbulent political history, and the resistance that sprang up around that. More details about the country’s rebel groups — including \u003ca href=\"https://www.dni.gov/nctc/ftos/shining_path_fto.html\">Shining Path\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/T%C3%BApac_Amaru_Revolutionary_Movement\">Túpac Amaru Revolutionary Movement\u003c/a>, as well as the punk rock \u003cem>subtes\u003c/em> subculture — would have been a welcome addition here. Valdiviezo is far more interested in exploring her personal history than that of her home country, however. And that’s fair enough.\u003c/p>\n\u003cp>[aside postid='arts_13964538']A fourth act twist brings the family closer together, inspires more honesty and prompts an exploration of lineage. In the end, it’s not just Valdiviezo who finds solace in making art. Her mother came to painting later in life, once her children were grown. Her style is different from her daughter’s and pays homage to her Incan roots, incorporating traditional Indigenous illustration, as well as \u003ca href=\"https://en.wikipedia.org/wiki/Nazca_lines\">Nazca lines\u003c/a>. As the two women paint side by side, their paintbrushes build a bridge that finally obscures their differences.\u003c/p>\n\u003cp>By the time the once-estranged daughter and mother share exhibition space at San Francisco’s \u003ca href=\"https://www.missionculturalcenter.org/\">Mission Cultural Center for Latino Arts\u003c/a>, it’s clear that, when it comes to Valdiviezo’s life, art is a greater healer than words, international pilgrimages and perhaps, even this wonderful film.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.prodigaldaughterthemovie.com/\">Prodigal Daughter\u003c/a>’ premieres at the \u003ca href=\"https://roxie.com/film/sf-latino-film-festival-prodigal-daughter/\">Roxie Theater\u003c/a> on Oct. 11, 2024 at 6:30 p.m. as part of the \u003ca href=\"https://www.cinemassf.org/\">Cine+Mas San Francisco Latino Film Festival\u003c/a>. It will also screen at the \u003ca href=\"https://ybca.org/\">Yerba Buena Center for the Arts\u003c/a> on Nov. 2 at 2 p.m and at the \u003ca href=\"https://www.missionculturalcenter.org/shop/p/prodigal-daughter-film-or-prodigal-film-workshop\">Mission Cultural Center\u003c/a> on April 4, 2025 at 6:30 p.m.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Art is present throughout the documentary. It’s Valdiviezo’s only consistent anchor as she navigates stormy and uncertain waters. As a teenager growing up mired in the political turbulence of 1980s and ’90s Peru, she made experimental videos that helped her express ideas about politics and patriarchy. At the age of 25, when Valdiviezo fled the dictatorship that had just taken over her home country, she chose San Francisco as her destination because of its reputation as a “haven for artists.” After the artist found work dancing in the strip clubs of North Beach, she channeled her feelings about female power into her collages and paintings. And as Valdiviezo struggled with family trauma and resentments, she reframed photos from her past using painted embellishments.\u003c/p>\n\u003cp>\u003cem>Prodigal Daughter\u003c/em> captures Valdiviezo as she returns to her family in Peru after 16 years of no contact. The journey of reconnection that she goes on with her parents, brother and centenarian grandmother is a swirling mess of painful confessions, guilt, forgiveness and healing. There are moments of culture clash too, as Valdiviezo tries to process old wounds with parents who would rather keep uncomfortable truths hidden behind closed mouths and locked doors. Valdiviezo’s more Californian sensibilities are simply not understood by the people who raised her.\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/yzzq3BWjmhQ'\n title='//www.youtube.com/embed/yzzq3BWjmhQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Hanging over the film are the impossible decisions undocumented immigrants are forced to make. Valdiviezo first opted to cease all contact with her family because she believed they misunderstood and were ashamed of her. However, it’s clear that her prolonged disconnection from them was indelibly linked to her precarious legal situation in the U.S. Without any official status, Valdiviezo was unable to leave her life in America without being barred from returning to it altogether. The journey home to Peru is only possible after marriage to her Filipino American partner earns her a green card.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Prodigal Daughter\u003c/em> offers jumping off points to explain Peru’s turbulent political history, and the resistance that sprang up around that. More details about the country’s rebel groups — including \u003ca href=\"https://www.dni.gov/nctc/ftos/shining_path_fto.html\">Shining Path\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/T%C3%BApac_Amaru_Revolutionary_Movement\">Túpac Amaru Revolutionary Movement\u003c/a>, as well as the punk rock \u003cem>subtes\u003c/em> subculture — would have been a welcome addition here. Valdiviezo is far more interested in exploring her personal history than that of her home country, however. And that’s fair enough.