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"content": "\u003cp>During the moments of quiet introspection — both of them – in Jeff Zimbalist and Maria Bukhonina’s high-rise climbing and posing documentary \u003cem>\u003ca href=\"https://www.netflix.com/title/81758544\">Skywalkers: A Love Story\u003c/a>\u003c/em> (new on Netflix after a short festival run that included Sundance and DocLands), I found myself thinking of another screen character with heights issues: San Francisco detective John “Scottie” Ferguson.\u003c/p>\n\u003cp>In my mind’s eye, I saw James Stewart clinging to a rooftop gutter in abject terror in the opening scene of Alfred Hitchcock’s devious \u003cem>Vertigo\u003c/em> (1958). Terribly traumatized and trundled off to a quiet sanitarium to recover, the poor man could barely climb a curb. Scottie’s problem, I realized watching \u003cem>Skywalkers\u003c/em>, was that he didn’t have an Instagram account, a camera-equipped drone and half a million followers.\u003c/p>\n\u003cp>Amusing as it is to imagine Stewart in the post-and-share digital age, it’s difficult to conceive of Ivan Beerkus and Angela Nikolau, the Russian protagonists of \u003cem>Skywalkers: A Love Story\u003c/em>, existing without social media.\u003c/p>\n\u003cp>Zimbalist and Bukhonina strategically park the lure of likes and lust for fame in the back seat throughout \u003cem>Skywalkers\u003c/em>, depicting Ivan and Angela as driven by high-level impulses like trust and artistic expression. I never completely bought it; the film’s thematic and narrative pretensions feel like window-dressing for a nonstop (excuse me, immersive) onslaught of breathtaking images of two extremely attractive athletes-turned-models perched atop cranes, skyscrapers and landmarks around the world.\u003c/p>\n\u003cfigure id=\"attachment_13961324\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_31_34_00_2000.jpg\" alt=\"Woman in white tutu leaps on top of building with skyline in background\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13961324\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_31_34_00_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_31_34_00_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_31_34_00_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_31_34_00_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_31_34_00_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_31_34_00_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_31_34_00_2000-1920x1080.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Angela Nikolau in ‘Skywalkers: A Love Story.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Constructed and presented as an intimate portrait of a relationship under high stress, \u003cem>Skywalkers: A Love Story\u003c/em> really belongs in the extreme-sports subgenre of documentary. Its main selling point — how rude of me to put it so crassly — is the visceral thrill of watching young people straining, sweating, swirling and twirling in extreme jeopardy while we cradle a cold IPA on our couch. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Thanks to the technologies of digital video, GoPro cameras and drones, the photography consistently finds the sweet spot between “incredible” and “impossible.” There are so many drop-dead gorgeous shots, in fact, that the filmmakers can package them like throwaways in quick-cut collages.\u003c/p>\n\u003cp>In those breathtaking aerial vistas, Angela and Ivan resemble Plasticine action figures as much as gravity-defying human beings. It’s a trick of the camera and the eye, but also a product of surface-level filmmaking.\u003c/p>\n\u003cp>The doc hooks us at the outset with the drama of Ivan and Angela trapped mid-climb in Merdeka 118, a massive yet elegant office building under construction in Kuala Lumpur, Malaysia. Then \u003cem>Skywalkers\u003c/em> introduces the duo via flashbacks that succinctly encapsulate their origin stories. Be advised that the backstories don’t interest the filmmakers except to the degree they can be used for thumbnail character definition and toe-deep psychological insight. Or to tie a bow around a character at the film’s climax.\u003c/p>\n\u003cfigure id=\"attachment_13961326\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_43_14_08_2000.jpg\" alt=\"Woman in acrobatic pose in a gym\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13961326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_43_14_08_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_43_14_08_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_43_14_08_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_43_14_08_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_43_14_08_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_43_14_08_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_43_14_08_2000-1920x1080.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Angela Nikolau in ‘Skywalkers: A Love Story.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Vanya had an unmemorable adolescence until he discovered rooftopping. “The higher I went, the easier it was to breathe,” he recalls. He’s neither a daredevil nor a rebel; his defining attribute appears to be a total lack of fear. His parents, like characters in a Nicholas Ray film, don’t understand him; they wish Vanya would accept the well-paying sales-rep job that dad has arranged through a friend.\u003c/p>\n\u003cp>Even the most risk-averse couch-sitter (i.e., your correspondent) silently cheers when Vanya respectfully passes on his dad’s invitation to enter the workaday world via the front door. It would be nice, though, if \u003cem>Skywalkers\u003c/em> provided more details about Vanya’s sponsorship deals. But any focus on the protagonists as business operators would dilute the rush and romance of their high-altitude, high-risk endeavors.\u003c/p>\n\u003cp>Angela’s parents were circus performers who enrolled her in acrobatics training at a young age. She learned about partnership watching them in action — until her father left for another woman. “I made a rule,” Angela relates in voice-over. “Never depend on anyone but myself.”\u003c/p>\n\u003cp>While we wait for Dr. Freud to pick up the white courtesy telephone, Angela describes the chip on her shoulder (a combination of ambition and attitude) as the lone female rooftopper in Moscow. Even then, she tracked and marveled at Vanya’s globe-spanning accomplishments. \u003c/p>\n\u003cfigure id=\"attachment_13961322\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_01_37_46_19_2000.jpg\" alt=\"Two people lean on each other in back seat of car under purple light\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13961322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_01_37_46_19_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_01_37_46_19_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_01_37_46_19_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_01_37_46_19_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_01_37_46_19_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_01_37_46_19_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_01_37_46_19_2000-1920x1080.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Angela Nikolau and Ivan Beerkus in ‘Skywalkers: A Love Story.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When they get together, the movie has our full attention. Not, as you might expect, because of added sexual tension — \u003cem>Skywalkers\u003c/em> is more chaste than the average Disney animated film, weirdly. And while the greater complexities and complications of two-person climbs-slash-photo sessions are compelling, they don’t fully explain the film’s grip on us.\u003c/p>\n\u003cp>I think the presence of a second character works, in the case of both Angela and Vanya, to counteract the unattractive side effects of self-sufficiency: selfishness, ruthlessness, narcissism and indifference to their own well-being. I suppose I am describing the narrative (and occasionally illusory) dynamic implicit in team sports that we respond to, and often prefer to individual achievement.\u003c/p>\n\u003cp>Or it may simply be that we would prefer to share the thrill, the pride, the adrenaline rush of being 118 stories above Earth’s concrete surface with another like-minded person. (Note how many ads hawk a product or activity via the added presence of family or friends.) And who among us can’t identify with a couple arguing about the composition and quality of a photograph or a pose … standing on a slender vantage point a quarter of a mile up in the air?\u003c/p>\n\u003cfigure id=\"attachment_13961321\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_32_52_19_2000.jpg\" alt=\"Looking town tall tower, someone holds a camera while another person poses\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13961321\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_32_52_19_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_32_52_19_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_32_52_19_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_32_52_19_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_32_52_19_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_32_52_19_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_32_52_19_2000-1920x1080.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ivan Beerkus and Angela Nikolau compose a photograph in ‘Skywalkers: A Love Story.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Zimbalist, a prolific director and producer who scored out of the gate with \u003cem>Favela Rising\u003c/em> (2005) and \u003cem>The Two Escobars\u003c/em> (2010), is a master of breathless editing. His aesthetic combines a barrage of whiplash-quick cuts and close-up reaction shots into neatly packaged sequences that unambiguously convey their intended meaning. They are usually plot-related (i.e., storytelling blocks), but also serve to distill a character’s emotional state at that moment.\u003c/p>\n\u003cp>It is a kinetic kind of filmmaking that is very effective moment to moment but, in my view, doesn’t stick after the credits end. \u003cem>Skywalkers: A Love Story\u003c/em> is entertaining and even mesmerizing, heightened by the possibility that a sudden slip by Angela or Vanya could change its trajectory, but even those stakes can’t alchemize glibness into profundity.\u003c/p>\n\u003cp>Perhaps you will be moved when Vanya’s father and mother share their pride with him at the end of \u003cem>Skywalkers\u003c/em>. Or when Angela returns to Russia, as well, to present a gift to her grandmother. Maybe you will be inspired to take a selfie on your roof (and upload it, of course). Or, like Scottie, perhaps you will be relieved and thankful to feel your feet on the ground.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.netflix.com/title/81758544\">Skywalkers: A Love Story\u003c/a>’ begins streaming on Netflix on July 19, 2024.\u003c/i>\u003c/p>\n\n",
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"title": "‘Skywalkers’ Review: Surface-Level Documentary at High Altitude | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>During the moments of quiet introspection — both of them – in Jeff Zimbalist and Maria Bukhonina’s high-rise climbing and posing documentary \u003cem>\u003ca href=\"https://www.netflix.com/title/81758544\">Skywalkers: A Love Story\u003c/a>\u003c/em> (new on Netflix after a short festival run that included Sundance and DocLands), I found myself thinking of another screen character with heights issues: San Francisco detective John “Scottie” Ferguson.\u003c/p>\n\u003cp>In my mind’s eye, I saw James Stewart clinging to a rooftop gutter in abject terror in the opening scene of Alfred Hitchcock’s devious \u003cem>Vertigo\u003c/em> (1958). Terribly traumatized and trundled off to a quiet sanitarium to recover, the poor man could barely climb a curb. Scottie’s problem, I realized watching \u003cem>Skywalkers\u003c/em>, was that he didn’t have an Instagram account, a camera-equipped drone and half a million followers.\u003c/p>\n\u003cp>Amusing as it is to imagine Stewart in the post-and-share digital age, it’s difficult to conceive of Ivan Beerkus and Angela Nikolau, the Russian protagonists of \u003cem>Skywalkers: A Love Story\u003c/em>, existing without social media.\u003c/p>\n\u003cp>Zimbalist and Bukhonina strategically park the lure of likes and lust for fame in the back seat throughout \u003cem>Skywalkers\u003c/em>, depicting Ivan and Angela as driven by high-level impulses like trust and artistic expression. I never completely bought it; the film’s thematic and narrative pretensions feel like window-dressing for a nonstop (excuse me, immersive) onslaught of breathtaking images of two extremely attractive athletes-turned-models perched atop cranes, skyscrapers and landmarks around the world.\u003c/p>\n\u003cfigure id=\"attachment_13961324\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_31_34_00_2000.jpg\" alt=\"Woman in white tutu leaps on top of building with skyline in background\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13961324\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_31_34_00_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_31_34_00_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_31_34_00_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_31_34_00_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_31_34_00_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_31_34_00_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_31_34_00_2000-1920x1080.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Angela Nikolau in ‘Skywalkers: A Love Story.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Constructed and presented as an intimate portrait of a relationship under high stress, \u003cem>Skywalkers: A Love Story\u003c/em> really belongs in the extreme-sports subgenre of documentary. Its main selling point — how rude of me to put it so crassly — is the visceral thrill of watching young people straining, sweating, swirling and twirling in extreme jeopardy while we cradle a cold IPA on our couch. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Thanks to the technologies of digital video, GoPro cameras and drones, the photography consistently finds the sweet spot between “incredible” and “impossible.” There are so many drop-dead gorgeous shots, in fact, that the filmmakers can package them like throwaways in quick-cut collages.\u003c/p>\n\u003cp>In those breathtaking aerial vistas, Angela and Ivan resemble Plasticine action figures as much as gravity-defying human beings. It’s a trick of the camera and the eye, but also a product of surface-level filmmaking.\u003c/p>\n\u003cp>The doc hooks us at the outset with the drama of Ivan and Angela trapped mid-climb in Merdeka 118, a massive yet elegant office building under construction in Kuala Lumpur, Malaysia. Then \u003cem>Skywalkers\u003c/em> introduces the duo via flashbacks that succinctly encapsulate their origin stories. Be advised that the backstories don’t interest the filmmakers except to the degree they can be used for thumbnail character definition and toe-deep psychological insight. Or to tie a bow around a character at the film’s climax.\u003c/p>\n\u003cfigure id=\"attachment_13961326\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_43_14_08_2000.jpg\" alt=\"Woman in acrobatic pose in a gym\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13961326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_43_14_08_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_43_14_08_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_43_14_08_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_43_14_08_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_43_14_08_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_43_14_08_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_43_14_08_2000-1920x1080.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Angela Nikolau in ‘Skywalkers: A Love Story.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Vanya had an unmemorable adolescence until he discovered rooftopping. “The higher I went, the easier it was to breathe,” he recalls. He’s neither a daredevil nor a rebel; his defining attribute appears to be a total lack of fear. His parents, like characters in a Nicholas Ray film, don’t understand him; they wish Vanya would accept the well-paying sales-rep job that dad has arranged through a friend.\u003c/p>\n\u003cp>Even the most risk-averse couch-sitter (i.e., your correspondent) silently cheers when Vanya respectfully passes on his dad’s invitation to enter the workaday world via the front door. It would be nice, though, if \u003cem>Skywalkers\u003c/em> provided more details about Vanya’s sponsorship deals. But any focus on the protagonists as business operators would dilute the rush and romance of their high-altitude, high-risk endeavors.\u003c/p>\n\u003cp>Angela’s parents were circus performers who enrolled her in acrobatics training at a young age. She learned about partnership watching them in action — until her father left for another woman. “I made a rule,” Angela relates in voice-over. “Never depend on anyone but myself.”