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"content": "\u003cp>History is never really linear, no matter how nicely it’s packaged. \u003cem>It Was All a Dream\u003c/em>, a new documentary by \u003ca href=\"https://www.kqed.org/arts/13848278/making-surviving-r-kelly-a-conversation-with-executive-producer-dream-hampton\">dream hampton\u003c/a>, is a collection of archival footage from the famed filmmaker’s early days covering hip-hop. This unearthed material, found in hampton’s home decades later, shows how complicated the gleam of rap’s golden age was even before it was minted.\u003c/p>\n\u003cp>The director’s visual memoir, which premiered at the 2024 Tribeca Film Festival, is a selection of roving snapshots of life from 1993 to 1995, a pivotal period when Dr. Dre’s \u003cem>The Chronic\u003c/em> stamped the flag in the West Coast and the \u003ca href=\"https://www.kqed.org/arts/13847666/hip-hop-deserves-that-respect-honoring-the-notorious-b-i-g-wu-tang-clan-in-nyc\">Notorious B.I.G.\u003c/a>’s \u003cem>Ready To Die\u003c/em> was the answer from the East, when the genre itself was transitioning from being a Black cultural dialogue to a money-making, mainstream fascination. It’s also when rap feminist foremothers were the fledglings weeding through a messy love-hate relationship timeline with the artform.\u003c/p>\n\u003cp>[aside postid='arts_13932030']During this time, new acts were popping up everywhere and hampton was getting all the footage she could. Before they were prolific rap icons or masters behind the boards, they were as hampton writes later, “kamikazee capitalists who just happened to be teenagers,” young men and women making sense out of the world. The film welcomes the viewer into intimate, informal interviews with Notorious B.I.G, Snoop Dogg and Method Man, smirked, bright-eyed faces of artists who would become bonafide stars way before their hip-hop or Hollywood personas were cemented.\u003c/p>\n\u003cp>With roots in hip-hop journalism, hampton (who stylizes her name in all lowercase as a nod to Black feminist bell hooks) is a writer, producer and filmmaker who’s penned influential pieces about music and culture for \u003cem>The Village Voice\u003c/em>, \u003cem>Vibe\u003c/em>, \u003cem>The Source\u003c/em> and more. She has positioned her lens to cover movements of both subjugation and liberation, including the award-winning documentaries \u003ca href=\"https://www.kqed.org/pop/109568/surviving-r-kelly-producer-dream-hampton-takes-on-ecosystem-that-supported-the-star\">\u003cem>Surviving R. Kelly\u003c/em>\u003c/a> and \u003cem>Ladies First: A Story of Women in Hip-Hop\u003c/em>.\u003c/p>\n\u003cp>Though the exclusivity of the classic material is the draw, \u003cem>It Was All a Dream \u003c/em>stands out for another reason. By partially making herself the subject of the doc, hampton does what few artists ever have the courage or humility to do: show their first drafts. Though the narration of the film is pulled from articles she’d written in the same time period — eloquent words that now feel like sacred texts of early hip-hop feminist theory — the footage shows a much less incisive critic. It’s a period when hampton was a film student at NYU and, just as her subjects, still figuring it out as she went.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For most of the film, hampton is a grinning, tomboy femme fly on the wall. She’s much more in documentarian mode than interviewer while in studio sessions, backstage at shows and sharing blunts in the back of Biggie’s Benz. B.I.G’s booming laugh and Coogi-down’d presence is a centerpiece of the visual. (Biggie’s own son, C.J. Wallace, became an executive producer on the project after hampton showed him footage of his late father.) For Frank White fans, it’s a treasure trove of material. For hampton fans, it’s a window into the complexities — and the complicity — of trying to cover someone as both a subject and a friend.\u003c/p>\n\u003cp>There are behind the scenes looks at \u003cem>Source\u003c/em> photo shoots in progress with Onyx and \u003ca href=\"https://www.kqed.org/arts/13911949/cypress-hill-documentary-showtime-insane-in-the-brain-estevan-oriol\">Cypress Hill\u003c/a>; cross-coast studio sessions featuring the likes of \u003ca href=\"https://www.kqed.org/bayareabites/112562/from-mobb-deep-rapper-a-cookbook-for-healthy-eating-in-prison\">Mobb Deep\u003c/a>, Q-Tip, Snoop, Dre, Tha Dogg Pound, Lady of Rage and Warren G cooking up soon-to-be classics; and shots of Big freestyling off the dome and his (\u003ca href=\"https://www.kqed.org/arts/13954740/diddy-allegations-sean-combs-raids-sex-trafficking-cassie-joi-rod-harve-pierre-jane-doe\">recently besmirched\u003c/a>) Bad Boy exec, Puff Daddy, mimicking his flow. But when hampton does question her subjects or convenes with her editors\u003cem>, \u003c/em>she uses her access, intellect and curiosity to not only capture the moment, but really zoom in.