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>A fourth act twist brings the family closer together, inspires more honesty and prompts an exploration of lineage. In the end, it’s not just Valdiviezo who finds solace in making art. Her mother came to painting later in life, once her children were grown. Her style is different from her daughter’s and pays homage to her Incan roots, incorporating traditional Indigenous illustration, as well as \u003ca href=\"https://en.wikipedia.org/wiki/Nazca_lines\">Nazca lines\u003c/a>. As the two women paint side by side, their paintbrushes build a bridge that finally obscures their differences.\u003c/p>\n\u003cp>By the time the once-estranged daughter and mother share exhibition space at San Francisco’s \u003ca href=\"https://www.missionculturalcenter.org/\">Mission Cultural Center for Latino Arts\u003c/a>, it’s clear that, when it comes to Valdiviezo’s life, art is a greater healer than words, international pilgrimages and perhaps, even this wonderful film.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.prodigaldaughterthemovie.com/\">Prodigal Daughter\u003c/a>’ premieres at the \u003ca href=\"https://roxie.com/film/sf-latino-film-festival-prodigal-daughter/\">Roxie Theater\u003c/a> on Oct. 11, 2024 at 6:30 p.m. as part of the \u003ca href=\"https://www.cinemassf.org/\">Cine+Mas San Francisco Latino Film Festival\u003c/a>. It will also screen at the \u003ca href=\"https://ybca.org/\">Yerba Buena Center for the Arts\u003c/a> on Nov. 2 at 2 p.m and at the \u003ca href=\"https://www.missionculturalcenter.org/shop/p/prodigal-daughter-film-or-prodigal-film-workshop\">Mission Cultural Center\u003c/a> on April 4, 2025 at 6:30 p.m.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s never a bad time for stories celebrating acts of kindness, but the current news cycle makes it ever so more appreciated. In the new film \u003cem>White Bird\u003c/em>, in theaters Friday, the act is quite significant: A family in Nazi-occupied France shelters a young Jewish girl, whose friends and family have all been taken away.\u003c/p>\n\u003cp>From German director Marc Forster (\u003cem>Finding Neverland\u003c/em>, \u003cem>The Kite Runner\u003c/em>) \u003cem>White Bird\u003c/em> is a handsome adaptation of R.J. Palacio’s graphic novel aimed at young adults. This, too, is perfectly suited to that audience — a story within a story with all the drama of war and young romance wrapped up in it. Let’s just not overplay the idea that it’s part of some shared cinematic kindness universe with the Julia Roberts and Owen Wilson film \u003cem>Wonder\u003c/em>, also based on Palacio’s work.\u003c/p>\n\u003cp>[aside postid='arts_13965970']It’s framed as something a grandmother is telling her grandson, who seems to be going down the wrong path. Helen Mirren is said Grandmère, or Sara Blum, a famous artist who opens up to young Julian (Bryce Gheisar) one evening over dinner about what she went through during the war. For being a neglected rich kid who is prone to getting kicked out of fancy private schools, Julian’s immediate, earnest interest in what his Grandmère has to say is perhaps the most unbelievable part of this story, which includes some deus ex machina wolves. It’s a way in, I suppose, and Mirren makes for a lovely narrator.\u003c/p>\n\u003cp>Ariella Glaser plays young Sara Blum, who leads a nice life in her small French town with educated, professional parents Max (Ishai Golan) and Rose (Olivia Ross). She barely notices the changing tides as the war ramps up, more concerned with her friends and the cute boy in school. The story takes care to note that she barely noticed the classmate that would end up saving her life: Julien (Orlando Schwerdt), who walks with a crutch and whose father works in the sewers. Not, in other words, a popular kid. In an awkward moment, the audience, and Julien, realize that she doesn’t even know his name.\u003c/p>\n\u003cp>But when the Nazis come to round up the Jewish students in the school, he’s there to help get her to his family’s property. Gillian Anderson plays Julien’s mother, Vivienne, a grounding presence but very much a side character until a devastating sequence late in the film.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aTTPea6gHh4\u003c/p>\n\u003cp>The young actors are very good and well-cast in their journey to friendship and then first love. They get to know one another and spend time dreaming up a world in which they’re not confined to a barn, their imaginations brought to life through dreamy projected images.\u003c/p>\n\u003cp>[aside postid='arts_13965966']\u003cem>White Bird\u003c/em>, which was shot in early 2021, was delayed several times over the past two years. Often, that signals some sort of quality issue and an obligation to begrudgingly release in spite of it. But that’s not the case here: This is a very finely made movie that seemed to have just gotten caught in a sort of release limbo that’s only partially related to the strikes.\u003c/p>\n\u003cp>It’s a little by-the-book — exactly, perhaps, what you might expect from elevated historical fiction aimed at young adults. Being a good-hearted, straightforward film that might even have you shedding a few tears is no crime against cinema.