\u003c/p>\n\u003cp>While we wait for Dr. Freud to pick up the white courtesy telephone, Angela describes the chip on her shoulder (a combination of ambition and attitude) as the lone female rooftopper in Moscow. Even then, she tracked and marveled at Vanya’s globe-spanning accomplishments. \u003c/p>\n\u003cfigure id=\"attachment_13961322\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_01_37_46_19_2000.jpg\" alt=\"Two people lean on each other in back seat of car under purple light\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13961322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_01_37_46_19_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_01_37_46_19_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_01_37_46_19_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_01_37_46_19_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_01_37_46_19_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_01_37_46_19_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_01_37_46_19_2000-1920x1080.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Angela Nikolau and Ivan Beerkus in ‘Skywalkers: A Love Story.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When they get together, the movie has our full attention. Not, as you might expect, because of added sexual tension — \u003cem>Skywalkers\u003c/em> is more chaste than the average Disney animated film, weirdly. And while the greater complexities and complications of two-person climbs-slash-photo sessions are compelling, they don’t fully explain the film’s grip on us.\u003c/p>\n\u003cp>I think the presence of a second character works, in the case of both Angela and Vanya, to counteract the unattractive side effects of self-sufficiency: selfishness, ruthlessness, narcissism and indifference to their own well-being. I suppose I am describing the narrative (and occasionally illusory) dynamic implicit in team sports that we respond to, and often prefer to individual achievement.\u003c/p>\n\u003cp>Or it may simply be that we would prefer to share the thrill, the pride, the adrenaline rush of being 118 stories above Earth’s concrete surface with another like-minded person. (Note how many ads hawk a product or activity via the added presence of family or friends.) And who among us can’t identify with a couple arguing about the composition and quality of a photograph or a pose … standing on a slender vantage point a quarter of a mile up in the air?\u003c/p>\n\u003cfigure id=\"attachment_13961321\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_32_52_19_2000.jpg\" alt=\"Looking town tall tower, someone holds a camera while another person poses\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13961321\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_32_52_19_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_32_52_19_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_32_52_19_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_32_52_19_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_32_52_19_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_32_52_19_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Skywalkers__A_Love_Story_n_00_32_52_19_2000-1920x1080.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ivan Beerkus and Angela Nikolau compose a photograph in ‘Skywalkers: A Love Story.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Zimbalist, a prolific director and producer who scored out of the gate with \u003cem>Favela Rising\u003c/em> (2005) and \u003cem>The Two Escobars\u003c/em> (2010), is a master of breathless editing. His aesthetic combines a barrage of whiplash-quick cuts and close-up reaction shots into neatly packaged sequences that unambiguously convey their intended meaning. They are usually plot-related (i.e., storytelling blocks), but also serve to distill a character’s emotional state at that moment.\u003c/p>\n\u003cp>It is a kinetic kind of filmmaking that is very effective moment to moment but, in my view, doesn’t stick after the credits end. \u003cem>Skywalkers: A Love Story\u003c/em> is entertaining and even mesmerizing, heightened by the possibility that a sudden slip by Angela or Vanya could change its trajectory, but even those stakes can’t alchemize glibness into profundity.\u003c/p>\n\u003cp>Perhaps you will be moved when Vanya’s father and mother share their pride with him at the end of \u003cem>Skywalkers\u003c/em>. Or when Angela returns to Russia, as well, to present a gift to her grandmother. Maybe you will be inspired to take a selfie on your roof (and upload it, of course). Or, like Scottie, perhaps you will be relieved and thankful to feel your feet on the ground.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.netflix.com/title/81758544\">Skywalkers: A Love Story\u003c/a>’ begins streaming on Netflix on July 19, 2024.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "san-francisco-jewish-film-festival-lyd-nakba-israel-palestine",
"title": "At the Roxie, ‘Lyd’ Connects the Nakba to Today",
"publishDate": 1721314816,
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"headTitle": "At the Roxie, ‘Lyd’ Connects the Nakba to Today | KQED",
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"content": "\u003cp>Lydda does not appear on a contemporary map of Israel. You will find Lod, though, in the center of the country, 14 miles from Tel Aviv and 29 miles from Jerusalem in the opposite direction. The remains of the Christian martyr St. George have resided in this place for many centuries, while the modern international airport dates to the mid-1930s.\u003c/p>\n\u003cp>Lydda connected Palestine with the Arab world until 1948, we’re informed at the beginning of Rami Younis and Sarah Ema Friedland’s documentary \u003cem>\u003ca href=\"https://jfi.org/sfjff-2024/film-guide/lyd\">Lyd\u003c/a>\u003c/em>. In fact, Lyd herself (Palestinian actress Maisa Abd Elhadi) narrates the film (in Arabic, of course), which receives its Bay Area premiere in the \u003ca href=\"https://sfjff.org/film-festival\">San Francisco Jewish Film Festival\u003c/a> Sunday, July 28 at the Vogue Theater and Tuesday, July 30 at the Piedmont Theatre in Oakland.\u003c/p>\n\u003cp>The creative decision to “cast” Lyd as a character recounting her story has a slightly fanciful aspect, underscored by animated sequences that conjure life in previous eras. But the filmmakers’ decision to make what they call “a sci-fi documentary,” that in part imagines how the city would have developed without Israeli occupation and resettlement, is nonetheless grounded in reality.\u003c/p>\n\u003cp>This is not the first film to unearth the Nakba, when approximately 750,000 Palestinian residents were exiled and hundreds killed during the war triggered by Israel’s declaration of independence. Israelis still celebrate their victory, of course, and their then-leader David Ben-Gurion, while Palestinians record the date as the beginning of their national tragedy.\u003c/p>\n\u003cfigure id=\"attachment_13961282\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-1.jpg\" alt=\"Skyline of city with taller buildings in distance\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13961282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-1-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still of the skyline of Lod, once Lydda, from Sarah Ema Friedland and Rami Younis’ ‘Lyd.’ \u003ccite>(Icarus Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003ca href=\"https://jfi.org/year-round/jfi-on-demand/al-nakba-the-palestinian-catastrophe-of-1948\">Al Nakba: The Palestinian Catastrophe of 1948\u003c/a>\u003c/em> screened at the 1998 San Francisco Jewish Film Festival, where it played like a corrective to the mythic history that Israelis and American Jews tell themselves. The shrines that displaced Palestinians made of their house keys, dreaming of the day they would return, still stick with me.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Lyd\u003c/em>, which premiered last August at the Amman International Film Festival, implicitly acknowledges that most if not all Palestinians had reluctantly accepted that return was never going to happen long before the Oct. 7 Hamas attack and the horrific war in Gaza waged by Israeli Prime Minister Benjamin Netanyahu.\u003c/p>\n\u003cp>So if history has moved on in a very tangible way, what are Younis and Friedland’s goals? Any impulse to advocate, it strikes me, would feel aspirational rather than attainable in the present moment, and out of touch. An earnest exposé of injustice and suffering, on the other hand, though always valuable, faces the hurdle of getting people to listen, to discover, to be surprised.\u003c/p>\n\u003cp>Hence the idea of engaging the viewer’s imagination with speculative or alternative history. And the non-traditional technique of Lyd narrating, despite the challenge of creating a voice that is powerful and moving without veering into self-parody.\u003c/p>\n\u003cfigure id=\"attachment_13961283\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-2.jpg\" alt=\"Teacher leans over five young students working at table\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13961283\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-2-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Sarah Ema Friedland and Rami Younis’ ‘Lyd.’ \u003ccite>(Icarus Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The trickiest part of the whole endeavor is nailing a consistent tone, and Younis and Friedland don’t pull it off. But although \u003cem>Lyd\u003c/em> is uneven, it gets points for ambition.\u003c/p>\n\u003cp>The first consideration in any film about the Palestinians and Israelis is how far into the past you go. \u003cem>Lyd\u003c/em> sets its starting point in 1918 after World War I, when the British empire claimed swaths of the Middle East that had been under Ottoman rule. But its focus is 1948, and the massacre of Palestinian residents in a Lydda mosque by the Israel Defense Forces.\u003c/p>\n\u003cp>\u003cem>Lyd\u003c/em> draws on raw video interviews conducted in 1989 with Israeli veterans of the events to depict a scene where — in an act of swift, bloody opportunism or in the fog of war — soldiers killed dozens of civilians who had packed the sacred, and presumably safe, house of worship. In the present day, Palestinian elder Eissa Fanous powerfully recalls how, as a boy, he was forced by soldiers to carry bodies from the mosque. \u003c/p>\n\u003cp>Damning as evidence of Israeli behavior at the time \u003cem>and\u003c/em> the long-running desire to cover it up, the sequence is nonetheless assembled in a way that some viewers could dismiss it as propaganda. It’s impossible to credibly levy that charge against \u003cem>Tantura\u003c/em>, Israeli filmmaker Alon Schwarz’s deep dive into another 1948 massacre that’s now streaming on \u003ca href=\"https://www.kanopy.com/en/sfpl/video/14020563\" rel=\"noopener\" target=\"_blank\">Kanopy\u003c/a> after screening at SFJFF two years ago.\u003c/p>\n\u003cp>For viewers unfamiliar with the 1948 events that still cast a shadow, \u003cem>Lyd\u003c/em> provides a decent introduction. For audiences who aren’t aware of the injustice and discrimination that the Israeli government continues to inflict — such as home demolitions and land confiscations — the documentary gives voice to Lod’s current Palestinian residents.\u003c/p>\n\u003cp>“The story of Lyd is the story of Palestine,” Maisa Abd Elhadi tells us early in the film. It is inevitable that \u003cem>Lyd\u003c/em> leaves us in the present, where nothing is resolved or solved. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://roxie.com/film/lyd/\">Lyd\u003c/a>’ plays at the Roxie Theater (3125 16th St., San Francisco) on Aug. 2, 3, 8 and 10.\u003c/i> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Lydda does not appear on a contemporary map of Israel. You will find Lod, though, in the center of the country, 14 miles from Tel Aviv and 29 miles from Jerusalem in the opposite direction. The remains of the Christian martyr St. George have resided in this place for many centuries, while the modern international airport dates to the mid-1930s.\u003c/p>\n\u003cp>Lydda connected Palestine with the Arab world until 1948, we’re informed at the beginning of Rami Younis and Sarah Ema Friedland’s documentary \u003cem>\u003ca href=\"https://jfi.org/sfjff-2024/film-guide/lyd\">Lyd\u003c/a>\u003c/em>. In fact, Lyd herself (Palestinian actress Maisa Abd Elhadi) narrates the film (in Arabic, of course), which receives its Bay Area premiere in the \u003ca href=\"https://sfjff.org/film-festival\">San Francisco Jewish Film Festival\u003c/a> Sunday, July 28 at the Vogue Theater and Tuesday, July 30 at the Piedmont Theatre in Oakland.\u003c/p>\n\u003cp>The creative decision to “cast” Lyd as a character recounting her story has a slightly fanciful aspect, underscored by animated sequences that conjure life in previous eras. But the filmmakers’ decision to make what they call “a sci-fi documentary,” that in part imagines how the city would have developed without Israeli occupation and resettlement, is nonetheless grounded in reality.\u003c/p>\n\u003cp>This is not the first film to unearth the Nakba, when approximately 750,000 Palestinian residents were exiled and hundreds killed during the war triggered by Israel’s declaration of independence. Israelis still celebrate their victory, of course, and their then-leader David Ben-Gurion, while Palestinians record the date as the beginning of their national tragedy.\u003c/p>\n\u003cfigure id=\"attachment_13961282\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-1.jpg\" alt=\"Skyline of city with taller buildings in distance\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13961282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-1-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still of the skyline of Lod, once Lydda, from Sarah Ema Friedland and Rami Younis’ ‘Lyd.’ \u003ccite>(Icarus Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003ca href=\"https://jfi.org/year-round/jfi-on-demand/al-nakba-the-palestinian-catastrophe-of-1948\">Al Nakba: The Palestinian Catastrophe of 1948\u003c/a>\u003c/em> screened at the 1998 San Francisco Jewish Film Festival, where it played like a corrective to the mythic history that Israelis and American Jews tell themselves. The shrines that displaced Palestinians made of their house keys, dreaming of the day they would return, still stick with me.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Lyd\u003c/em>, which premiered last August at the Amman International Film Festival, implicitly acknowledges that most if not all Palestinians had reluctantly accepted that return was never going to happen long before the Oct. 7 Hamas attack and the horrific war in Gaza waged by Israeli Prime Minister Benjamin Netanyahu.\u003c/p>\n\u003cp>So if history has moved on in a very tangible way, what are Younis and Friedland’s goals? Any impulse to advocate, it strikes me, would feel aspirational rather than attainable in the present moment, and out of touch. An earnest exposé of injustice and suffering, on the other hand, though always valuable, faces the hurdle of getting people to listen, to discover, to be surprised.\u003c/p>\n\u003cp>Hence the idea of engaging the viewer’s imagination with speculative or alternative history. And the non-traditional technique of Lyd narrating, despite the challenge of creating a voice that is powerful and moving without veering into self-parody.\u003c/p>\n\u003cfigure id=\"attachment_13961283\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-2.jpg\" alt=\"Teacher leans over five young students working at table\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13961283\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lyd-2-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Sarah Ema Friedland and Rami Younis’ ‘Lyd.’ \u003ccite>(Icarus Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The trickiest part of the whole endeavor is nailing a consistent tone, and Younis and Friedland don’t pull it off. But although \u003cem>Lyd\u003c/em> is uneven, it gets points for ambition.\u003c/p>\n\u003cp>The first consideration in any film about the Palestinians and Israelis is how far into the past you go. \u003cem>Lyd\u003c/em> sets its starting point in 1918 after World War I, when the British empire claimed swaths of the Middle East that had been under Ottoman rule. But its focus is 1948, and the massacre of Palestinian residents in a Lydda mosque by the Israel Defense Forces.\u003c/p>\n\u003cp>\u003cem>Lyd\u003c/em> draws on raw video interviews conducted in 1989 with Israeli veterans of the events to depict a scene where — in an act of swift, bloody opportunism or in the fog of war — soldiers killed dozens of civilians who had packed the sacred, and presumably safe, house of worship. In the present day, Palestinian elder Eissa Fanous powerfully recalls how, as a boy, he was forced by soldiers to carry bodies from the mosque. \u003c/p>\n\u003cp>Damning as evidence of Israeli behavior at the time \u003cem>and\u003c/em> the long-running desire to cover it up, the sequence is nonetheless assembled in a way that some viewers could dismiss it as propaganda. It’s impossible to credibly levy that charge against \u003cem>Tantura\u003c/em>, Israeli filmmaker Alon Schwarz’s deep dive into another 1948 massacre that’s now streaming on \u003ca href=\"https://www.kanopy.com/en/sfpl/video/14020563\" rel=\"noopener\" target=\"_blank\">Kanopy\u003c/a> after screening at SFJFF two years ago.\u003c/p>\n\u003cp>For viewers unfamiliar with the 1948 events that still cast a shadow, \u003cem>Lyd\u003c/em> provides a decent introduction. For audiences who aren’t aware of the injustice and discrimination that the Israeli government continues to inflict — such as home demolitions and land confiscations — the documentary gives voice to Lod’s current Palestinian residents.\u003c/p>\n\u003cp>“The story of Lyd is the story of Palestine,” Maisa Abd Elhadi tells us early in the film. It is inevitable that \u003cem>Lyd\u003c/em> leaves us in the present, where nothing is resolved or solved. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://roxie.com/film/lyd/\">Lyd\u003c/a>’ plays at the Roxie Theater (3125 16th St., San Francisco) on Aug. 2, 3, 8 and 10.\u003c/i> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "It Just Got a Little Easier to Film a Movie in Oakland",