\u003c/p>\n\u003cp>[aside postid='arts_13934460']hampton films herself in a brainstorm with \u003cem>The Source\u003c/em> associate editor Kierna Mayo and tries to chart when misogyny became so “overbearing” in the music. “We just have to be careful to analyze it wholly,” Mayo says of hampton’s pitch. When hampton hosts a roundtable discussion and photoshoot (attended by now-defamed executive Russell Simmons) with rappers Nikki D, Boss, LeShaun and Hurricane Gloria, the women break down, as hampton writes, having to be “three times as good” in the face of hip-hop’s sexist double standard.\u003c/p>\n\u003cp>“Ain’t nobody at this table right here scared of being called a bitch,” says Nikki D, Def Jam Recording’s first signed female rapper. “You can call me a bitch all you want to, but you know what you can and what you can’t do with me.”\u003c/p>\n\u003cp>In one studio session where Big, bathed in red light, raps lines of what will become a feature on Pudgee tha Phat Bastard’s “\u003ca href=\"https://www.youtube.com/watch?v=PM0Yvpfu9AQ\">Think Big\u003c/a>” and freestyles a joke about a “rap rapist,” hampton appears from slightly off to the side to say, while laughing, that she’s offended by the joke. Even more telling, there is a scene about an hour in where Big scolds a young Lil’ Kim, his Junior M.A.F.I.A artist and girlfriend at the time, about her attitude and not taking pictures. While Kim ignores him at first, Big leans over and lifts up a chair, an action that makes Kim visibly flinch. It’s no more than a minute, but it’s a glimpse of the unspoken dynamic of their relationship, one that Kim would later speak on as being violent, caught on camera by hampton.\u003c/p>\n\u003cp>During an interview with Guru, hampton follows up a question to the rapper-producer about rap fantasies with a counter about the very real virulence towards women in the rhymes. “Why do n****s wanna kill bitches?” she poses to him clearly. Guru’s expression never changes but he lets out a small laugh as a brush-off. He then flips the question, rationalizing that maybe “bitches wanna kill n****s”; that there’s women who “don’t have their sh** together” and makes the distinction that rappers aren’t talking about women who are intelligent with ambition.\u003c/p>\n\u003cp>[aside postid='arts_13927349']These same themes of exceptionalism and compartmentalization come around often enough that they repeatedly obscure the point hampton is trying to drive in the discourse. Even with her feminist theory and moments of fearlessness, try as she might, her voice is not cutting through just yet. Maybe because her audience never really wants to change or maybe because it’s a dichotomous thesis she’s still wrestling with herself.\u003c/p>\n\u003cp>One of the last scenes in the doc finds hampton on-camera, looking downward at the Hudson River as she travels on the Staten Island Ferry. As her eyelashes brush the far-off Twin Towers in the Manhattan background, hampton appears introspective and frustrated. She’d just had a debate with Wu-Tang Clan’s Method Man, who’s no more than 23 at the time, about his own misogynistic lyrics. “I don’t like when brothers make distinctions between women like some of us are hoodrats and some of us are goddesses. I think that we’re all goddesses,” hampton says to a friend. She remembers her interview with \u003ca href=\"https://www.kqed.org/arts/13934043/leila-steinberg-tupac-shakur-manager\">Tupac Shakur\u003c/a>, not shown in the film, annoyed with her missed opportunity, admitting, “I don’t know if I was challenging enough.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Though the film promises never-before-seen footage of hip-hop greats, \u003cem>It Was All a Dream \u003c/em>is really a nostalgic, nascent Trojan horse, one that shows the important, imperfect, initial seed-sowing of the deeper questions we’re still tilling as a hip-hop culture today.\u003c/p>\n\u003chr>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For most of the film, hampton is a grinning, tomboy femme fly on the wall. She’s much more in documentarian mode than interviewer while in studio sessions, backstage at shows and sharing blunts in the back of Biggie’s Benz. B.I.G’s booming laugh and Coogi-down’d presence is a centerpiece of the visual. (Biggie’s own son, C.J. Wallace, became an executive producer on the project after hampton showed him footage of his late father.) For Frank White fans, it’s a treasure trove of material. For hampton fans, it’s a window into the complexities — and the complicity — of trying to cover someone as both a subject and a friend.\u003c/p>\n\u003cp>There are behind the scenes looks at \u003cem>Source\u003c/em> photo shoots in progress with Onyx and \u003ca href=\"https://www.kqed.org/arts/13911949/cypress-hill-documentary-showtime-insane-in-the-brain-estevan-oriol\">Cypress Hill\u003c/a>; cross-coast studio sessions featuring the likes of \u003ca href=\"https://www.kqed.org/bayareabites/112562/from-mobb-deep-rapper-a-cookbook-for-healthy-eating-in-prison\">Mobb Deep\u003c/a>, Q-Tip, Snoop, Dre, Tha Dogg Pound, Lady of Rage and Warren G cooking up soon-to-be classics; and shots of Big freestyling off the dome and his (\u003ca href=\"https://www.kqed.org/arts/13954740/diddy-allegations-sean-combs-raids-sex-trafficking-cassie-joi-rod-harve-pierre-jane-doe\">recently besmirched\u003c/a>) Bad Boy exec, Puff Daddy, mimicking his flow. But when hampton does question her subjects or convenes with her editors\u003cem>, \u003c/em>she uses her access, intellect and curiosity to not only capture the moment, but really zoom in.