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘White Bird’ is released nationwide on Oct. 4, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s never a bad time for stories celebrating acts of kindness, but the current news cycle makes it ever so more appreciated. In the new film \u003cem>White Bird\u003c/em>, in theaters Friday, the act is quite significant: A family in Nazi-occupied France shelters a young Jewish girl, whose friends and family have all been taken away.\u003c/p>\n\u003cp>From German director Marc Forster (\u003cem>Finding Neverland\u003c/em>, \u003cem>The Kite Runner\u003c/em>) \u003cem>White Bird\u003c/em> is a handsome adaptation of R.J. Palacio’s graphic novel aimed at young adults. This, too, is perfectly suited to that audience — a story within a story with all the drama of war and young romance wrapped up in it. Let’s just not overplay the idea that it’s part of some shared cinematic kindness universe with the Julia Roberts and Owen Wilson film \u003cem>Wonder\u003c/em>, also based on Palacio’s work.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s framed as something a grandmother is telling her grandson, who seems to be going down the wrong path. Helen Mirren is said Grandmère, or Sara Blum, a famous artist who opens up to young Julian (Bryce Gheisar) one evening over dinner about what she went through during the war. For being a neglected rich kid who is prone to getting kicked out of fancy private schools, Julian’s immediate, earnest interest in what his Grandmère has to say is perhaps the most unbelievable part of this story, which includes some deus ex machina wolves. It’s a way in, I suppose, and Mirren makes for a lovely narrator.\u003c/p>\n\u003cp>Ariella Glaser plays young Sara Blum, who leads a nice life in her small French town with educated, professional parents Max (Ishai Golan) and Rose (Olivia Ross). She barely notices the changing tides as the war ramps up, more concerned with her friends and the cute boy in school. The story takes care to note that she barely noticed the classmate that would end up saving her life: Julien (Orlando Schwerdt), who walks with a crutch and whose father works in the sewers. Not, in other words, a popular kid. In an awkward moment, the audience, and Julien, realize that she doesn’t even know his name.\u003c/p>\n\u003cp>But when the Nazis come to round up the Jewish students in the school, he’s there to help get her to his family’s property. Gillian Anderson plays Julien’s mother, Vivienne, a grounding presence but very much a side character until a devastating sequence late in the film.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>White Bird\u003c/em>, which was shot in early 2021, was delayed several times over the past two years. Often, that signals some sort of quality issue and an obligation to begrudgingly release in spite of it. But that’s not the case here: This is a very finely made movie that seemed to have just gotten caught in a sort of release limbo that’s only partially related to the strikes.\u003c/p>\n\u003cp>It’s a little by-the-book — exactly, perhaps, what you might expect from elevated historical fiction aimed at young adults. Being a good-hearted, straightforward film that might even have you shedding a few tears is no crime against cinema.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘White Bird’ is released nationwide on Oct. 4, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Let’s put on a happy face, at least to start, for \u003cem>Joker: Folie à Deux\u003c/em>.\u003c/p>\n\u003cp>If there’s one undeniably compelling thing about both \u003ca href=\"https://www.kqed.org/arts/13867607/joker-is-wild-ly-dull\">Todd Phillips’ divisive 2019 original\u003c/a> and his new follow-up, it’s that these movies are best when they dance. The first movie might have been a muddled attempt to retrofit a \u003cem>Taxi Driver\u003c/em>-styled ’70s realism into a Joker origin story, but, man, when Joaquin Phoenix is on his toes, it’s hard to look away.\u003c/p>\n\u003cp>Just the image of a gaunt Phoenix decked out in the red suit, with his green-streaked hair slicked back, was enough to give \u003cem>Joker\u003c/em> a kick. The role gave Phoenix, a full-bodied actor, a day-glo canvas on which to unleash torrents of movement, cycling between wounded restraint and flamboyant release, in a comic-book genre that usually leaves performers paralyzed by spandex.\u003c/p>\n\u003cp>[aside postid='arts_13965555']He’s nearly as captivating in \u003cem>Joker: Folie à Deux\u003c/em>, a musical that closely follows the events of the first film as an imprisoned Arthur Fleck (Phoenix) goes on trial for the murders that occurred at the culmination of \u003cem>Joker\u003c/em>. Even the way Phoenix theatrically smokes as Arthur — which he does quite a lot in \u003cem>Folie à Deux\u003c/em> — shows you how much he’s luxuriating in the limber physicality of the character.