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"content": "\u003cp>Filmmakers wanting to shoot in Oakland got a boost Tuesday as the Oakland City Council formally voted in a city-managed film rebate program.\u003c/p>\n\u003cp>The Oakland Film Initiative will provide a 10% rebate on qualified local spending in film production, including costs associated with purchased or rented items, contracted services and wages for local residents. \u003c/p>\n\u003cp>An additional 2.5% rebate will be available to film productions with a budget of at least $250,000 which spend production funds in zip codes with high unemployment or at a worker-owned co-op. \u003c/p>\n\u003cp>[aside postID='arts_13870719']Despite the prominence of locally filmed movies like \u003cem>Blindspotting\u003c/em> and \u003cem>Sorry to Bother You\u003c/em>, both released in 2018, filming in Oakland has taken a nosedive. Film permits issued in the city have decreased from a high of 247 permits in 2019 to just 74 permits in 2023. (Oakland-set scenes in \u003cem>Black Panther\u003c/em> were filmed in Atlanta.)\u003c/p>\n\u003cp>The initiative is similar to rebate or tax credit programs in San Francisco, San Antonio, New Orleans and Oklahoma City. The amendment to the city code was crafted with strong involvement by Samatha Bempong of the the \u003ca href=\"https://www.youtube.com/playlist?list=PLblGGfZj_RYHir9u8jFn4LV3lkLcKNWnE\">East Bay Film Collective\u003c/a>, whose cofounders include comedian W. Kamau Bell, the Center for Cultural Power’s president Favianna Rodriguez, actor and producer Rafael Casal, filmmaker Cheryl Dunye, filmmaker Peter Nicks and pastor Michael McBride’s Live Free organization. \u003c/p>\n\u003cfigure id=\"attachment_13837233\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C.jpg\" alt=\"two men in movers uniforms\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13837233\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Daveed Diggs and Rafael Casal in a still from ‘Blindspotting.’ \u003ccite>(Ariel Nava)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One week before the council’s initial vote, Steph Curry’s multimedia company Unanimous Media and collective Thirty Ink joined the group, giving the initiative high-profile support. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On top of the additional 2.5% rebate for working in certain zip codes and with worker-owned collectives, “we wanted to make sure to exclude commercials from the smaller productions carve-out,” said Greg Minor of the city’s Economic Workforce Development Department, just before the initial vote on July 2. \u003c/p>\n\u003cp>According to the amendment’s text: “Film permittees producing commercial advertising shall not be eligible for a rebate under this provision.”\u003c/p>\n\u003cp>Minor noted that another late change was to set aside 10% of the city’s rebate funds to productions with a lower budget, between $50,000 and $250,000, “to support documentaries and smaller productions.”\u003c/p>\n\u003cp>In addition to incentivizing filmmakers, Councilmember Treva Reid cited the ordinance’s overall financial benefits. “I believe that this decision that we’re making today will help us secure more grants, more industry incentives, and more state funding,” Reid said. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A final vote on the initiative passed unanimously on July 16.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Despite the prominence of locally filmed movies like \u003cem>Blindspotting\u003c/em> and \u003cem>Sorry to Bother You\u003c/em>, both released in 2018, filming in Oakland has taken a nosedive. Film permits issued in the city have decreased from a high of 247 permits in 2019 to just 74 permits in 2023. (Oakland-set scenes in \u003cem>Black Panther\u003c/em> were filmed in Atlanta.)\u003c/p>\n\u003cp>The initiative is similar to rebate or tax credit programs in San Francisco, San Antonio, New Orleans and Oklahoma City. The amendment to the city code was crafted with strong involvement by Samatha Bempong of the the \u003ca href=\"https://www.youtube.com/playlist?list=PLblGGfZj_RYHir9u8jFn4LV3lkLcKNWnE\">East Bay Film Collective\u003c/a>, whose cofounders include comedian W. Kamau Bell, the Center for Cultural Power’s president Favianna Rodriguez, actor and producer Rafael Casal, filmmaker Cheryl Dunye, filmmaker Peter Nicks and pastor Michael McBride’s Live Free organization. \u003c/p>\n\u003cfigure id=\"attachment_13837233\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C.jpg\" alt=\"two men in movers uniforms\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13837233\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Daveed Diggs and Rafael Casal in a still from ‘Blindspotting.’ \u003ccite>(Ariel Nava)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One week before the council’s initial vote, Steph Curry’s multimedia company Unanimous Media and collective Thirty Ink joined the group, giving the initiative high-profile support. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On top of the additional 2.5% rebate for working in certain zip codes and with worker-owned collectives, “we wanted to make sure to exclude commercials from the smaller productions carve-out,” said Greg Minor of the city’s Economic Workforce Development Department, just before the initial vote on July 2. \u003c/p>\n\u003cp>According to the amendment’s text: “Film permittees producing commercial advertising shall not be eligible for a rebate under this provision.”\u003c/p>\n\u003cp>Minor noted that another late change was to set aside 10% of the city’s rebate funds to productions with a lower budget, between $50,000 and $250,000, “to support documentaries and smaller productions.”\u003c/p>\n\u003cp>In addition to incentivizing filmmakers, Councilmember Treva Reid cited the ordinance’s overall financial benefits. “I believe that this decision that we’re making today will help us secure more grants, more industry incentives, and more state funding,” Reid said. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A final vote on the initiative passed unanimously on July 16.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Sing Sing’ Tenderly Probes the Joys – and Limits – of Art in Prison",
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"content": "\u003cp>It’s crucial, and foreboding, that \u003cem>Sing Sing\u003c/em> begins on a stage during a stirring performance of \u003cem>A Midsummer Night’s Dream\u003c/em>. John “Divine G” Whitfield (\u003ca href=\"https://www.kqed.org/arts/13909135/colman-domingo-strand-theater-valentines-euphoria-walking-dead-zola\">Colman Domingo\u003c/a>) recites the play’s final lines to rapturous applause, in a production that’s been fully realized with lighting, costumes, and props. The cast is a group of lively and committed actors who also happen to be incarcerated at the notorious New York maximum-security prison. It quickly becomes clear this isn’t a dream or a flashback, it’s sometime in the 2000s — and Sing Sing’s Rehabilitation Through the Arts (RTA) program has already bore nurturing fruit for its participants for some time now. Before we see anything else, Divine G and his other incarcerated castmates are introduced as creative spirits.\u003c/p>\n\u003cp>[aside postid='arts_13960599']The easy way to tell a story of finding hope in even the bleakest of circumstances has been done many times over: Milk the despair; swoop in with a savior; heal the wayward souls through the power of arts, sports, etc. These narratives may mean well, but such a neatly curated dramatic arc is typically reductive and pathologizing of the very people it purports to humanize.\u003c/p>\n\u003cp>Director Greg Kwedar’s \u003cem>Sing Sing\u003c/em> is, mercifully and beautifully, different. Co-written with Clint Bentley but very much a collaborative effort with input from participants and alumni of the prison’s RTA program, the poignant drama avoids the well-trodden path at nearly every turn. It doesn’t ignore the despair, but it doesn’t wallow in it, either. And it understands that joining a character in the middle of their journey can be an even more compelling and truthful artistic exercise than mining the agonizing details of their origin story.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=j3dXc6P3zH8\u003c/p>\n\u003cp>On screen, under the energetic direction of RTA volunteer Brent Buell (Paul Raci), the crew is close-knit, a refuge from the harsher realities of life within Sing Sing’s walls. In fact, the program has been so well-received that there’s a waiting list of would-be thespians eager to join the ensemble for its next production. Playwright and novelist Divine G, the group’s de facto heart and soul, decides to recruit Clarence “Divine Eye” Maclin, another incarcerated person he’s been observing around the block. Divine Eye is a tough and prickly loner who’s dealing drugs within the jail, but he’s also really into Shakespeare, and is receptive to — if a little wary of — getting in on the program. (The formerly incarcerated Maclin, an absorbing presence, plays a version of himself here, as do several other colorful \u003cem>Sing Sing \u003c/em>performers. The real-life inspiration for Domingo’s character has a small cameo early in the film.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13957481']By its own design, \u003cem>Sing Sing \u003c/em>presents multiple complex thematic threads and then unspools them with specificity and tenderness. A lighthearted “let’s put on a show” attitude courses throughout, as the cast rehearses an original comedic play, \u003cem>Breakin’ the Mummy’s Code\u003c/em>, sprung from their own vivid imaginations. (It’s a wacky time-traveling epic starring a hodge-podge of pop culture figures, including Captain Hook, Hamlet, and … Freddy Krueger.) Divine Eye’s arrival shakes up the group’s dynamic a bit, and a fascinating dilemma arises when Divine G, like any diligent artist who’s protective of their craft, finds himself having to check his ego for the good of the group.\u003c/p>\n\u003cfigure id=\"attachment_13961109\" class=\"wp-caption aligncenter\" style=\"max-width: 1784px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961109\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-12-at-11.59.16-AM.png\" alt=\"Five men gather at the back of the room, each watching something off-camera. Three of the men are laughing. \" width=\"1784\" height=\"1078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-12-at-11.59.16-AM.png 1784w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-12-at-11.59.16-AM-800x483.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-12-at-11.59.16-AM-1020x616.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-12-at-11.59.16-AM-160x97.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-12-at-11.59.16-AM-768x464.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-12-at-11.59.16-AM-1536x928.png 1536w\" sizes=\"(max-width: 1784px) 100vw, 1784px\">\u003cfigcaption class=\"wp-caption-text\">Paul Raci, Sean San José, Colman Domingo, Sean ‘Dino’ Johnson, and Mosi Eagle. \u003ccite>(A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of course, minor frustrations behind the collaborative art process are complicated by unusually high stakes. RTA operates as a lifeline for these men — a way, as one of them puts it, for them to “become human again” within the confines of a place deliberately structured to strip them of their humanity. The film takes time to clearly communicate this often; it’s especially effectively rendered during an exercise where volunteer director Brent prompts each performer to imagine a favorite memory or place, and then describe it aloud.\u003c/p>\n\u003cp>But Kwedar and Bentley are careful to not give in to mawkish trappings, and just when it seems as though the movie might be veering close to “\u003ca href=\"https://www.youtube.com/watch?v=j64SctPKmqk\">O Captain, my Captain!\u003c/a>” territory, it reins itself back in. It helps that \u003cem>Sing Sing \u003c/em>is unafraid to acknowledge art’s limitations as a vessel for those who are incarcerated, even as it celebrates the joys art can produce — not everyone in the group is able to access their happy place during that exercise. It’s also buoyed by the collective strength of the performances which make each character, even those we learn just a few details about, distinctive and memorable. Domingo and Maclin in particular share a special kinetic energy that oscillates as any friendship can over time.\u003c/p>\n\u003cp>[aside postid='arts_13956038']For decades a movement opposed to the country’s mass incarceration epidemic has been gaining momentum, and \u003cem>Sing Sing \u003c/em>comes at an interesting time. In 2024, two of the summer’s biggest movies — \u003cem>Bad Boys: Ride or Die \u003c/em>and \u003cem>Beverly Hills Cop: Axel F —\u003c/em> continue the grand Hollywood tradition of dramatizing the pursuit and capture of “bad guys” by law enforcement. Dick Wolf’s \u003cem>Law & Order \u003c/em>franchise is still going strong, too. Kwedar’s film, on the other hand, isn’t especially interested in designating “bad” or “good” guys, and the offenses the characters have been accused and convicted of aren’t all that important to the story. The main exception is Divine G, seeking clemency for a wrongful murder conviction based on evidence that clearly exonerates him — and perhaps some audiences will find this to be a little too convenient as a narrative conceit.\u003c/p>\n\u003cp>But Divine G’s story is true-to-life. And to borrow from a different play entirely: It’s all-too \u003ca href=\"https://www.youtube.com/watch?v=U45CzgrLE9s\">easy to be hard\u003c/a>. \u003cem>Sing Sing\u003c/em>, and its characters, gamely seek out the more challenging work of excavating authentic compassion and empathy for those who rarely receive it.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Sing Sing’ opens in New York and Los Angeles on July 12 and is released nationwide on Aug. 2, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The easy way to tell a story of finding hope in even the bleakest of circumstances has been done many times over: Milk the despair; swoop in with a savior; heal the wayward souls through the power of arts, sports, etc. These narratives may mean well, but such a neatly curated dramatic arc is typically reductive and pathologizing of the very people it purports to humanize.\u003c/p>\n\u003cp>Director Greg Kwedar’s \u003cem>Sing Sing\u003c/em> is, mercifully and beautifully, different. Co-written with Clint Bentley but very much a collaborative effort with input from participants and alumni of the prison’s RTA program, the poignant drama avoids the well-trodden path at nearly every turn. It doesn’t ignore the despair, but it doesn’t wallow in it, either. And it understands that joining a character in the middle of their journey can be an even more compelling and truthful artistic exercise than mining the agonizing details of their origin story.\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/j3dXc6P3zH8'\n title='//www.youtube.com/embed/j3dXc6P3zH8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On screen, under the energetic direction of RTA volunteer Brent Buell (Paul Raci), the crew is close-knit, a refuge from the harsher realities of life within Sing Sing’s walls. In fact, the program has been so well-received that there’s a waiting list of would-be thespians eager to join the ensemble for its next production. Playwright and novelist Divine G, the group’s de facto heart and soul, decides to recruit Clarence “Divine Eye” Maclin, another incarcerated person he’s been observing around the block. Divine Eye is a tough and prickly loner who’s dealing drugs within the jail, but he’s also really into Shakespeare, and is receptive to — if a little wary of — getting in on the program. (The formerly incarcerated Maclin, an absorbing presence, plays a version of himself here, as do several other colorful \u003cem>Sing Sing \u003c/em>performers. The real-life inspiration for Domingo’s character has a small cameo early in the film.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>By its own design, \u003cem>Sing Sing \u003c/em>presents multiple complex thematic threads and then unspools them with specificity and tenderness. A lighthearted “let’s put on a show” attitude courses throughout, as the cast rehearses an original comedic play, \u003cem>Breakin’ the Mummy’s Code\u003c/em>, sprung from their own vivid imaginations. (It’s a wacky time-traveling epic starring a hodge-podge of pop culture figures, including Captain Hook, Hamlet, and … Freddy Krueger.) Divine Eye’s arrival shakes up the group’s dynamic a bit, and a fascinating dilemma arises when Divine G, like any diligent artist who’s protective of their craft, finds himself having to check his ego for the good of the group.