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>hampton films herself in a brainstorm with \u003cem>The Source\u003c/em> associate editor Kierna Mayo and tries to chart when misogyny became so “overbearing” in the music. “We just have to be careful to analyze it wholly,” Mayo says of hampton’s pitch. When hampton hosts a roundtable discussion and photoshoot (attended by now-defamed executive Russell Simmons) with rappers Nikki D, Boss, LeShaun and Hurricane Gloria, the women break down, as hampton writes, having to be “three times as good” in the face of hip-hop’s sexist double standard.\u003c/p>\n\u003cp>“Ain’t nobody at this table right here scared of being called a bitch,” says Nikki D, Def Jam Recording’s first signed female rapper. “You can call me a bitch all you want to, but you know what you can and what you can’t do with me.”\u003c/p>\n\u003cp>In one studio session where Big, bathed in red light, raps lines of what will become a feature on Pudgee tha Phat Bastard’s “\u003ca href=\"https://www.youtube.com/watch?v=PM0Yvpfu9AQ\">Think Big\u003c/a>” and freestyles a joke about a “rap rapist,” hampton appears from slightly off to the side to say, while laughing, that she’s offended by the joke. Even more telling, there is a scene about an hour in where Big scolds a young Lil’ Kim, his Junior M.A.F.I.A artist and girlfriend at the time, about her attitude and not taking pictures. While Kim ignores him at first, Big leans over and lifts up a chair, an action that makes Kim visibly flinch. It’s no more than a minute, but it’s a glimpse of the unspoken dynamic of their relationship, one that Kim would later speak on as being violent, caught on camera by hampton.\u003c/p>\n\u003cp>During an interview with Guru, hampton follows up a question to the rapper-producer about rap fantasies with a counter about the very real virulence towards women in the rhymes. “Why do n****s wanna kill bitches?” she poses to him clearly. Guru’s expression never changes but he lets out a small laugh as a brush-off. He then flips the question, rationalizing that maybe “bitches wanna kill n****s”; that there’s women who “don’t have their sh** together” and makes the distinction that rappers aren’t talking about women who are intelligent with ambition.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>These same themes of exceptionalism and compartmentalization come around often enough that they repeatedly obscure the point hampton is trying to drive in the discourse. Even with her feminist theory and moments of fearlessness, try as she might, her voice is not cutting through just yet. Maybe because her audience never really wants to change or maybe because it’s a dichotomous thesis she’s still wrestling with herself.\u003c/p>\n\u003cp>One of the last scenes in the doc finds hampton on-camera, looking downward at the Hudson River as she travels on the Staten Island Ferry. As her eyelashes brush the far-off Twin Towers in the Manhattan background, hampton appears introspective and frustrated. She’d just had a debate with Wu-Tang Clan’s Method Man, who’s no more than 23 at the time, about his own misogynistic lyrics. “I don’t like when brothers make distinctions between women like some of us are hoodrats and some of us are goddesses. I think that we’re all goddesses,” hampton says to a friend. She remembers her interview with \u003ca href=\"https://www.kqed.org/arts/13934043/leila-steinberg-tupac-shakur-manager\">Tupac Shakur\u003c/a>, not shown in the film, annoyed with her missed opportunity, admitting, “I don’t know if I was challenging enough.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though the film promises never-before-seen footage of hip-hop greats, \u003cem>It Was All a Dream \u003c/em>is really a nostalgic, nascent Trojan horse, one that shows the important, imperfect, initial seed-sowing of the deeper questions we’re still tilling as a hip-hop culture today.\u003c/p>\n\u003chr>\n\n\u003c/div>\u003c/p>",
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"title": "‘Treasure’ Could Have Gone Terribly Wrong",