\u003c/p>\n\u003cp>But any sense of forward momentum has gone out the window in \u003cem>Joker: Folie à Deux\u003c/em>, which opens in theaters Thursday. Phillips has followed his very anti-hero take on the Joker with an a very anti-sequel. It combines prison drama, courthouse thriller and musical, and yet turns out remarkably inert given how combustible the original was. If \u003cem>Joker\u003c/em> — which some claimed sympathized the kind of lone gunmen that populate our real world — stirred debate, \u003cem>Folie à Deux\u003c/em> is a self-conscious rejoinder to all that discussion, spending much of its time interrogating Arthur’s actions from the last movie.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That makes it a theoretically interesting film but a curiously dull one, particularly given that it stars two such incredibly watchable performers in Phoenix and Lady Gaga, who plays a fellow inmate, Lee Quinzel, infatuated with the Joker. Phillips deserves credit for subverting expectations. Most directors would turn Arthur loose for a sequel chock-full of violence and mayhem, not Burt Bacharach song-and-dance sequences. But laudable as the intentions of \u003cem>Folie à Deux\u003c/em> may be, it feels thoughtfully but tiresomely stuck in the past.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_OKAwz2MsJs&t=101s\u003c/p>\n\u003cp>“You gotta joke for us today?” asks an Arkham State Hospital guard (Brendan Gleeson, back inside a jail post-\u003cem>Paddington 2\u003c/em>) as they pull Arthur from his cell. He is seemingly even thinner now, his shoulder blades sticking out. A wan look shows he’s jokeless, too, having clearly reverted back to the depression that Arthur earlier stewed in.\u003c/p>\n\u003cp>[aside postid='arts_13965970']That interaction, and others that follow, carries on some of the themes of \u003cem>Joker\u003c/em>, which imagined Arthur and the mania that springs from him as the warped product of a cruel urban world and failed social safety net. Arthur is now heading for either the death penalty or life in prison, it’s just a matter of whether his attorney (Catherine Keener) can convince a jury that he suffers from split personality syndrome.\u003c/p>\n\u003cp>We are again asked to consider and weigh how Arthur is treated by those around him, including the guards who at turns mock him, ask him for his autograph or show him a little compassion. Gotham City district attorney, Harvey Dent (Harry Lawtey), believes he should die for killing five, including the late-night talk-show host Murray Franklin live on air. Does Arthur deserve our sympathy? \u003cem>Folie à Deux\u003c/em> is a little like the \u003cem>Seinfeld\u003c/em> finale: a moral, courtroom rehashing.\u003c/p>\n\u003cp>The throngs outside the courthouse clamor not for Arthur but the Joker, who they regard as an anarchist martyr. They crave entertainment, and Arthur, or the Joker, is tempted to give it to them. One psychology expert claims Arthur’s mental illness is “just a show.” In many ways — including a mock Looney Tunes cartoon that opens the movie — \u003cem>Folie à Deux\u003c/em> continues the first movie’s interest in considering, and satirizing, what it is we crave in entertainment. Do we want the “real” story of Arthur or the fantasy of the Joker?\u003c/p>\n\u003cp>I’m not sure \u003cem>Folie à Deux\u003c/em> always successfully pegs audience desire, though. What I most wanted in \u003cem>Folie à Deux\u003c/em> was for it to stop playing with the concepts of its characters and instead let them breathe a little more on their own. It’s not surprising that the movie works best when Arthur and Lee lock into one other. This is Arthur’s first blush with the love he’s lacked (“She gets me,” he says), but their connection may also have more to do with fantasy. Their time together is actually somewhat limited but, in Arthur’s imagination, their emotions soar in songs, mostly old standards (“Get Happy,” “For Once in My Life,” “That’s Life”), they sing tenderly to one another.\u003c/p>\n\u003cp>[aside postid='arts_13965877']These musical interludes break free of an otherwise fairly bleak and belabored narrative, as a legal and penal system that doesn’t know how to handle Arthur’s pain — or that he’s a reflection of their failure — help twist him back into the Joker. Once the Joker does fully emerge, Phoenix’s Fleck is visibly aghast at what he’s wrought.\u003c/p>\n\u003cp>All of this wrestling with \u003cem>The Joker\u003c/em> makes \u003cem>Folie à Deux\u003c/em> impressively un-superhero-movie-like, and a deliberate denial of audience expectation. But it’s also spinning its wheels. It’s not surprising that \u003cem>Folie à Deux\u003c/em> originated in concept as a stage show. It’s stuck in place, with only Phoenix’s dazzling contortions to marvel at.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Joker: Folie à Deux’ is released nationwide on Oct. 4, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>He’s nearly as captivating in \u003cem>Joker: Folie à Deux\u003c/em>, a musical that closely follows the events of the first film as an imprisoned Arthur Fleck (Phoenix) goes on trial for the murders that occurred at the culmination of \u003cem>Joker\u003c/em>. Even the way Phoenix theatrically smokes as Arthur — which he does quite a lot in \u003cem>Folie à Deux\u003c/em> — shows you how much he’s luxuriating in the limber physicality of the character.