\u003c/p>\n\u003cfigure id=\"attachment_13961109\" class=\"wp-caption aligncenter\" style=\"max-width: 1784px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961109\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-12-at-11.59.16-AM.png\" alt=\"Five men gather at the back of the room, each watching something off-camera. Three of the men are laughing. \" width=\"1784\" height=\"1078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-12-at-11.59.16-AM.png 1784w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-12-at-11.59.16-AM-800x483.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-12-at-11.59.16-AM-1020x616.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-12-at-11.59.16-AM-160x97.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-12-at-11.59.16-AM-768x464.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screen-Shot-2024-07-12-at-11.59.16-AM-1536x928.png 1536w\" sizes=\"(max-width: 1784px) 100vw, 1784px\">\u003cfigcaption class=\"wp-caption-text\">Paul Raci, Sean San José, Colman Domingo, Sean ‘Dino’ Johnson, and Mosi Eagle. \u003ccite>(A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of course, minor frustrations behind the collaborative art process are complicated by unusually high stakes. RTA operates as a lifeline for these men — a way, as one of them puts it, for them to “become human again” within the confines of a place deliberately structured to strip them of their humanity. The film takes time to clearly communicate this often; it’s especially effectively rendered during an exercise where volunteer director Brent prompts each performer to imagine a favorite memory or place, and then describe it aloud.\u003c/p>\n\u003cp>But Kwedar and Bentley are careful to not give in to mawkish trappings, and just when it seems as though the movie might be veering close to “\u003ca href=\"https://www.youtube.com/watch?v=j64SctPKmqk\">O Captain, my Captain!\u003c/a>” territory, it reins itself back in. It helps that \u003cem>Sing Sing \u003c/em>is unafraid to acknowledge art’s limitations as a vessel for those who are incarcerated, even as it celebrates the joys art can produce — not everyone in the group is able to access their happy place during that exercise. It’s also buoyed by the collective strength of the performances which make each character, even those we learn just a few details about, distinctive and memorable. Domingo and Maclin in particular share a special kinetic energy that oscillates as any friendship can over time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>A chilling, half-remembered encounter from childhood looms over \u003cem>Longlegs\u003c/em>, Osgood Perkins’ stylishly composed 1990s-set horror film about a young FBI agent (Maika Monroe) whose past seems to hold a key to a decades-long serial killer suburban spree.\u003c/p>\n\u003cp>[aside postid='arts_13960378']In the opening flashback scene of \u003cem>Longlegs\u003c/em>, a young girl walks out of her house to meet a stranger on her snow-covered yard. We never see more than the bottom half of his face, but the sense of creepiness is overwhelming. The image, with a scream, cuts out before \u003cem>Longlegs\u003c/em> properly gets underway.\u003c/p>\n\u003cp>Twenty five years later, that girl (Monroe’s Lee Harker) is now grown and brought into the investigation. She’s preternaturally good at decoding the serial killer’s choreographed targets, but her psychological astuteness has a blind spot. In Osgood’s gripping if trite horror film about an elusive boogeyman, the most unnerving mystery is the foggy, fractured nature of childhood memory.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OG7wOTE8NhE\u003c/p>\n\u003cp>\u003cem>Longlegs\u003c/em>, is arriving on its own wave of mystery thanks to a lengthy, enigmatic marketing campaign. Is the buzz warranted? That may depend on your tolerance for a very serious procedural that’s extremely adept at building an ominous slow burn yet nevertheless leads to a pile-up of horror tropes: satanic worship, scary dolls and an outlandish Nicolas Cage.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s a credit to the harrowingly spell-binding first half of\u003cem> Longlegs\u003c/em> — and to Monroe — that the film’s third act disappoints. After that prologue — presented in a boxy ratio with rounded edges, as if seen through an overhead projector — the screen widens. Harker, a terse, solitary detective, is part of a large task force to track down the killer behind the deaths of 10 families over the course of 30 years. Sent to knock on doors, she gazes up at a second floor window and knows immediately. “It’s that one,” she tells a partner (Dakota Daulby) whose lack of faith in her intuition quickly proves regrettable.\u003c/p>\n\u003cp>[aside postid='arts_13959693']Harker is brought in for a psych evaluation that demonstrates her strange clairvoyance. Agent Carter (Blair Underwood) gives her all the accumulated evidence, which suggests the same killer — every murder scene has a coded letter left signed by Longlegs — but at the time points to no intruder within the homes of the murdered. Carter is reminded of Charles Manson. “Manson had accomplices,” Harker reminds him. Also troubling: all of the victims have a daughter with a birthday of the 14th of the month, a trait Harker, naturally, shares.\u003c/p>\n\u003cp>Families are prominent in the narrative, too. Harker occasionally visits her shut-in mother (Alicia Witt) and their brief interactions suggest a knowingness with the cruelty of the world. One time on the phone, Harker tells her she’s been busy with “work stuff.”\u003c/p>\n\u003cp>“Nasty stuff?” the mom asks. “Yep,” she answers.\u003c/p>\n\u003cp>Scenes of dread follow as they hunt the killer in rural Oregon. They frequent the usual spots: an old crime scene, a locked up barn, an old witness in a psychiatric hospital. Longlegs (Cage) is skulking about, too, and leaves a letter for Harker. We see him fleetingly at first. He’s a bleached, pale figure who, with long white hair, looks increasingly clownish the nearer we get to him. If Manson belonged to the ’60s, Longlegs, with his Bob Dylan Rolling Thunder Revue white face, seems a product more in the ’70s. T.Rex opens and closes the film and the album cover of Lou Reed’s \u003cem>Transformer\u003c/em> sits above his mirror.\u003c/p>\n\u003cp>[aside postid='arts_13872372']Perkins (\u003ca href=\"https://www.kqed.org/arts/13872372/before-gretel-hansel-exploring-the-real-life-history-of-the-fairytale\">\u003cem>Gretel & Hansel\u003c/em>\u003c/a>), is the filmmaking son of Anthony Perkins, who famously played one of the movies’ most unsettling characters in Norman Bates of \u003cem>Psycho\u003c/em>. The roots of \u003cem>Longlegs\u003c/em>, which Perkins also wrote, have personal connections for the director, Perkins has said, about his own upbringing and his father’s complicated private life. But something deeper struggles to pierce \u003cem>Longlegs\u003c/em>. Its sense of horror seems to come mainly from little besides other movies. \u003cem>Se7en\u003c/em> and \u003cem>The Silence of the Lambs\u003c/em> are clear touchstones. Longlegs ultimately feels like more of a stock boogeyman and big-screen vessel for Cage.\u003c/p>\n\u003cp>In any case, this is Monroe’s movie. Her compelling screen presence in movies like \u003cem>It Follows\u003c/em> and \u003cem>Watcher\u003c/em> has earned her the title of today’s preeminent “Scream Queen.” But she’s much more than a single-genre talent. Again and again in \u003cem>Longlegs\u003c/em>, Monroe’s Harker confronts a singularly disturbing scenario and walks right in. It’s not that she isn’t nervous; her heavy breathing is part of the artful sound design by Eugenio Battaglia. Monroe, steely and strong, cuts like a knife through this almost cartoonishly severe film. Nasty stuff? Yep.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Longlegs’ is released nationwide on July 11, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Harker is brought in for a psych evaluation that demonstrates her strange clairvoyance. Agent Carter (Blair Underwood) gives her all the accumulated evidence, which suggests the same killer — every murder scene has a coded letter left signed by Longlegs — but at the time points to no intruder within the homes of the murdered. Carter is reminded of Charles Manson. “Manson had accomplices,” Harker reminds him. Also troubling: all of the victims have a daughter with a birthday of the 14th of the month, a trait Harker, naturally, shares.\u003c/p>\n\u003cp>Families are prominent in the narrative, too. Harker occasionally visits her shut-in mother (Alicia Witt) and their brief interactions suggest a knowingness with the cruelty of the world. One time on the phone, Harker tells her she’s been busy with “work stuff.”\u003c/p>\n\u003cp>“Nasty stuff?” the mom asks. “Yep,” she answers.\u003c/p>\n\u003cp>Scenes of dread follow as they hunt the killer in rural Oregon. They frequent the usual spots: an old crime scene, a locked up barn, an old witness in a psychiatric hospital. Longlegs (Cage) is skulking about, too, and leaves a letter for Harker. We see him fleetingly at first. He’s a bleached, pale figure who, with long white hair, looks increasingly clownish the nearer we get to him. If Manson belonged to the ’60s, Longlegs, with his Bob Dylan Rolling Thunder Revue white face, seems a product more in the ’70s. T.Rex opens and closes the film and the album cover of Lou Reed’s \u003cem>Transformer\u003c/em> sits above his mirror.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Perkins (\u003ca href=\"https://www.kqed.org/arts/13872372/before-gretel-hansel-exploring-the-real-life-history-of-the-fairytale\">\u003cem>Gretel & Hansel\u003c/em>\u003c/a>), is the filmmaking son of Anthony Perkins, who famously played one of the movies’ most unsettling characters in Norman Bates of \u003cem>Psycho\u003c/em>. The roots of \u003cem>Longlegs\u003c/em>, which Perkins also wrote, have personal connections for the director, Perkins has said, about his own upbringing and his father’s complicated private life. But something deeper struggles to pierce \u003cem>Longlegs\u003c/em>. Its sense of horror seems to come mainly from little besides other movies. \u003cem>Se7en\u003c/em> and \u003cem>The Silence of the Lambs\u003c/em> are clear touchstones. Longlegs ultimately feels like more of a stock boogeyman and big-screen vessel for Cage.\u003c/p>\n\u003cp>In any case, this is Monroe’s movie. Her compelling screen presence in movies like \u003cem>It Follows\u003c/em> and \u003cem>Watcher\u003c/em> has earned her the title of today’s preeminent “Scream Queen.” But she’s much more than a single-genre talent. Again and again in \u003cem>Longlegs\u003c/em>, Monroe’s Harker confronts a singularly disturbing scenario and walks right in. It’s not that she isn’t nervous; her heavy breathing is part of the artful sound design by Eugenio Battaglia. Monroe, steely and strong, cuts like a knife through this almost cartoonishly severe film. Nasty stuff? Yep.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Longlegs’ is released nationwide on July 11, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When I heard the news of Shelley Duvall’s death, I immediately began searching for a beloved, 55-second supercut from the 1980s children’s television show \u003ci>Faerie Tale Theatre\u003c/i>. \u003c/p>\n\u003cp>“Hello! I’m Shelley Duvall. Hello! I’m Shelley Duvall. Hello! I’m Shelley Duvall.” Each new costume and setting seemingly ups the fanciful weirdness of these introductory remarks. For one second, she sits on a giant beanstalk. A few seconds later, she’s astride a horse. Later she stands, dressed in an Old Testament cloak, against a cloudy red sky. \u003c/p>\n\u003cp>https://youtu.be/QrVoJgQ7u8w?feature=shared\u003c/p>\n\u003cp>This strange repetition is also completely true. Every one of those Shelleys \u003ci>is\u003c/i> Shelley Duvall — her career was evidence of her shape-shifting abilities. In Robert Altman’s films alone, she played a mail-order bride, a Nashville groupie, a spinach aficionado’s love interest and a Palm Springs health spa worker.\u003c/p>\n\u003cp>And, according to San Francisco’s 4 Star Theater, “she was funny and tragic and alien and vulnerable on screen in a way few actors are able to master fully.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13961008']In celebration of Duvall’s 75th birthday, which took place just a few days ago on July 7, the Richmond District theater had already planned to screen \u003ca href=\"https://www.4-star-movies.com/shelley-duvall-day\">four classics\u003c/a> from her catalog — Terry Gilliam’s \u003ci>Time Bandits\u003c/i>, Altman’s \u003ci>Brewster McCloud\u003c/i> and \u003ci>3 Women\u003c/i> and Stanley Kubrick’s \u003ci>The Shining\u003c/i> — on Sunday, July 14. \u003c/p>\n\u003cp>After her death, a Shelley Duvall Day takes on greater resonance. When they heard the news, 4 Star programmer Sydney Peterson, who originally pitched the series, says they experienced a big wave of feeling. “Oh, gosh,” they remember thinking. “I just hope we can do her justice.”\u003c/p>\n\u003cp>Duvall’s career encompassed so much more than can fit in one day at the 4 Star. “She has this core 30 years of incredible entertainment that she was a part of,” Peterson says. “She has this insane, just amazing legacy.”\u003c/p>\n\u003cp>For those without the stamina for a day-long movie marathon, the 4 Star program can be watched in three possible double features. Starting at 10 a.m., \u003ci>Time Bandits\u003c/i> and \u003ci>Brewster McCloud\u003c/i> offer lighter fare, examples of wacky worlds.\u003c/p>\n\u003cp>Then, at 1 p.m., “\u003ci>Brewster\u003c/i> and \u003ci>3 Women\u003c/i> lean into this really special relationship that she has with Altman,” Peterson says, “and this picture of Americana that they created together.”\u003c/p>\n\u003cp>Finally, at 4 p.m., \u003ci>3 Women\u003c/i> and \u003ci>The Shining\u003c/i> may be her most celebrated roles. \u003c/p>\n\u003cp>The theater will screen specially made pre-shows highlighting the range of Duvall’s work beyond these early films. Look out for Duvall’s appearances in \u003ci>Frankenweenie\u003c/i> and on \u003ci>Wishbone\u003c/i> and \u003ci>The Ray Bradbury Theater\u003c/i>.\u003c/p>\n\u003cp>A day spent in the company of one of the greatest actresses of all time? A single word comes to mind: \u003ca href=\"https://youtu.be/8MNlfq3DtFc?feature=shared\">transplendent\u003c/a>.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.4-star-movies.com/shelley-duvall-day\">Shelley Duvall Day\u003c/a>’ takes place at the 4 Star Theater (2200 Clement St., San Francisco) starting at 10 a.m. on Sunday, July 14, 2024.\u003c/i> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I heard the news of Shelley Duvall’s death, I immediately began searching for a beloved, 55-second supercut from the 1980s children’s television show \u003ci>Faerie Tale Theatre\u003c/i>. \u003c/p>\n\u003cp>“Hello! I’m Shelley Duvall. Hello! I’m Shelley Duvall. Hello! I’m Shelley Duvall.” Each new costume and setting seemingly ups the fanciful weirdness of these introductory remarks. For one second, she sits on a giant beanstalk. A few seconds later, she’s astride a horse. Later she stands, dressed in an Old Testament cloak, against a cloudy red sky. \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/QrVoJgQ7u8w'\n title='//www.youtube.com/embed/QrVoJgQ7u8w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This strange repetition is also completely true. Every one of those Shelleys \u003ci>is\u003c/i> Shelley Duvall — her career was evidence of her shape-shifting abilities. In Robert Altman’s films alone, she played a mail-order bride, a Nashville groupie, a spinach aficionado’s love interest and a Palm Springs health spa worker.\u003c/p>\n\u003cp>And, according to San Francisco’s 4 Star Theater, “she was funny and tragic and alien and vulnerable on screen in a way few actors are able to master fully.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In celebration of Duvall’s 75th birthday, which took place just a few days ago on July 7, the Richmond District theater had already planned to screen \u003ca href=\"https://www.4-star-movies.com/shelley-duvall-day\">four classics\u003c/a> from her catalog — Terry Gilliam’s \u003ci>Time Bandits\u003c/i>, Altman’s \u003ci>Brewster McCloud\u003c/i> and \u003ci>3 Women\u003c/i> and Stanley Kubrick’s \u003ci>The Shining\u003c/i> — on Sunday, July 14. \u003c/p>\n\u003cp>After her death, a Shelley Duvall Day takes on greater resonance. When they heard the news, 4 Star programmer Sydney Peterson, who originally pitched the series, says they experienced a big wave of feeling. “Oh, gosh,” they remember thinking. “I just hope we can do her justice.”\u003c/p>\n\u003cp>Duvall’s career encompassed so much more than can fit in one day at the 4 Star. “She has this core 30 years of incredible entertainment that she was a part of,” Peterson says. “She has this insane, just amazing legacy.”