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"content": "\u003cp>There are so many ways that \u003cem>Treasure\u003c/em> could go wrong. The left-field casting of lit-Brit Stephen Fry as a Polish Holocaust survivor and Manhattan enfant terrible Lena Dunham as his unhappy daughter. The clichés and stereotypes of a cross-generational roots trip to the Old Country. The inevitable tonal shifts from awkwardness to farce to pathos.\u003c/p>\n\u003cp>So it’s a relief to report that \u003cem>Treasure\u003c/em> (opening Friday June 14 at the Rialto Cinemas 9, Opera Plaza Cinemas 4, Century Tanforan 20 and Century 20 Redwood Downtown) delivers a memorably meandering journey with a couple of knockout sequences. German writer-director Julia von Heinz brings a blend of tenderness and toughness to her stripped-back adaptation of \u003cem>Too Many Men\u003c/em>, the 2001 autobiographical novel by New York writer Lily Brett. Rewarding up to a point, the film would have benefitted from more of a willingness to look — and venture — into the abyss.\u003c/p>\n\u003cfigure id=\"attachment_13959834\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-1-Courtesy-Bleecker-Street.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959834\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-1-Courtesy-Bleecker-Street.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-1-Courtesy-Bleecker-Street-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-1-Courtesy-Bleecker-Street-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-1-Courtesy-Bleecker-Street-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-1-Courtesy-Bleecker-Street-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-1-Courtesy-Bleecker-Street-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Lena Dunham in ‘Treasure.’ \u003ccite>(Bleecker Street and FilmNation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Treasure\u003c/em> is keenly interested in the complicated Polish experience of World War II and its Soviet afterlife, as well as the immense suffering of the Jewish population. The freshest element of the film, though, is its allusive depiction of the difficulties of being a child of Holocaust survivors.\u003c/p>\n\u003cp>Set in 1991, a hazy patch of the past that initially puts us at some distance from the characters and place, \u003cem>Treasure\u003c/em> opens with Ruth and Edek at a cheerless Warsaw airport. We gather that the trip is Ruth’s idea; a music journalist in her mid-30s, she’s decided she wants to see where her dad grew up.\u003c/p>\n\u003cp>Ruth is underwritten — not a fatal flaw, since the film spins on what’s gone unsaid between her and her father — so we fill her in with Dunham’s screen persona: intelligent, underachieving, unsentimental, unlucky in love and self-aware (up to a point). Ruth is witheringly uncharismatic, but gets her juice from Dunham’s overriding quality as an actress: unpredictability.\u003c/p>\n\u003cfigure id=\"attachment_13959832\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-6-Courtesy-Bleecker-Street.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959832\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-6-Courtesy-Bleecker-Street.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-6-Courtesy-Bleecker-Street-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-6-Courtesy-Bleecker-Street-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-6-Courtesy-Bleecker-Street-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-6-Courtesy-Bleecker-Street-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-6-Courtesy-Bleecker-Street-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Lena Dunham and Stephen Fry in ‘Treasure.’ \u003ccite>(Bleecker Street and FilmNation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fry plays Edek as a 20th Century Tevye, complete with bushy gray beard and booming voice. But where the Yiddish-speaking original bore the burdens of shtetl life on a milk wagon, Edek labors to give the impression of a man whose pain, if not every iota of sadness, is in the past.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Yet we can see that Edek’s resistance to Ruth’s train itinerary isn’t philosophical but molecular. He refuses to ride the rails to Lodz or anywhere else, hiring a taxi driver instead as their chauffeur-slash-tour guide.\u003c/p>\n\u003cp>\u003cem>Treasure\u003c/em> kicks into gear when Edek and Ruth find his childhood home. The family living in the barely maintained apartment are suspicious of the Jewish visitors’ motives, but nevertheless offer basic European hospitality. The appearance of the teapot rocks Edek; it was his grandmother’s. \u003c/p>\n\u003cp>It rocks us, too. The tea set is the only thing of quality this poor Polish family has. Whether obtained through opportunism (they nabbed the apartment when Edek’s family was deported) or luck (it was among the possessions left behind), it is a symbol of dignity. After decades of Soviet-era depradations, it is also a liquid asset if American Jews want to purchase their heirloom.\u003c/p>\n\u003cfigure id=\"attachment_13959833\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-5-Courtesy-Bleecker-Street.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959833\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-5-Courtesy-Bleecker-Street.