\u003c/p>\n\u003cp>But any sense of forward momentum has gone out the window in \u003cem>Joker: Folie à Deux\u003c/em>, which opens in theaters Thursday. Phillips has followed his very anti-hero take on the Joker with an a very anti-sequel. It combines prison drama, courthouse thriller and musical, and yet turns out remarkably inert given how combustible the original was. If \u003cem>Joker\u003c/em> — which some claimed sympathized the kind of lone gunmen that populate our real world — stirred debate, \u003cem>Folie à Deux\u003c/em> is a self-conscious rejoinder to all that discussion, spending much of its time interrogating Arthur’s actions from the last movie.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That makes it a theoretically interesting film but a curiously dull one, particularly given that it stars two such incredibly watchable performers in Phoenix and Lady Gaga, who plays a fellow inmate, Lee Quinzel, infatuated with the Joker. Phillips deserves credit for subverting expectations. Most directors would turn Arthur loose for a sequel chock-full of violence and mayhem, not Burt Bacharach song-and-dance sequences. But laudable as the intentions of \u003cem>Folie à Deux\u003c/em> may be, it feels thoughtfully but tiresomely stuck in the past.\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/_OKAwz2MsJs'\n title='//www.youtube.com/embed/_OKAwz2MsJs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“You gotta joke for us today?” asks an Arkham State Hospital guard (Brendan Gleeson, back inside a jail post-\u003cem>Paddington 2\u003c/em>) as they pull Arthur from his cell. He is seemingly even thinner now, his shoulder blades sticking out. A wan look shows he’s jokeless, too, having clearly reverted back to the depression that Arthur earlier stewed in.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That interaction, and others that follow, carries on some of the themes of \u003cem>Joker\u003c/em>, which imagined Arthur and the mania that springs from him as the warped product of a cruel urban world and failed social safety net. Arthur is now heading for either the death penalty or life in prison, it’s just a matter of whether his attorney (Catherine Keener) can convince a jury that he suffers from split personality syndrome.\u003c/p>\n\u003cp>We are again asked to consider and weigh how Arthur is treated by those around him, including the guards who at turns mock him, ask him for his autograph or show him a little compassion. Gotham City district attorney, Harvey Dent (Harry Lawtey), believes he should die for killing five, including the late-night talk-show host Murray Franklin live on air. Does Arthur deserve our sympathy? \u003cem>Folie à Deux\u003c/em> is a little like the \u003cem>Seinfeld\u003c/em> finale: a moral, courtroom rehashing.\u003c/p>\n\u003cp>The throngs outside the courthouse clamor not for Arthur but the Joker, who they regard as an anarchist martyr. They crave entertainment, and Arthur, or the Joker, is tempted to give it to them. One psychology expert claims Arthur’s mental illness is “just a show.” In many ways — including a mock Looney Tunes cartoon that opens the movie — \u003cem>Folie à Deux\u003c/em> continues the first movie’s interest in considering, and satirizing, what it is we crave in entertainment. Do we want the “real” story of Arthur or the fantasy of the Joker?\u003c/p>\n\u003cp>I’m not sure \u003cem>Folie à Deux\u003c/em> always successfully pegs audience desire, though. What I most wanted in \u003cem>Folie à Deux\u003c/em> was for it to stop playing with the concepts of its characters and instead let them breathe a little more on their own. It’s not surprising that the movie works best when Arthur and Lee lock into one other. This is Arthur’s first blush with the love he’s lacked (“She gets me,” he says), but their connection may also have more to do with fantasy. Their time together is actually somewhat limited but, in Arthur’s imagination, their emotions soar in songs, mostly old standards (“Get Happy,” “For Once in My Life,” “That’s Life”), they sing tenderly to one another.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>These musical interludes break free of an otherwise fairly bleak and belabored narrative, as a legal and penal system that doesn’t know how to handle Arthur’s pain — or that he’s a reflection of their failure — help twist him back into the Joker. Once the Joker does fully emerge, Phoenix’s Fleck is visibly aghast at what he’s wrought.\u003c/p>\n\u003cp>All of this wrestling with \u003cem>The Joker\u003c/em> makes \u003cem>Folie à Deux\u003c/em> impressively un-superhero-movie-like, and a deliberate denial of audience expectation. But it’s also spinning its wheels. It’s not surprising that \u003cem>Folie à Deux\u003c/em> originated in concept as a stage show. It’s stuck in place, with only Phoenix’s dazzling contortions to marvel at.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Joker: Folie à Deux’ is released nationwide on Oct. 4, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>At some point during \u003cem>The Outrun\u003c/em>, it occurred to me that watching Saoirse Ronan act is a bit like looking into a magnifying glass: Everything somehow feels a bit clearer, sharper, more precise.