\u003c/p>\n\u003cp>For those without the stamina for a day-long movie marathon, the 4 Star program can be watched in three possible double features. Starting at 10 a.m., \u003ci>Time Bandits\u003c/i> and \u003ci>Brewster McCloud\u003c/i> offer lighter fare, examples of wacky worlds.\u003c/p>\n\u003cp>Then, at 1 p.m., “\u003ci>Brewster\u003c/i> and \u003ci>3 Women\u003c/i> lean into this really special relationship that she has with Altman,” Peterson says, “and this picture of Americana that they created together.”\u003c/p>\n\u003cp>Finally, at 4 p.m., \u003ci>3 Women\u003c/i> and \u003ci>The Shining\u003c/i> may be her most celebrated roles. \u003c/p>\n\u003cp>The theater will screen specially made pre-shows highlighting the range of Duvall’s work beyond these early films. Look out for Duvall’s appearances in \u003ci>Frankenweenie\u003c/i> and on \u003ci>Wishbone\u003c/i> and \u003ci>The Ray Bradbury Theater\u003c/i>.\u003c/p>\n\u003cp>A day spent in the company of one of the greatest actresses of all time? A single word comes to mind: \u003ca href=\"https://youtu.be/8MNlfq3DtFc?feature=shared\">transplendent\u003c/a>.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.4-star-movies.com/shelley-duvall-day\">Shelley Duvall Day\u003c/a>’ takes place at the 4 Star Theater (2200 Clement St., San Francisco) starting at 10 a.m. on Sunday, July 14, 2024.\u003c/i> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Shelley Duvall, the intrepid, Texas-born movie star whose wide-eyed, winsome presence was a mainstay in the films of Robert Altman and who co-starred in Stanley Kubrick’s \u003ci>The Shining\u003c/i>, has died. She was 75. \u003c/p>\n\u003cp>Duvall died Thursday in her sleep at her home in Blanco, Texas, her longtime partner, Dan Gilroy, announced. The cause was complications of diabetes, said her friend, the publicist Gary Springer.\u003c/p>\n\u003cp>“My dear, sweet, wonderful life, partner, and friend left us last night,” Gilroy said in a statement. “Too much suffering lately, now she’s free. Fly away beautiful Shelley.”\u003c/p>\n\u003cp>Duvall was attending junior college in Texas when Altman’s crew members, preparing to film \u003ci>Brewster McCloud\u003c/i>, encountered her at a party in Houston in 1970. They introduced her to the director, who cast her in \u003ci>Brewster McCloud\u003c/i> and made her his protege.\u003c/p>\n\u003cp>Duvall would go on to appear in Altman films including \u003ci>Thieves Like Us\u003c/i>, \u003ci>Nashville\u003c/i>, \u003ci>Popeye\u003c/i>, \u003ci>Three Women\u003c/i> and \u003ci>McCabe & Ms. Miller\u003c/i>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“He offers me damn good roles,” Duvall told \u003cem>The New York Times\u003c/em> in 1977. “None of them have been alike. He has a great confidence in me, and a trust and respect for me, and he doesn’t put any restrictions on me or intimidate me, and I love him. I remember the first advice he ever gave me: ‘Don’t take yourself seriously.’”\u003c/p>\n\u003cp>Duvall, gaunt and gawky, was no conventional Hollywood starlet. But she had a beguiling frank manner and exuded a singular naturalism. The film critic Pauline Kael called her the “female Buster Keaton.”\u003c/p>\n\u003cfigure id=\"attachment_13961012\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Shining_2000.jpg\" alt=\"Axe head in foreground going through door with screaming woman behind\" width=\"2000\" height=\"1617\" class=\"size-full wp-image-13961012\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Shining_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Shining_2000-800x647.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Shining_2000-1020x825.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Shining_2000-160x129.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Shining_2000-768x621.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Shining_2000-1536x1242.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Shining_2000-1920x1552.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Terrified Shelley Duvall in the lobby card for the Stanley Kubrick film ‘The Shining,’ 1980. \u003ccite>(Warner Brothers/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At her peak, Duvall was a regular star in some of the defining movies of the 1970s. In \u003ci>The Shining\u003c/i> (1980), she played Wendy Torrance, who watches in horror as her husband, Jack (Jack Nicholson), goes crazy while their family is isolated in the Overlook Hotel. It was Duvall’s screaming face that made up half of the film’s most iconic image, along with Jack’s axe coming through the door.\u003c/p>\n\u003cp>Kubrick, a famous perfectionist, was notoriously hard on Duvall in making \u003ci>The Shining\u003c/i>. His methods of pushing her through countless takes in the most anguished scenes took a toll on the actor. One scene was reportedly performed in 127 takes. The entire shoot took 13 months. Duvall, in an interview in 1981 with \u003cem>People\u003c/em> magazine said she was crying “12 hours a day for weeks on end” during the film’s production.\u003c/p>\n\u003cp>“I will never give that much again,” said Duvall. “If you want to get into pain and call it art, go ahead, but not with me.”\u003c/p>\n\u003cp>Duvall disappeared from movies almost as quickly as she arrived in them. By the 1990s, she began retiring from acting and retreated from public life.\u003c/p>\n\u003cp>“How would you feel if people were really nice, and then, suddenly, on a dime, they turn on you?” Duvall told the \u003cem>Times\u003c/em> earlier this year. “You would never believe it unless it happens to you. That’s why you get hurt, because you can’t really believe it’s true.”\u003c/p>\n\u003cp>Duvall, the oldest of four, was born in Fort Worth, Texas, on July 7, 1949. Her father, Robert, was a cattle auctioneer before working in law and her mother, Bobbie, was a real estate agent.\u003c/p>\n\u003cp>Duvall was 20 when she met Altman. She was also engaged to the artist Bernard Sampson, whom she married in 1970. They divorced four years later. Duvall was in a long-term relationship with the musician Paul Simon in the late ’70s after meeting during the making of Woody Allen’s \u003ci>Annie Hall\u003c/i>. (Duvall played the rock critic who keeps declaring things “transplendent.”) She also dated Ringo Starr. During the making of the 1990 Disney Channel movie \u003ci>Mother Goose Rock ‘n’ Roll\u003c/i>, Duvall met the musician Dan Gilroy, of the group Breakfast Club, who she remained with until her death.\u003c/p>\n\u003cp>Duvall’s run in the 1970s was remarkably versatile. In the rugged Western \u003ci>McCabe & Mrs. Miller\u003c/i> (1971), she played the mail-order bride Ida. She was a groupie in \u003ci>Nashville\u003c/i> (1975) and Olive Oyl, opposite Robin Williams, in \u003ci>Popeye\u003c/i> (1980). In \u003ci>3 Women\u003c/i>, co-starring Sissy Spacek and Janice Rule, Duvall played Millie Lammoreaux, a Palm Springs health spa worker, and won best actress at the Cannes Film Festival.\u003c/p>\n\u003cp>In the 1980s, Duvall produced and hosted a number of children’s TV series, among them \u003ci>Faerie Tale Theatre\u003c/i>, \u003ci>Tall Tales & Legends\u003c/i> and \u003ci>Shelley Duvall’s Bedtime Stories\u003c/i>.\u003c/p>\n\u003cp>Duvall moved back to Texas in the mid-1990s. Around 2002, after making the comedy \u003ci>Manna from Heaven\u003c/i>, she retreated from Hollywood completely. Her whereabouts became a favorite topic of internet sleuths. A favorite but incorrect theory was that it was residual trauma from the grueling shoot for \u003ci>The Shining\u003c/i>. Another was that the damage to her home after the Northridge Earthquake was the last straw.\u003c/p>\n\u003cp>To those living in Texas Hill Country, where Duvall lived for some 30 years, she was neither in “hiding” nor a recluse, but her circumstances were a mystery to both the media and many of her old Hollywood friends. That changed in 2016, when producers for the \u003ci>Dr. Phil\u003c/i> show tracked her down and aired a controversial hourlong interview with her in which she spoke about her mental health issues. “I’m very sick. I need help,” Duvall said on the program, which was widely criticized for being exploitative.\u003c/p>\n\u003cp>“I found out the kind of person he is the hard way,” Duvall told \u003cem>The Hollywood Reporter\u003c/em> in 2021.\u003c/p>\n\u003cp>\u003cem>THR\u003c/em> journalist Seth Abramovitch wrote at the time that he went on a pilgrimage to find her because, “it didn’t feel right for McGraw’s insensitive sideshow to be the final word on her legacy.”\u003c/p>\n\u003cp>Duvall attempted to restart her career, dipping her toe in with the indie horror \u003ci>The Forest Hills\u003c/i> that filmed in 2022 and premiered quietly in early 2023.\u003c/p>\n\u003cp>“Acting again — it’s so much fun,” Duvall told \u003cem>People\u003c/em> at the time. “It enriches your life.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>AP Film Writer Lindsey Bahr contributed to this report\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Shelley Duvall, the intrepid, Texas-born movie star whose wide-eyed, winsome presence was a mainstay in the films of Robert Altman and who co-starred in Stanley Kubrick’s \u003ci>The Shining\u003c/i>, has died. She was 75. \u003c/p>\n\u003cp>Duvall died Thursday in her sleep at her home in Blanco, Texas, her longtime partner, Dan Gilroy, announced. The cause was complications of diabetes, said her friend, the publicist Gary Springer.\u003c/p>\n\u003cp>“My dear, sweet, wonderful life, partner, and friend left us last night,” Gilroy said in a statement. “Too much suffering lately, now she’s free. Fly away beautiful Shelley.”\u003c/p>\n\u003cp>Duvall was attending junior college in Texas when Altman’s crew members, preparing to film \u003ci>Brewster McCloud\u003c/i>, encountered her at a party in Houston in 1970. They introduced her to the director, who cast her in \u003ci>Brewster McCloud\u003c/i> and made her his protege.\u003c/p>\n\u003cp>Duvall would go on to appear in Altman films including \u003ci>Thieves Like Us\u003c/i>, \u003ci>Nashville\u003c/i>, \u003ci>Popeye\u003c/i>, \u003ci>Three Women\u003c/i> and \u003ci>McCabe & Ms. Miller\u003c/i>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“He offers me damn good roles,” Duvall told \u003cem>The New York Times\u003c/em> in 1977. “None of them have been alike. He has a great confidence in me, and a trust and respect for me, and he doesn’t put any restrictions on me or intimidate me, and I love him. I remember the first advice he ever gave me: ‘Don’t take yourself seriously.’”\u003c/p>\n\u003cp>Duvall, gaunt and gawky, was no conventional Hollywood starlet. But she had a beguiling frank manner and exuded a singular naturalism. The film critic Pauline Kael called her the “female Buster Keaton.”\u003c/p>\n\u003cfigure id=\"attachment_13961012\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Shining_2000.jpg\" alt=\"Axe head in foreground going through door with screaming woman behind\" width=\"2000\" height=\"1617\" class=\"size-full wp-image-13961012\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Shining_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Shining_2000-800x647.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Shining_2000-1020x825.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Shining_2000-160x129.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Shining_2000-768x621.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Shining_2000-1536x1242.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Shining_2000-1920x1552.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Terrified Shelley Duvall in the lobby card for the Stanley Kubrick film ‘The Shining,’ 1980. \u003ccite>(Warner Brothers/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At her peak, Duvall was a regular star in some of the defining movies of the 1970s. In \u003ci>The Shining\u003c/i> (1980), she played Wendy Torrance, who watches in horror as her husband, Jack (Jack Nicholson), goes crazy while their family is isolated in the Overlook Hotel. It was Duvall’s screaming face that made up half of the film’s most iconic image, along with Jack’s axe coming through the door.\u003c/p>\n\u003cp>Kubrick, a famous perfectionist, was notoriously hard on Duvall in making \u003ci>The Shining\u003c/i>. His methods of pushing her through countless takes in the most anguished scenes took a toll on the actor. One scene was reportedly performed in 127 takes. The entire shoot took 13 months. Duvall, in an interview in 1981 with \u003cem>People\u003c/em> magazine said she was crying “12 hours a day for weeks on end” during the film’s production.\u003c/p>\n\u003cp>“I will never give that much again,” said Duvall. “If you want to get into pain and call it art, go ahead, but not with me.”\u003c/p>\n\u003cp>Duvall disappeared from movies almost as quickly as she arrived in them. By the 1990s, she began retiring from acting and retreated from public life.\u003c/p>\n\u003cp>“How would you feel if people were really nice, and then, suddenly, on a dime, they turn on you?” Duvall told the \u003cem>Times\u003c/em> earlier this year. “You would never believe it unless it happens to you. That’s why you get hurt, because you can’t really believe it’s true.”\u003c/p>\n\u003cp>Duvall, the oldest of four, was born in Fort Worth, Texas, on July 7, 1949. Her father, Robert, was a cattle auctioneer before working in law and her mother, Bobbie, was a real estate agent.\u003c/p>\n\u003cp>Duvall was 20 when she met Altman. She was also engaged to the artist Bernard Sampson, whom she married in 1970. They divorced four years later. Duvall was in a long-term relationship with the musician Paul Simon in the late ’70s after meeting during the making of Woody Allen’s \u003ci>Annie Hall\u003c/i>. (Duvall played the rock critic who keeps declaring things “transplendent.”) She also dated Ringo Starr. During the making of the 1990 Disney Channel movie \u003ci>Mother Goose Rock ‘n’ Roll\u003c/i>, Duvall met the musician Dan Gilroy, of the group Breakfast Club, who she remained with until her death.\u003c/p>\n\u003cp>Duvall’s run in the 1970s was remarkably versatile. In the rugged Western \u003ci>McCabe & Mrs. Miller\u003c/i> (1971), she played the mail-order bride Ida. She was a groupie in \u003ci>Nashville\u003c/i> (1975) and Olive Oyl, opposite Robin Williams, in \u003ci>Popeye\u003c/i> (1980). In \u003ci>3 Women\u003c/i>, co-starring Sissy Spacek and Janice Rule, Duvall played Millie Lammoreaux, a Palm Springs health spa worker, and won best actress at the Cannes Film Festival.\u003c/p>\n\u003cp>In the 1980s, Duvall produced and hosted a number of children’s TV series, among them \u003ci>Faerie Tale Theatre\u003c/i>, \u003ci>Tall Tales & Legends\u003c/i> and \u003ci>Shelley Duvall’s Bedtime Stories\u003c/i>.\u003c/p>\n\u003cp>Duvall moved back to Texas in the mid-1990s. Around 2002, after making the comedy \u003ci>Manna from Heaven\u003c/i>, she retreated from Hollywood completely. Her whereabouts became a favorite topic of internet sleuths. A favorite but incorrect theory was that it was residual trauma from the grueling shoot for \u003ci>The Shining\u003c/i>. Another was that the damage to her home after the Northridge Earthquake was the last straw.\u003c/p>\n\u003cp>To those living in Texas Hill Country, where Duvall lived for some 30 years, she was neither in “hiding” nor a recluse, but her circumstances were a mystery to both the media and many of her old Hollywood friends. That changed in 2016, when producers for the \u003ci>Dr. Phil\u003c/i> show tracked her down and aired a controversial hourlong interview with her in which she spoke about her mental health issues. “I’m very sick. I need help,” Duvall said on the program, which was widely criticized for being exploitative.\u003c/p>\n\u003cp>“I found out the kind of person he is the hard way,” Duvall told \u003cem>The Hollywood Reporter\u003c/em> in 2021.\u003c/p>\n\u003cp>\u003cem>THR\u003c/em> journalist Seth Abramovitch wrote at the time that he went on a pilgrimage to find her because, “it didn’t feel right for McGraw’s insensitive sideshow to be the final word on her legacy.”\u003c/p>\n\u003cp>Duvall attempted to restart her career, dipping her toe in with the indie horror \u003ci>The Forest Hills\u003c/i> that filmed in 2022 and premiered quietly in early 2023.\u003c/p>\n\u003cp>“Acting again — it’s so much fun,” Duvall told \u003cem>People\u003c/em> at the time. “It enriches your life.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>AP Film Writer Lindsey Bahr contributed to this report\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If \u003cem>Barbie\u003c/em> (and Cormac McCarthy) taught us anything, it’s that few symbols herald straight hypermasculinity quite like horses do.\u003c/p>\n\u003cp>Perhaps that’s why queer cowboy stories have endured in Hollywood — one way to make a love story interesting after all is by making it subversive or forbidden.\u003c/p>\n\u003cp>[aside postid='arts_13959918']Luke Gilford’s \u003cem>National Anthem\u003c/em> sits within that tradition of films. But it also doesn’t.\u003c/p>\n\u003cp>It’s true that 21-year-old Dylan (a phenomenal Charlie Plummer) has not been raised in an environment that celebrates or is even open to his sexuality. As a poor construction worker in the American Southwest and father figure to his younger brother, Dylan mostly stays quiet and keeps his head down when his mother (Robyn Lively) and co-workers scoff in disgust or make jokes about him being gay.