\u003c/p>\n\u003cp>This singular actor gives one of her finest performances in a two-hour study of addiction that is poignant, sometimes beautiful but always painful to watch — and would likely be too draining if not for the luminous presence at its core. Would it even work — at all — if Ronan, who also makes her producing debut here, weren’t onscreen virtually every second?\u003c/p>\n\u003cp>[aside postid='arts_13964034']Luckily, we don’t need to imagine that. Ronan, who plays a 29-year-old biology student named Rona (the name comes from a tiny island off Scotland) serves as both star and narrator, speaking the words — sometimes poetic — of the addiction memoir by Amy Liptrot. The script, adapted by Liptrot and director Nora Fingscheidt, makes frequent use of fantasy and whimsy, even veering into animation. Some may find these deviations a distraction from the plot, but they are frequently mesmerizing.\u003c/p>\n\u003cp>Besides, plot is a loosely defined thing here. We go back and forth in time so frequently that sometimes only the changing color of Rona’s hair indicates where we are on the timeline. It takes a while to get used to this, but the uncertainty starts to make sense. We are, in a way, inside Rona’s mind, experiencing the fits and starts of her journey. And recovery is hardly a linear process.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Orxdn0Q67j0\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s a fine supporting cast, but the true second star is nature itself. The film is based mainly in the Orkney Islands off Scotland, a windswept landscape that can be both punishing and restorative. It can also be stunning, especially the sea. And the sea is where we start, learning that Orkney lore holds that when someone drowns, they turn into a seal, but at night they return ashore in human form and dance until dawn.\u003c/p>\n\u003cp>[aside postid='arts_13965555']We see a seal underwater, and then we see Ronan herself dancing — bathed in red light on a dance floor — and then falling down, blind drunk.\u003c/p>\n\u003cp>After this flashback, we learn Rona has come back home to her childhood home for an extended visit, after a decade in London, where addiction took hold and ruined her relationships — especially with thoughtful boyfriend Daynin (Paapa Essiedu), who achieved success as she disintegrated.\u003c/p>\n\u003cp>From nightlife in Hackney, London, to a sheep farm in Scotland, where the days of sobriety are ticked off for us — 30, 90, 117. The challenges here are different. Rona’s father, Andrew (Stephen Dillane), is loving but suffers bipolar episodes. Due to his debilitating illness he lives away from his wife, Annie (Saskia Reeves), who has turned to religion to cope — and that’s the only solution she can offer Rona.\u003c/p>\n\u003cp>Deeply lonely and always on the precipice of relapse, Rona sees a crack of light in the darkness when she takes on volunteer work with the Royal Society for the Protection of Birds, given the job of surveying the Orkney Islands for the disappearing corncrake. This bird needs help to survive, and soon it seems to represent Rona herself.\u003c/p>\n\u003cp>But Rona’s troubles follow her no matter how deep into the countryside she goes. As she tells fellow addicts in a devastating flashback from her alcohol recovery group, what she misses most is how good alcohol made her feel. At another point, she tells someone she’ll never be happy if she’s sober — and you believe her. In yet another harrowing scene, a relapse has her howling to her mother: “All that praying didn’t help me, Mum!”\u003c/p>\n\u003cp>[aside postid='arts_13965877']Eventually, Rona, aiming to get even farther from civilization than mainland Orkney, repairs to the tiny island of Papay — an island, as she notes, that is off an island, off another island, off another island, and off another. Here, during a brutal winter in a tiny bird warden’s house, interacting only with the town’s sparse population, Rona starts to heal. (Liptrot spent two winters here, writing her memoir.)\u003c/p>\n\u003cp>Perhaps Ronan’s most impressive accomplishment is how she delineates the stages of Rona’s journey with such clarity — even down to the physical movement of being drunk, first a bit, then a lot (she worked with the talented choreographer Wayne McGregor) and how one changes physically during recovery.\u003c/p>\n\u003cp>And then there’s her face. We see a translucent quality in it as Rona begins to embrace nature — her own, and that around her — and look to a new future. A future that may even include laughter.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Outrun’ is released nationwide on Oct. 4, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Luckily, we don’t need to imagine that. Ronan, who plays a 29-year-old biology student named Rona (the name comes from a tiny island off Scotland) serves as both star and narrator, speaking the words — sometimes poetic — of the addiction memoir by Amy Liptrot. The script, adapted by Liptrot and director Nora Fingscheidt, makes frequent use of fantasy and whimsy, even veering into animation. Some may find these deviations a distraction from the plot, but they are frequently mesmerizing.