\u003c/p>\n\u003cp>Although \u003cem>National Anthem\u003c/em> is indeed a story about star-crossed lovers, it is also, more importantly, a coming-of-age exploration of what it means for a person to find community and a place to belong. It also poignantly asks how much autonomy we have in that pursuit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In it, Dylan is pressured by his mom to take on more work in order to support their cash-strapped family. He happens to find it at a ranch unlike anything he’s ever seen — a queer community of rodeo performers living together in what seems like an idyllic oasis free from the repressive constraints of the outside world.\u003c/p>\n\u003cp>Almost nothing is said about each person’s sexuality or gender identity — it doesn’t need to be in a place like this, where fluidity and a rejection of norms is assumed.\u003c/p>\n\u003cp>Dylan, perhaps for the first time, begins to consider what his own gender performance could look like if he were not inhibited by society’s expectations.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oeGCjSOHfZ8&t=21s\u003c/p>\n\u003cp>The young construction worker is captivated by everyone’s strong sense of identity and the camaraderie that exists within the nameless group. He almost immediately sparks a romance with the enigmatic and free-spirited Sky (Eve Lindley), but their relationship is complicated by Sky’s existing open partnership with Pepe, the group’s leader.\u003c/p>\n\u003cp>[aside postid='arts_13960471']Cinematographer Katelin Arizmendi artfully cultivates a sense of wonder and awe at the landscape that’s almost its own character in the story. She also gives the film an inkling of surrealism, which heightens Dylan’s dreamlike stupor as he is swept up in this intoxicating romance.\u003c/p>\n\u003cp>When Dylan goes to his first rodeo with the group, a montage of majestic scenes that scream America — reminiscent of a Budweiser commercial — floods his gaze. But peppered in with the shots of bulls, horses and rugged landscapes are sights of queer romance, pride flags and drag queens touching up their makeup.\u003c/p>\n\u003cp>Although he finds a newfound freedom and acceptance here, the strain on his relationship with Sky forces Dylan to grapple with where he belongs — is it within the community or with his younger brother and struggling alcoholic mother?\u003c/p>\n\u003cp>Dylan’s family backstory is frustratingly under-developed, often relied on as a crutch to show that his life is difficult but never expounded upon or resolved in a satisfactory way. His absent father is referenced throughout, but it is unclear what impact, if any, this absence was meant to have had on him.\u003c/p>\n\u003cp>[aside postid='arts_13956604']Gilford, the son of a rodeo rider from Colorado, has a deep personal connection to his feature directorial debut. He had for much of his life an ambivalent relationship to his cowboy roots — until he found the International Gay Rodeo Association.\u003c/p>\n\u003cp>As both a participant and a researcher who conducted interviews and took photographs, Gilford observed that this was a way for members of the LGBTQ+ community to reclaim the idea of patriotism in a place where they traditionally are not welcome. \u003cem>National Anthem\u003c/em>, Gilford’s 2020 book of photography of the same name, documents scenes from these queer rodeos.\u003c/p>\n\u003cp>More than anything, Gilford’s film ought to be lauded for the way it continues telling a story about a subculture that few know exist.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘National Anthem’ is released nationwide on July 12, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Gilford, the son of a rodeo rider from Colorado, has a deep personal connection to his feature directorial debut. He had for much of his life an ambivalent relationship to his cowboy roots — until he found the International Gay Rodeo Association.\u003c/p>\n\u003cp>As both a participant and a researcher who conducted interviews and took photographs, Gilford observed that this was a way for members of the LGBTQ+ community to reclaim the idea of patriotism in a place where they traditionally are not welcome. \u003cem>National Anthem\u003c/em>, Gilford’s 2020 book of photography of the same name, documents scenes from these queer rodeos.\u003c/p>\n\u003cp>More than anything, Gilford’s film ought to be lauded for the way it continues telling a story about a subculture that few know exist.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘National Anthem’ is released nationwide on July 12, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Fly Me to the Moon\u003c/em> is better than it looks.\u003c/p>\n\u003cp>This is not a slam against the marketing campaign for the space race rom-com about a straight-laced NASA man and the Madison Avenue marketing savant brought in to sell the mission to the moon. It’s more about the state of theatrical moviegoing.\u003c/p>\n\u003cp>A film like this, with legitimate movie stars in Scarlett Johansson and Channing Tatum, a slick, glossy look, an original concept, and a sparkling title, is not a commonly occurring phenomenon at the local cineplex. We’ve been conditioned to see something like this and assume one of two things: It’s the product of a high-spending streamer, or it’s fake, like one of those movies-within-a-movie that’s mostly there for laughs but also at least somewhat plausible.\u003c/p>\n\u003cp>[aside postid='arts_13960462']Both assumptions are on point, but the former is essentially true: This is an Apple production that like \u003cem>Napoleon\u003c/em> and \u003cem>Killers of the Flower Moon\u003c/em> is going to theaters first, on Friday, through a traditional studio (Sony’s Columbia Pictures). It’s not just a gesture to theaters either — its streaming date has yet to even be announced.\u003c/p>\n\u003cp>The director is television veteran Greg Berlanti, whose films include \u003cem>Love, Simon\u003c/em> and \u003cem>Life as We Know It\u003c/em>. Here he seems to have taken a stylistic and tonal page from Peyton Reed’s \u003cem>Down with Love\u003c/em>, that 1960s via 2003 Rock Hudson/Doris Day pastiche starring Renée Zellweger and Ewan McGregor. The script, by Rose Gilroy and story, by Bill Kirstein and Keenan Flynn, is lighthearted and breezy with a pleasing screwball energy, giving Johansson the opportunity to use the full wattage of her movie star power as the shrewd, self-made Kelly Jones. She’s a kind of female Don Draper minus the melancholy and dalliances, but with some secret baggage and the ability to charm and persuade just about anyone.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lW7enw6mFxs\u003c/p>\n\u003cp>If you make it past the opening montage, a cringey history lesson that has all the depth and nuance of a half-page, single-space elementary school report on the space race, you’re in for a mostly pleasant, if meandering, ride compliments of Johansson, who produced, Tatum and a talented roster of supporting actors (Woody Harrelson, Ray Romano, Jim Rash).\u003c/p>\n\u003cp>Tatum might be a little miscast as the NASA launch director (and Korean War vet) Cole Davis. Though he is a good match for Johansson and the bevy of knit sweaters he sports throughout, his portrayal makes Cole too instantly likeable for there to be any sort of dramatic stakes or tension. Whether this was a miscalculation on the script level, the direction or the casting is hard to say. But there is no will-they-won’t-they, only when-will-they, which is not compelling storytelling when your runtime stretches over two hours.\u003c/p>\n\u003cp>This is a movie that is in no rush to get anywhere fast. In fact, the main selling point of the trailer, that Kelly has been hired to stage a fake moon landing in case anything goes wrong with Apollo 11, isn’t even introduced until deep into the film. It’s not the point of the story at all, just an aspect of it, which is a little disorienting during a first-time viewing.\u003c/p>\n\u003cp>[aside postid='arts_13960332']Rash, as a diva director-for-hire for this top-secret film project, makes these scenes very funny (although the recurring Kubrick jokes fall flat). Most attempts to reference the era beyond the great costuming and production design are also quite superficial — it’s a kind of rose-colored-glasses version of the late 1960s in which racism and homophobia are practically nonexistent. Misogyny and former President Richard Nixon are punchlines and tolerable nuisances.\u003c/p>\n\u003cp>Another blunder was spending too much time with the Apollo 11 astronauts, down to the obligatory launch — a sequence that we’ve seen so many times and so much more effectively that there is little to be gained in clumsily shoehorning it in this kind of film. It’s just an expensive distraction, grasping at grandeur that it didn’t really need.\u003c/p>\n\u003cp>\u003cem>Fly Me to the Moon\u003c/em> is best when it’s not taking itself too seriously. And the most worthwhile concept it sold is the idea of Johansson and Tatum (which, by the way, is a great reminder to rewatch \u003cem>Hail, Caesar!\u003c/em>) as a modern Day and Hudson. They have the charm. They just need material that does it justice.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Fly Me to the Moon’ is released nationwide on July 12, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Rash, as a diva director-for-hire for this top-secret film project, makes these scenes very funny (although the recurring Kubrick jokes fall flat). Most attempts to reference the era beyond the great costuming and production design are also quite superficial — it’s a kind of rose-colored-glasses version of the late 1960s in which racism and homophobia are practically nonexistent. Misogyny and former President Richard Nixon are punchlines and tolerable nuisances.\u003c/p>\n\u003cp>Another blunder was spending too much time with the Apollo 11 astronauts, down to the obligatory launch — a sequence that we’ve seen so many times and so much more effectively that there is little to be gained in clumsily shoehorning it in this kind of film. It’s just an expensive distraction, grasping at grandeur that it didn’t really need.\u003c/p>\n\u003cp>\u003cem>Fly Me to the Moon\u003c/em> is best when it’s not taking itself too seriously. And the most worthwhile concept it sold is the idea of Johansson and Tatum (which, by the way, is a great reminder to rewatch \u003cem>Hail, Caesar!\u003c/em>) as a modern Day and Hudson. They have the charm. They just need material that does it justice.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Fly Me to the Moon’ is released nationwide on July 12, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Know how you can tell if women’s sports has finally broken into the American mainstream consciousness? When your 82-year-old grandmother-in-law tells you, “They’ve been showing a lot more girls basketball on television these days.”\u003c/p>\n\u003cp>With viewership for women’s basketball at an all-time high, \u003cem>Power of the Dream\u003c/em> — Amazon’s new documentary directed by Dawn Porter that highlights the WNBA’s fight for equity and representation — arrives at an apex moment.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postid='arts_13957833']\u003c/span>Offering a candid look into the off-court activism of WNBAers during the COVID-ravaged 2020 season — as players mourn the loss of Black lives due to police violence and get involved in the Georgia senatorial race — the film isn’t what you’d expect from a basketball joint. There’s virtually no dribbling in it, and very little action about the sport itself. (Perhaps that’s communicated in the title, which is more poetic than it is athletic).\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postid='news_11986061']\u003c/span>And yet, this isn’t a polished look at the league’s imperviousness. It’s about the ugliness of pro sports in America: the struggles that even the world’s most successful, elite basketballers face, their battles to impact greater social change, and their sacrifices to improve conditions for marginalized communities, all while juggling their own needs that aren’t being met as a unionized workforce of 144 employees.\u003c/p>\n\u003cp>With a mix of news clips, original documentary footage, and interviews with notable sports journalists and WNBA icons (including Angel McCoughtry, Layshia Clarendon, and Elizabeth Williams), the film shows multiple dimensions of player-led change.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Rather than glorifying the WNBA’s public image (the film shows when the league misstepped by fining players for their social actions), the camera zooms in on players in genuine states of vulnerability and uncertainty — if not utter frustration — as they coordinate to stand up for their core beliefs. It helps that two of the featured athletes, Nneka Ogwumike and Sue Bird, widely considered to be among the best women hoopers of their generations, are behind the film’s production. The documentary shines brightest in moments that feel intimate: windows of genuine urgency and (figurative) locker room access that can be gained when the players themselves have a hand in the making.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/3000x1688+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Ff9%2F2d%2F0cec4df04f95a4e71957bbae31a2%2Fpotd-2024-fg-00070503-still018-3000.jpg\" alt=\"Layshia Clarendon in Power of the Dream.\">\u003cfigcaption>Layshia Clarendon in \u003cem>Power of the Dream.\u003c/em> \u003ccite> (Prime Video | Amazon MGM Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ultimately, the film asks: What responsibilities do modern professional athletes have? How do those responsibilities evolve, shift and deepen when layered with issues of gender, race and economics? And how do high-achieving humans respond when their dreams are challenged and interrupted?\u003c/p>\n\u003ch3>A legacy of WNBActivism\u003c/h3>\n\u003cp>\u003cem>Power of the Dream\u003c/em> constructs a framework beginning with the opening scene, when a group key players prepare to discuss their political views on live television while wearing black T-shirts that read “ARREST THE COPS WHO KILLED BREONNA TAYLOR” and “SAY HER NAME.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postid='arts_13956931']\u003c/span>From the outset, the film provides a microhistory on the legacy of social advocacy among WNBA players — despite being fined, targeted and criticized by league officials, media and fans. In 2016, the Minnesota Lynx drew ire from the Minnesota Police Department after members of the team spoke out against the killing of Philando Castile in nearby Falcon Heights. The team’s franchise player and four-time WNBA champion, Maya Moore, became the face of the player-led protests. The boldness of the Lynx — who, at the time, were the WNBA’s version of Michael Jordan’s Chicago Bulls of the ‘90s — initiated a chain of protests in the sports world culminating with Colin Kaepernick’s infamous NFL kneel later that year.\u003c/p>\n\u003cp>Moore would eventually take her fight for justice further, stepping away from basketball in 2019 to dedicate time towards freeing a wrongly convicted man (Jonathan Irons, her now-husband), and eventually retiring to fully pursue social justice causes. Moore’s story isn’t brand new, but, through the insights of journalists like Jemele Hill, the documentary argues that the magnitude of Moore’s actions haven’t been fully grasped yet. Her work is positioned as a reflection of the WNBA’s larger ethos of compassion in ways that are rarely seen in other major leagues.\u003c/p>\n\u003cp>https://twitter.com/sportsiren/status/1298883521327566854\u003c/p>\n\u003cp>Moore isn’t the only WNBA luminary who has risked her own neck to do the right thing. Much of the documentary focuses on the coordinated efforts of the league’s players at the height of the 2020 “Wubble.”\u003c/p>\n\u003cp>With the murders of Breonna Taylor and, months later, George Floyd, the league’s biggest stars take a unified stand. With televised games scheduled to air, they collectively refuse to compete as usual, instead gathering on the lawn of IMG Academy in Bradenton, Fla. — where their shortened, quarantined season took place — to hold a vigil. Every single WNBA player was in attendance. It’s among the most moving things you’ll ever see in professional sports. Imagine any other league pulling that off.\u003c/p>\n\u003cp>Holly Rowe, an ESPN reporter who was assigned to cover the WNBA’s COVID season, says in the documentary that those WNBA players embodied the most politicized group of pro athletes in U.S. history. These weren’t just individuals sharing comments on social media, or outliers spewing out-of-context, post-game press conference soundbites — it was a tactical, organized assemblage of the league’s entirety speaking out as one. And they sustained it throughout the whole season.\u003c/p>\n\u003ch3>Labor politics in the “W”\u003c/h3>\n\u003cp>For the uninitiated WNBA newbie, \u003cem>Power of the Dream \u003c/em>is an introduction to the players’ collaborative capacity for change. Indeed, the WNBA offers a case study in labor organizing that arguably no other major sports league in America can.\u003c/p>\n\u003cp>Ogwumike — a league stalwart, Stanford alumni and former No. 1 pick in the 2012 WNBA Draft — helmed the Women’s National Basketball Players Association during pivotal contract negotiations in 2019 and 2020.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/3000x1688+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F84%2F1b%2F837c76334846b66a009e79796113%2Fpotd-2024-fg-00011210-still002-3000.jpg\" alt=\"Nneka Ogwumike featured in Power of the Dream.\">\u003cfigcaption>Nneka Ogwumike featured in \u003cem>Power of the Dream.\u003c/em> \u003ccite> (Prime Video | Amazon MGM Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The filmmakers show Ogwumike and her colleagues strategizing, and then, like a fastbreak on the open court, coming up big. They \u003ca href=\"https://www.wnba.com/news/wnba-and-wnbpa-reach-tentative-agreement-on-groundbreaking-eight-year-collective-bargaining-agreement\">secured an unprecedented 53% salary increase and paid maternity leave\u003c/a>, among the largest, most progressive overhauls in U.S. sports bargaining history. (There’s still a long way to go: The WNBA’s top-paid stars will make around $250,000 in salaries this year; just a fraction of the NBA’s \u003cem>minimum \u003c/em>pay of over $1 million.)\u003c/p>\n\u003cp>The WNBA players’ victory, though a subplot in the film, serves a narrative function: it lays the groundwork for legitimizing the WNBA’s relentless efforts for improving conditions on multiple fronts — forming one spear tip in their multi-pronged demand for change that eventually reaches Congress.\u003c/p>\n\u003ch3>The Georgia U.S. Senate race\u003c/h3>\n\u003cp>The WNBA’s Atlanta Dream franchise — named after Dr. Martin Luther King’s timeless monologue — is the climactic end point of the documentary (see: \u003cem>Power of the \u003c/em>Dream\u003cem>)\u003c/em>. Though the filmmakers choose to explore league-wide issues plaguing athletes on various teams leading up to that moment, the overall exposition ultimately funnels towards Atlanta.\u003c/p>\n\u003cp>Amid the social turmoil of the 2020 season, Atlanta’s then-majority-owner, Republican Sen. Kelly Loeffler (who declined to be interviewed for the documentary) became a major source of disruption for the players when she discredited the WNBA’s women for their support of Black Lives Matter.\u003c/p>\n\u003cp>As the 2020 elections unfolded in Georgia, Loeffler was favored to win in a crucial Senate race as the incumbent candidate. WNBA players, once again, made history: they openly denounced Loeffler by strategically rallying around her opponent, Rev. Raphael Warnock.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/3000x1688+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F6f%2F20%2F0209a93847d99a01a79d7ae9af69%2Fpotd-2024-fg-00041411-still011-3000.jpg\" alt=\"Sue Bird featured in the new documentary Power of the Dream.\">\u003cfigcaption>Sue Bird featured in the new documentary \u003cem>Power of the Dream.\u003c/em> \u003ccite> (Prime Video | Amazon MGM Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Warnock held only 9% of voter support before the WNBA’s involvement, and the documentary positions the players’ support as crucial to his win. In the film, Warnock (the only male subject) largely credits the WNBA for his unprecedented victory, becoming Georgia’s first-ever Black senator. He remains in office.\u003c/p>\n\u003cp>Despite her monumental success on and off the court, Bird still grapples with the larger question of pro athletes’ responsibilities, and whether or not they should even exert their social and political influence at such a high level. It’s not lost on her, and her peers, that in order to make change for their communities, they must also do the work. For these players, that meant talking with family members and figures like Michelle Obama, getting involved with organizations like “Say Her Name,” doing research on candidates, and actually meeting Warnock before they officially endorsed him. Those duties are certainly not listed on the job description for a WNBA player — or any top-level athlete, for that matter.\u003c/p>\n\u003cp>“It’s never just been about basketball for us,” Bird says on camera. And for this particular group of hoopers, how could it be?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>\u003ci>Copyright 2024 NPR. To see more, \u003c/i>\u003c/b>\u003ca href=\"https://www.npr.org\">\u003cb>\u003ci>visit NPR\u003c/i>\u003c/b>\u003c/a>\u003cb>\u003ci>.\u003c/i>\u003c/b>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>Offering a candid look into the off-court activism of WNBAers during the COVID-ravaged 2020 season — as players mourn the loss of Black lives due to police violence and get involved in the Georgia senatorial race — the film isn’t what you’d expect from a basketball joint. There’s virtually no dribbling in it, and very little action about the sport itself. (Perhaps that’s communicated in the title, which is more poetic than it is athletic).\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>And yet, this isn’t a polished look at the league’s imperviousness. It’s about the ugliness of pro sports in America: the struggles that even the world’s most successful, elite basketballers face, their battles to impact greater social change, and their sacrifices to improve conditions for marginalized communities, all while juggling their own needs that aren’t being met as a unionized workforce of 144 employees.\u003c/p>\n\u003cp>With a mix of news clips, original documentary footage, and interviews with notable sports journalists and WNBA icons (including Angel McCoughtry, Layshia Clarendon, and Elizabeth Williams), the film shows multiple dimensions of player-led change.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Rather than glorifying the WNBA’s public image (the film shows when the league misstepped by fining players for their social actions), the camera zooms in on players in genuine states of vulnerability and uncertainty — if not utter frustration — as they coordinate to stand up for their core beliefs. It helps that two of the featured athletes, Nneka Ogwumike and Sue Bird, widely considered to be among the best women hoopers of their generations, are behind the film’s production. The documentary shines brightest in moments that feel intimate: windows of genuine urgency and (figurative) locker room access that can be gained when the players themselves have a hand in the making.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/3000x1688+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Ff9%2F2d%2F0cec4df04f95a4e71957bbae31a2%2Fpotd-2024-fg-00070503-still018-3000.jpg\" alt=\"Layshia Clarendon in Power of the Dream.\">\u003cfigcaption>Layshia Clarendon in \u003cem>Power of the Dream.\u003c/em> \u003ccite> (Prime Video | Amazon MGM Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ultimately, the film asks: What responsibilities do modern professional athletes have? How do those responsibilities evolve, shift and deepen when layered with issues of gender, race and economics? And how do high-achieving humans respond when their dreams are challenged and interrupted?\u003c/p>\n\u003ch3>A legacy of WNBActivism\u003c/h3>\n\u003cp>\u003cem>Power of the Dream\u003c/em> constructs a framework beginning with the opening scene, when a group key players prepare to discuss their political views on live television while wearing black T-shirts that read “ARREST THE COPS WHO KILLED BREONNA TAYLOR” and “SAY HER NAME.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>From the outset, the film provides a microhistory on the legacy of social advocacy among WNBA players — despite being fined, targeted and criticized by league officials, media and fans. In 2016, the Minnesota Lynx drew ire from the Minnesota Police Department after members of the team spoke out against the killing of Philando Castile in nearby Falcon Heights. The team’s franchise player and four-time WNBA champion, Maya Moore, became the face of the player-led protests. The boldness of the Lynx — who, at the time, were the WNBA’s version of Michael Jordan’s Chicago Bulls of the ‘90s — initiated a chain of protests in the sports world culminating with Colin Kaepernick’s infamous NFL kneel later that year.\u003c/p>\n\u003cp>Moore would eventually take her fight for justice further, stepping away from basketball in 2019 to dedicate time towards freeing a wrongly convicted man (Jonathan Irons, her now-husband), and eventually retiring to fully pursue social justice causes. Moore’s story isn’t brand new, but, through the insights of journalists like Jemele Hill, the documentary argues that the magnitude of Moore’s actions haven’t been fully grasped yet. Her work is positioned as a reflection of the WNBA’s larger ethos of compassion in ways that are rarely seen in other major leagues.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Moore isn’t the only WNBA luminary who has risked her own neck to do the right thing. Much of the documentary focuses on the coordinated efforts of the league’s players at the height of the 2020 “Wubble.”\u003c/p>\n\u003cp>With the murders of Breonna Taylor and, months later, George Floyd, the league’s biggest stars take a unified stand. With televised games scheduled to air, they collectively refuse to compete as usual, instead gathering on the lawn of IMG Academy in Bradenton, Fla. — where their shortened, quarantined season took place — to hold a vigil. Every single WNBA player was in attendance. It’s among the most moving things you’ll ever see in professional sports. Imagine any other league pulling that off.\u003c/p>\n\u003cp>Holly Rowe, an ESPN reporter who was assigned to cover the WNBA’s COVID season, says in the documentary that those WNBA players embodied the most politicized group of pro athletes in U.S. history. These weren’t just individuals sharing comments on social media, or outliers spewing out-of-context, post-game press conference soundbites — it was a tactical, organized assemblage of the league’s entirety speaking out as one. And they sustained it throughout the whole season.\u003c/p>\n\u003ch3>Labor politics in the “W”\u003c/h3>\n\u003cp>For the uninitiated WNBA newbie, \u003cem>Power of the Dream \u003c/em>is an introduction to the players’ collaborative capacity for change. Indeed, the WNBA offers a case study in labor organizing that arguably no other major sports league in America can.\u003c/p>\n\u003cp>Ogwumike — a league stalwart, Stanford alumni and former No. 1 pick in the 2012 WNBA Draft — helmed the Women’s National Basketball Players Association during pivotal contract negotiations in 2019 and 2020.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/3000x1688+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F84%2F1b%2F837c76334846b66a009e79796113%2Fpotd-2024-fg-00011210-still002-3000.jpg\" alt=\"Nneka Ogwumike featured in Power of the Dream.\">\u003cfigcaption>Nneka Ogwumike featured in \u003cem>Power of the Dream.\u003c/em> \u003ccite> (Prime Video | Amazon MGM Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The filmmakers show Ogwumike and her colleagues strategizing, and then, like a fastbreak on the open court, coming up big. They \u003ca href=\"https://www.wnba.com/news/wnba-and-wnbpa-reach-tentative-agreement-on-groundbreaking-eight-year-collective-bargaining-agreement\">secured an unprecedented 53% salary increase and paid maternity leave\u003c/a>, among the largest, most progressive overhauls in U.S. sports bargaining history. (There’s still a long way to go: The WNBA’s top-paid stars will make around $250,000 in salaries this year; just a fraction of the NBA’s \u003cem>minimum \u003c/em>pay of over $1 million.)\u003c/p>\n\u003cp>The WNBA players’ victory, though a subplot in the film, serves a narrative function: it lays the groundwork for legitimizing the WNBA’s relentless efforts for improving conditions on multiple fronts — forming one spear tip in their multi-pronged demand for change that eventually reaches Congress.\u003c/p>\n\u003ch3>The Georgia U.S. Senate race\u003c/h3>\n\u003cp>The WNBA’s Atlanta Dream franchise — named after Dr. Martin Luther King’s timeless monologue — is the climactic end point of the documentary (see: \u003cem>Power of the \u003c/em>Dream\u003cem>)\u003c/em>. Though the filmmakers choose to explore league-wide issues plaguing athletes on various teams leading up to that moment, the overall exposition ultimately funnels towards Atlanta.\u003c/p>\n\u003cp>Amid the social turmoil of the 2020 season, Atlanta’s then-majority-owner, Republican Sen. Kelly Loeffler (who declined to be interviewed for the documentary) became a major source of disruption for the players when she discredited the WNBA’s women for their support of Black Lives Matter.\u003c/p>\n\u003cp>As the 2020 elections unfolded in Georgia, Loeffler was favored to win in a crucial Senate race as the incumbent candidate. WNBA players, once again, made history: they openly denounced Loeffler by strategically rallying around her opponent, Rev. Raphael Warnock.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/3000x1688+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F6f%2F20%2F0209a93847d99a01a79d7ae9af69%2Fpotd-2024-fg-00041411-still011-3000.jpg\" alt=\"Sue Bird featured in the new documentary Power of the Dream.\">\u003cfigcaption>Sue Bird featured in the new documentary \u003cem>Power of the Dream.\u003c/em> \u003ccite> (Prime Video | Amazon MGM Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Warnock held only 9% of voter support before the WNBA’s involvement, and the documentary positions the players’ support as crucial to his win. In the film, Warnock (the only male subject) largely credits the WNBA for his unprecedented victory, becoming Georgia’s first-ever Black senator. He remains in office.\u003c/p>\n\u003cp>Despite her monumental success on and off the court, Bird still grapples with the larger question of pro athletes’ responsibilities, and whether or not they should even exert their social and political influence at such a high level. It’s not lost on her, and her peers, that in order to make change for their communities, they must also do the work. For these players, that meant talking with family members and figures like Michelle Obama, getting involved with organizations like “Say Her Name,” doing research on candidates, and actually meeting Warnock before they officially endorsed him. Those duties are certainly not listed on the job description for a WNBA player — or any top-level athlete, for that matter.\u003c/p>\n\u003cp>“It’s never just been about basketball for us,” Bird says on camera. And for this particular group of hoopers, how could it be?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>To Jeffrey Fraenkel, founder of San Francisco’s Fraenkel Gallery, celebrating their 45th anniversary with \u003ca href=\"https://roxie.com/series/fraenkel-film-festival/\">a film festival\u003c/a> is equal parts no-brainer and “why not?”\u003c/p>\n\u003cp>“I asked the entire staff to think outside of the box, since we don’t want to repeat ourselves, and we definitely wanted to do something new and fresh,” he says. Previous milestones have been marked by thematic exhibitions, hefty publications and in-gallery picnics.\u003c/p>\n\u003cp>[aside postID='arts_13957326']The \u003ca href=\"https://roxie.com/series/fraenkel-film-festival/\">Fraenkel Film Festival\u003c/a> is not coming completely out of left field. Film \u003ci>is\u003c/i> a form of photography, Fraenkel emphasizes, a collection of thousands of still images that come together as motion in the viewer’s mind. \u003c/p>\n\u003cp>So the gallery put out the call to 10 of their artists: What films would you like to share with others? The resulting 11-day festival, proceeds of which will benefit the Roxie, is an eclectic assortment of classics and arthouse flicks, spanning 1943’s \u003ci>\u003ca href=\"https://roxie.com/film/casablanca/\">Casablanca\u003c/a>\u003c/i> to 2016’s \u003ci>Moonlight\u003c/i>. Part of the fun in the assortment is seeing which two films each artist chose.\u003c/p>\n\u003cp>Carrie Mae Weems, whose poetic, expansive photographic work often addresses her own family history, selected \u003ci>\u003ca href=\"https://roxie.com/film/moonlight/\">Moonlight\u003c/a>\u003c/i>, Barry Jenkins’ quiet film depicting three moments in the life of a Black boy/teen/man. She also picked Ingmar Bergman’s \u003ci>\u003ca href=\"https://roxie.com/film/wild-strawberries/\">Wild Strawberries\u003c/a>\u003c/i>, the story of an older man facing his past decisions, present relationships and impending death while making a long car ride from Stockholm to Lund.\u003c/p>\n\u003cfigure id=\"attachment_13960408\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-scaled.jpg\" alt=\"Man with back to camera looks at woman standing in living room\" width=\"2560\" height=\"1955\" class=\"size-full wp-image-13960408\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-800x611.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-1020x779.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-768x587.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-1536x1173.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-2048x1564.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-1920x1466.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Still from Michaelangelo Antonioni’s ‘Blow-Up’ (1966), selected by Christian Marclay. \u003ccite>(Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Each artist’s choice is such an interesting reflection of who they are,” Fraenkel says. The other nine festival “programmers” are Kota Ezawa, Christian Marclay, Lee Friedlander, Robert Adams, Sophie Calle, Hiroshi Sugimoto, Nan Goldin, Martine Gutierrez and Richard Misrach.