\u003c/p>\n\u003cp>Besides, plot is a loosely defined thing here. We go back and forth in time so frequently that sometimes only the changing color of Rona’s hair indicates where we are on the timeline. It takes a while to get used to this, but the uncertainty starts to make sense. We are, in a way, inside Rona’s mind, experiencing the fits and starts of her journey. And recovery is hardly a linear process.\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/Orxdn0Q67j0'\n title='//www.youtube.com/embed/Orxdn0Q67j0'\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>There’s a fine supporting cast, but the true second star is nature itself. The film is based mainly in the Orkney Islands off Scotland, a windswept landscape that can be both punishing and restorative. It can also be stunning, especially the sea. And the sea is where we start, learning that Orkney lore holds that when someone drowns, they turn into a seal, but at night they return ashore in human form and dance until dawn.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>We see a seal underwater, and then we see Ronan herself dancing — bathed in red light on a dance floor — and then falling down, blind drunk.\u003c/p>\n\u003cp>After this flashback, we learn Rona has come back home to her childhood home for an extended visit, after a decade in London, where addiction took hold and ruined her relationships — especially with thoughtful boyfriend Daynin (Paapa Essiedu), who achieved success as she disintegrated.\u003c/p>\n\u003cp>From nightlife in Hackney, London, to a sheep farm in Scotland, where the days of sobriety are ticked off for us — 30, 90, 117. The challenges here are different. Rona’s father, Andrew (Stephen Dillane), is loving but suffers bipolar episodes. Due to his debilitating illness he lives away from his wife, Annie (Saskia Reeves), who has turned to religion to cope — and that’s the only solution she can offer Rona.\u003c/p>\n\u003cp>Deeply lonely and always on the precipice of relapse, Rona sees a crack of light in the darkness when she takes on volunteer work with the Royal Society for the Protection of Birds, given the job of surveying the Orkney Islands for the disappearing corncrake. This bird needs help to survive, and soon it seems to represent Rona herself.\u003c/p>\n\u003cp>But Rona’s troubles follow her no matter how deep into the countryside she goes. As she tells fellow addicts in a devastating flashback from her alcohol recovery group, what she misses most is how good alcohol made her feel. At another point, she tells someone she’ll never be happy if she’s sober — and you believe her. In yet another harrowing scene, a relapse has her howling to her mother: “All that praying didn’t help me, Mum!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Eventually, Rona, aiming to get even farther from civilization than mainland Orkney, repairs to the tiny island of Papay — an island, as she notes, that is off an island, off another island, off another island, and off another. Here, during a brutal winter in a tiny bird warden’s house, interacting only with the town’s sparse population, Rona starts to heal. (Liptrot spent two winters here, writing her memoir.)\u003c/p>\n\u003cp>Perhaps Ronan’s most impressive accomplishment is how she delineates the stages of Rona’s journey with such clarity — even down to the physical movement of being drunk, first a bit, then a lot (she worked with the talented choreographer Wayne McGregor) and how one changes physically during recovery.\u003c/p>\n\u003cp>And then there’s her face. We see a translucent quality in it as Rona begins to embrace nature — her own, and that around her — and look to a new future. A future that may even include laughter.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Outrun’ is released nationwide on Oct. 4, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There was no one like Kris Kristofferson. Talented, insightful, charismatic, on the right side of history \u003ca href=\"https://www.nytimes.com/2024/09/30/arts/music/kris-kristofferson-sinead-oconnor.html\">even when it wasn’t popular\u003c/a>, the songwriter and actor endeared himself to millions.\u003c/p>\n\u003cp>Upon learning of his death over the weekend at age 88, I felt lucky to have \u003ca href=\"https://www.metrosiliconvalley.com/bohemian/10.17.07/music-kris-0742.html\">once talked to him on the phone\u003c/a>, in 2007. It was supposed to be a simple preview for his upcoming local show, but it turned into something much deeper: a meditation on mortality and kindness.\u003c/p>\n\u003cp>“There is a freedom in accepting the fact that there is a difference at this end of the road,” he told me, about getting older.\u003c/p>\n\u003cp>“I’ve watched a lot of my friends and heroes, like Johnny Cash and Waylon, I’ve watched ’em slip and fall. And be gone. And it’s gonna happen to all of us. So I think the acceptance of it gives you a freedom to be less critical of yourself when you make mistakes, and to not be so hard on others.”\u003c/p>\n\u003cp>How could you not love the guy?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13965726']Those wanting to get their Kristofferson fix among like-minded admirers have two opportunities in the next week.\u003c/p>\n\u003cp>On Monday, Oct. 14, \u003ca href=\"https://www.4-star-movies.com/calendar-of-events/litquak-presents-double-feature-film-noircomics-noir-hosted-by-robert-mailer-anderson-amp-peter-hoey\">the 4-Star Theater in San Francisco screens \u003cem>A Star Is Born\u003c/em>\u003c/a>, the 1976 Oscar-winning classic with Kristofferson and co-star Barbra Streisand. The screening, planned before Kristofferson’s death, is a benefit for the \u003ca href=\"https://billgrahamfoundation.org/\">Bill Graham Memorial Foundation\u003c/a>; Bob Barsotti, who began his decades-long working relationship with Bill Graham in 1970, hosts. \u003ca href=\"https://www.4-star-movies.com/calendar-of-events/litquak-presents-double-feature-film-noircomics-noir-hosted-by-robert-mailer-anderson-amp-peter-hoey\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On Friday, Oct. 11, \u003ca href=\"https://thelostchurch.my.salesforce-sites.com/ticket/patronticket__publicticketapp#/instances/a0FTU00000BHN6j2AH\">the Lost Church in Santa Rosa hosts a A Tribute to Kris Kristofferson\u003c/a>, with local musicians like John Courage, Solid Air, Schlee, Sally Haggard and others performing his songs. Expect deeper cuts alongside the big hits — “Help Me Make It Through the Night,” “Sunday Mornin’ Comin’ Down,” “For the Good Times.” (I see no other way to end a night like this than a grand-finale singalong to “Me and Bobby McGee.”) \u003ca href=\"https://thelostchurch.my.salesforce-sites.com/ticket/patronticket__publicticketapp#/instances/a0FTU00000BHN6j2AH\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There was no one like Kris Kristofferson. Talented, insightful, charismatic, on the right side of history \u003ca href=\"https://www.nytimes.com/2024/09/30/arts/music/kris-kristofferson-sinead-oconnor.html\">even when it wasn’t popular\u003c/a>, the songwriter and actor endeared himself to millions.\u003c/p>\n\u003cp>Upon learning of his death over the weekend at age 88, I felt lucky to have \u003ca href=\"https://www.metrosiliconvalley.com/bohemian/10.17.07/music-kris-0742.html\">once talked to him on the phone\u003c/a>, in 2007. It was supposed to be a simple preview for his upcoming local show, but it turned into something much deeper: a meditation on mortality and kindness.\u003c/p>\n\u003cp>“There is a freedom in accepting the fact that there is a difference at this end of the road,” he told me, about getting older.\u003c/p>\n\u003cp>“I’ve watched a lot of my friends and heroes, like Johnny Cash and Waylon, I’ve watched ’em slip and fall. And be gone. And it’s gonna happen to all of us. So I think the acceptance of it gives you a freedom to be less critical of yourself when you make mistakes, and to not be so hard on others.”\u003c/p>\n\u003cp>How could you not love the guy?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Those wanting to get their Kristofferson fix among like-minded admirers have two opportunities in the next week.\u003c/p>\n\u003cp>On Monday, Oct. 14, \u003ca href=\"https://www.4-star-movies.com/calendar-of-events/litquak-presents-double-feature-film-noircomics-noir-hosted-by-robert-mailer-anderson-amp-peter-hoey\">the 4-Star Theater in San Francisco screens \u003cem>A Star Is Born\u003c/em>\u003c/a>, the 1976 Oscar-winning classic with Kristofferson and co-star Barbra Streisand. The screening, planned before Kristofferson’s death, is a benefit for the \u003ca href=\"https://billgrahamfoundation.org/\">Bill Graham Memorial Foundation\u003c/a>; Bob Barsotti, who began his decades-long working relationship with Bill Graham in 1970, hosts. \u003ca href=\"https://www.4-star-movies.com/calendar-of-events/litquak-presents-double-feature-film-noircomics-noir-hosted-by-robert-mailer-anderson-amp-peter-hoey\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On Friday, Oct. 11, \u003ca href=\"https://thelostchurch.my.salesforce-sites.com/ticket/patronticket__publicticketapp#/instances/a0FTU00000BHN6j2AH\">the Lost Church in Santa Rosa hosts a A Tribute to Kris Kristofferson\u003c/a>, with local musicians like John Courage, Solid Air, Schlee, Sally Haggard and others performing his songs. Expect deeper cuts alongside the big hits — “Help Me Make It Through the Night,” “Sunday Mornin’ Comin’ Down,” “For the Good Times.” (I see no other way to end a night like this than a grand-finale singalong to “Me and Bobby McGee.”) \u003ca href=\"https://thelostchurch.my.salesforce-sites.com/ticket/patronticket__publicticketapp#/instances/a0FTU00000BHN6j2AH\">Details here\u003c/a>.\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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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"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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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
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"tagline": "Real stories with killer beats",
"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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