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Each night of the festival is given over to a particular artist, with their films showing back to back — perfect for a double feature. Many will be shown in 35mm, including \u003ci>Wild Strawberries\u003c/i>, \u003ci>\u003ca href=\"https://roxie.com/film/the-straight-story/\">The Straight Story\u003c/a>\u003c/i>, \u003ci>Casablanca\u003c/i>, \u003ci>Kwaidan\u003c/i>, \u003ci>\u003ca href=\"https://roxie.com/film/paths-of-glory/\">Paths of Glory\u003c/a>\u003c/i> and \u003ci>\u003ca href=\"https://roxie.com/film/the-truman-show/\">The Truman Show\u003c/a>\u003c/i>. The closing film, \u003ci>\u003ca href=\"https://roxie.com/film/the-right-stuff/\">The Right Stuff\u003c/a>\u003c/i>, will begin with a conversation between writer-director Philip Kaufman, now 87, and photographer Richard Misrach.\u003c/p>\n\u003cp>For Fraenkel, organizing a film festival is more than a fun experiment in format. It’s aboout the fundamental importance of viewing art in person, together.\u003c/p>\n\u003cp>“While we can all watch movies at home whenever we like,” he says, “nothing compares to watching a film in a real theater and sharing that experience with others.” It is, he says, “a profound psychological experience.”\u003c/p>\n\u003cfigure id=\"attachment_13960409\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/13.-The-Idiots.jpg\" alt=\"Group of people laugh, hug and dance, some blurred in motion\" width=\"1440\" height=\"810\" class=\"size-full wp-image-13960409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/13.-The-Idiots.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/13.-The-Idiots-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/13.-The-Idiots-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/13.-The-Idiots-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/13.-The-Idiots-768x432.jpg 768w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Still from Lars von Trier’s ‘The Idiots’ (1998), selected by Sophie Calle. \u003ccite>(MUBI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the gallery’s artists were given free rein in their selections, Fraenkel did add one of his own favorites to the mix: Joel and Ethan Coen’s 2000 adaptation of Homer’s \u003ci>The Odyssey\u003c/i>, \u003ci>\u003ca href=\"https://roxie.com/film/o-brother-where-art-thou/\">O Brother Where Art Thou?\u003c/a>\u003c/i> \u003c/p>\n\u003cp>[aside postID='arts_13951535']“Out of the 20 films that were chosen, no one selected either a Coen brothers film or a John Waters film. That was a surprise to me,” Fraenkel says. The gallery has a relationship with both directors. Joel Cohen \u003ca href=\"https://fraenkelgallery.com/exhibitions/lee-friedlander-framed-by-joel-coen\">curated an exhibition\u003c/a> of Lee Friedlander’s photographs for the gallery last year; Waters’ own work has been shown at the gallery, and he curated a group show for a Fraenkel project space in 2016. \u003c/p>\n\u003cp>“So I took the prerogative here of adding an opening night,” he says. “I think it is one of their great and underseen movies.”\u003c/p>\n\u003cp>The single addition is a minimal intrusion into the festival’s conceptual framework, representative of Fraenkel’s ego-less approach to running the gallery for the past 45 years. And even in this celebratory moment, the festival proceeds will be funneled towards another deserving cause. \u003c/p>\n\u003cp>“Does anyone not love the Roxie?” Fraenkel asks. “It’s been there for only 110 years, so it’s a little bit ahead of Fraenkel Gallery, but it has just this beautiful DNA that one can feel the moment one walks in.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Fraenkel Film Festival takes place July 9–20, 2024 at the Roxie Theater (3125 16th St., San Francisco). Tickets are $16 per film, $72 for a six-film pass or $200 for an all-films pass. \u003ca href=\"https://roxie.com/series/fraenkel-film-festival/\">Click here for tickets and more information\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>To Jeffrey Fraenkel, founder of San Francisco’s Fraenkel Gallery, celebrating their 45th anniversary with \u003ca href=\"https://roxie.com/series/fraenkel-film-festival/\">a film festival\u003c/a> is equal parts no-brainer and “why not?”\u003c/p>\n\u003cp>“I asked the entire staff to think outside of the box, since we don’t want to repeat ourselves, and we definitely wanted to do something new and fresh,” he says. Previous milestones have been marked by thematic exhibitions, hefty publications and in-gallery picnics.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The \u003ca href=\"https://roxie.com/series/fraenkel-film-festival/\">Fraenkel Film Festival\u003c/a> is not coming completely out of left field. Film \u003ci>is\u003c/i> a form of photography, Fraenkel emphasizes, a collection of thousands of still images that come together as motion in the viewer’s mind. \u003c/p>\n\u003cp>So the gallery put out the call to 10 of their artists: What films would you like to share with others? The resulting 11-day festival, proceeds of which will benefit the Roxie, is an eclectic assortment of classics and arthouse flicks, spanning 1943’s \u003ci>\u003ca href=\"https://roxie.com/film/casablanca/\">Casablanca\u003c/a>\u003c/i> to 2016’s \u003ci>Moonlight\u003c/i>. Part of the fun in the assortment is seeing which two films each artist chose.\u003c/p>\n\u003cp>Carrie Mae Weems, whose poetic, expansive photographic work often addresses her own family history, selected \u003ci>\u003ca href=\"https://roxie.com/film/moonlight/\">Moonlight\u003c/a>\u003c/i>, Barry Jenkins’ quiet film depicting three moments in the life of a Black boy/teen/man. She also picked Ingmar Bergman’s \u003ci>\u003ca href=\"https://roxie.com/film/wild-strawberries/\">Wild Strawberries\u003c/a>\u003c/i>, the story of an older man facing his past decisions, present relationships and impending death while making a long car ride from Stockholm to Lund.\u003c/p>\n\u003cfigure id=\"attachment_13960408\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-scaled.jpg\" alt=\"Man with back to camera looks at woman standing in living room\" width=\"2560\" height=\"1955\" class=\"size-full wp-image-13960408\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-800x611.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-1020x779.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-768x587.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-1536x1173.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-2048x1564.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/07.-Blow-Up-1920x1466.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Still from Michaelangelo Antonioni’s ‘Blow-Up’ (1966), selected by Christian Marclay. \u003ccite>(Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Each artist’s choice is such an interesting reflection of who they are,” Fraenkel says. The other nine festival “programmers” are Kota Ezawa, Christian Marclay, Lee Friedlander, Robert Adams, Sophie Calle, Hiroshi Sugimoto, Nan Goldin, Martine Gutierrez and Richard Misrach.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Each night of the festival is given over to a particular artist, with their films showing back to back — perfect for a double feature. Many will be shown in 35mm, including \u003ci>Wild Strawberries\u003c/i>, \u003ci>\u003ca href=\"https://roxie.com/film/the-straight-story/\">The Straight Story\u003c/a>\u003c/i>, \u003ci>Casablanca\u003c/i>, \u003ci>Kwaidan\u003c/i>, \u003ci>\u003ca href=\"https://roxie.com/film/paths-of-glory/\">Paths of Glory\u003c/a>\u003c/i> and \u003ci>\u003ca href=\"https://roxie.com/film/the-truman-show/\">The Truman Show\u003c/a>\u003c/i>. The closing film, \u003ci>\u003ca href=\"https://roxie.com/film/the-right-stuff/\">The Right Stuff\u003c/a>\u003c/i>, will begin with a conversation between writer-director Philip Kaufman, now 87, and photographer Richard Misrach.\u003c/p>\n\u003cp>For Fraenkel, organizing a film festival is more than a fun experiment in format. It’s aboout the fundamental importance of viewing art in person, together.\u003c/p>\n\u003cp>“While we can all watch movies at home whenever we like,” he says, “nothing compares to watching a film in a real theater and sharing that experience with others.” It is, he says, “a profound psychological experience.”\u003c/p>\n\u003cfigure id=\"attachment_13960409\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/13.-The-Idiots.jpg\" alt=\"Group of people laugh, hug and dance, some blurred in motion\" width=\"1440\" height=\"810\" class=\"size-full wp-image-13960409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/13.-The-Idiots.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/13.-The-Idiots-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/13.-The-Idiots-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/13.-The-Idiots-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/13.-The-Idiots-768x432.jpg 768w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Still from Lars von Trier’s ‘The Idiots’ (1998), selected by Sophie Calle. \u003ccite>(MUBI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the gallery’s artists were given free rein in their selections, Fraenkel did add one of his own favorites to the mix: Joel and Ethan Coen’s 2000 adaptation of Homer’s \u003ci>The Odyssey\u003c/i>, \u003ci>\u003ca href=\"https://roxie.com/film/o-brother-where-art-thou/\">O Brother Where Art Thou?\u003c/a>\u003c/i> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Out of the 20 films that were chosen, no one selected either a Coen brothers film or a John Waters film. That was a surprise to me,” Fraenkel says. The gallery has a relationship with both directors. Joel Cohen \u003ca href=\"https://fraenkelgallery.com/exhibitions/lee-friedlander-framed-by-joel-coen\">curated an exhibition\u003c/a> of Lee Friedlander’s photographs for the gallery last year; Waters’ own work has been shown at the gallery, and he curated a group show for a Fraenkel project space in 2016. \u003c/p>\n\u003cp>“So I took the prerogative here of adding an opening night,” he says. “I think it is one of their great and underseen movies.”\u003c/p>\n\u003cp>The single addition is a minimal intrusion into the festival’s conceptual framework, representative of Fraenkel’s ego-less approach to running the gallery for the past 45 years. And even in this celebratory moment, the festival proceeds will be funneled towards another deserving cause. \u003c/p>\n\u003cp>“Does anyone not love the Roxie?” Fraenkel asks. “It’s been there for only 110 years, so it’s a little bit ahead of Fraenkel Gallery, but it has just this beautiful DNA that one can feel the moment one walks in.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Fraenkel Film Festival takes place July 9–20, 2024 at the Roxie Theater (3125 16th St., San Francisco). Tickets are $16 per film, $72 for a six-film pass or $200 for an all-films pass. \u003ca href=\"https://roxie.com/series/fraenkel-film-festival/\">Click here for tickets and more information\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Sharply Funny ‘Janet Planet’ Perfectly Captures the Feel of a Long, Hot Summer",
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"content": "\u003cp>Amid the current crop of summer movies, I can’t think of one that captures the \u003cem>feeling\u003c/em> of summer more evocatively than \u003cem>Janet Planet. \u003c/em>Much of the story takes place in a rustic house in woodsy Western Massachusetts; by day, sunlight streams in through enormous windows, and at night, chirping crickets flood the soundtrack. The celebrated playwright Annie Baker, here writing and directing her first film, has uncanny powers of observation and a talent for evoking time and place. She also has two memorable lead characters and a sharply funny and moving story to tell.\u003c/p>\n\u003cp>It’s the summer of 1991. The story begins when 11-year-old Lacy, played by the terrific newcomer Zoe Ziegler, calls her mom from camp and demands to be taken home early; her exact words are “I’m gonna kill myself if you don’t come get me.”\u003c/p>\n\u003cp>[aside postid='arts_13960332']Lacy is a shy misfit with big owlish glasses and a flair for deadpan exaggeration. She and her single mom, Janet, who’s played by a subtly luminous Julianne Nicholson, are extremely close, as we can see when Janet duly comes to fetch Lacy and bring her home. Later at their house, Janet puts Lacy to bed and listens to her vent.\u003c/p>\n\u003cp>Baker isn’t one to hurry her characters along. Her plays — the best known of which is her Pulitzer-winning 2013 drama, \u003cem>The Flick\u003c/em> — have been justly praised for bringing a new kind of naturalism to the stage, especially in the way the actors retain the stammers and silences of normal conversation. She brings that same sensibility to \u003cem>Janet Planet\u003c/em>.\u003c/p>\n\u003cp>Baker includes a few loving nods to her background in theater; at various points, Lacy plays with a small puppet theater, complete with handmade clay figurines, and in a later scene, she and Janet attend an outdoor performance featuring actors in elaborate costumes. But the movie never feels stagey. It was shot on 16-millimeter film by Maria von Hausswolff, who previously filmed the visually stunning Icelandic drama \u003cem>Godland\u003c/em>, and her use of natural light and precise, fine-grained details feel transportingly cinematic.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_aBF_v0gvpQ\u003c/p>\n\u003cp>The movie is divided into three loose chapters, each one focused on a friend or significant other of Janet’s who becomes a houseguest for a spell. First up is her boyfriend Wayne, played by a gruff Will Patton, who has a daughter around Lacy’s age but doesn’t take too kindly to Lacy herself. He’s soon out the door.\u003c/p>\n\u003cp>In the second chapter we meet Regina, played by a wonderful Sophie Okonedo, a free-spirited drifter who comes to stay with Janet and Lacy after leaving a local hippie commune — basically a cult, though everyone is careful not to use that word. Regina initially brings a breath of fresh air into the house, though she proves insensitive and tactless, especially around Janet, and soon overstays her welcome.\u003c/p>\n\u003cp>[aside postid='arts_13960151']The third houseguest — Avi, played by Elias Koteas — is Regina’s ex-partner and the leader of that hippie commune. Avi is the most mysterious presence in the movie, and it’s through his short-lived relationship with Janet that we fully grasp how profoundly unhappy she is.\u003c/p>\n\u003cp>The title \u003cem>Janet Planet\u003c/em> has many meanings — it’s the name of the acupuncture studio that Janet operates out of the house. It’s also a passing reference to the nickname that \u003ca href=\"https://www.npr.org/artists/15396571/van-morrison\" target=\"15396571\" rel=\"noopener\">Van Morrison\u003c/a> gave the songwriter Janet Rigsbee, who inspired a lot of his love songs during their five-year marriage. But the title is most meaningful as it frames our understanding of Janet, whose quiet magnetism really does seem to draw other people, especially men, into her orbit. As we see in Nicholson’s heartbreaking performance, it’s been as much a curse as it is a blessing.\u003c/p>\n\u003cp>One of the movie’s subtlest achievements is the way it clues us into Janet’s perspective, even as it keeps Janet herself at a bit of a distance. Much of the time we’re studying Janet through Lacy’s eyes, and what’s uncanny is the way Baker captures a sense of the girl’s growing disillusionment — that intensely specific moment when a child begins to see even a doting parent in a clear and not always flattering new light. By the end of \u003cem>Janet Planet\u003c/em>, not much has happened, and yet something momentous seems to have taken place. You want Baker to return to these characters, to show us how Janet and Lacy continue to change and grow, together and apart, in the years — and the summers — to come.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Janet Planet’ is released nationwide on June 28, 2024.\u003c/em>\u003c/p>\n\n",
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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": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"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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"masters-of-scale": {
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},
"mindshift": {
"id": "mindshift",
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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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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"order": 11
},
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"on-the-media": {
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"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
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"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
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"order": 14
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
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