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-5-Courtesy-Bleecker-Street-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-5-Courtesy-Bleecker-Street-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-5-Courtesy-Bleecker-Street-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-5-Courtesy-Bleecker-Street-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-5-Courtesy-Bleecker-Street-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Fry in ‘Treasure.’ \u003ccite>(Bleecker Street and FilmNation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the film’s recurring “jokes” is that the Poles know the value of a dollar far better than the Americans. The implications of the teapot transaction are quite profound, actually, because they reveal Ruth’s desire to connect with relatives she never knew, as well as her urge to make a gesture (in the form of a gift) to Edek. \u003c/p>\n\u003cp>\u003cem>Treasure\u003c/em>, like every work related to the Holocaust, is concerned with how the past informs and influences the present. What are the moments we treasure, or are scarred by? What is the value of memories, after all? Are they worth the price?\u003c/p>\n\u003cp>The movie subtly yet viscerally brings this home with a pair of parallel scenes. A visit to a Jewish cemetery in Lodz at Ruth’s request leaves Edek unmoved. “We don’t have a family plot,” he declares. At Auschwitz, however, he loses it, kicking the weeds at an unmarked site where he last saw his family after getting off the transport train.\u003c/p>\n\u003cfigure id=\"attachment_13959831\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-8-Courtesy-Bleecker-Street.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959831\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-8-Courtesy-Bleecker-Street.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-8-Courtesy-Bleecker-Street-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-8-Courtesy-Bleecker-Street-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-8-Courtesy-Bleecker-Street-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-8-Courtesy-Bleecker-Street-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-8-Courtesy-Bleecker-Street-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Fry, Lena Dunham and Zbigniew Zamachowski in ‘Treasure.’ \u003ccite>(Bleecker Street and FilmNation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If memory serves, Steven Spielberg’s coda to \u003cem>Schindler’s List\u003c/em> was a gathering of the individuals whom the German industrialist saved from the Nazis along with their generations of offspring. The group portrait was a powerful statement: Life itself is a declaration of victory.\u003c/p>\n\u003cp>Edek’s journey may be more wrenching, but Ruth’s ultimately comes to feel like the movie’s raison d’etre. Late one night in the hotel, she takes a needle to her skin in what we are initially led to think is an act of self-harm. Actually, Ruth is inking herself; much later we see the tattoo itself, and recognize it as an act of commemoration and of identification. \u003c/p>\n\u003cp>This initiative of Ruth’s, like other peak moments in \u003cem>Treasure\u003c/em>, has built-in contradictions. According to a longstanding interpretation of Jewish law, body art is a taboo.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Treasure\u003c/em> leaves us thinking about what children of survivors needed growing up, and didn’t get. I wish it was more specific, though, about Ruth’s circumstances and articulated her pain more effectively. Admittedly, that would make her reconciliation with Edek more difficult. And it likely wouldn’t make for as satisfying an ending.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are so many ways that \u003cem>Treasure\u003c/em> could go wrong. The left-field casting of lit-Brit Stephen Fry as a Polish Holocaust survivor and Manhattan enfant terrible Lena Dunham as his unhappy daughter. The clichés and stereotypes of a cross-generational roots trip to the Old Country. The inevitable tonal shifts from awkwardness to farce to pathos.\u003c/p>\n\u003cp>So it’s a relief to report that \u003cem>Treasure\u003c/em> (opening Friday June 14 at the Rialto Cinemas 9, Opera Plaza Cinemas 4, Century Tanforan 20 and Century 20 Redwood Downtown) delivers a memorably meandering journey with a couple of knockout sequences. German writer-director Julia von Heinz brings a blend of tenderness and toughness to her stripped-back adaptation of \u003cem>Too Many Men\u003c/em>, the 2001 autobiographical novel by New York writer Lily Brett. Rewarding up to a point, the film would have benefitted from more of a willingness to look — and venture — into the abyss.\u003c/p>\n\u003cfigure id=\"attachment_13959834\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-1-Courtesy-Bleecker-Street.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959834\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-1-Courtesy-Bleecker-Street.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-1-Courtesy-Bleecker-Street-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-1-Courtesy-Bleecker-Street-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-1-Courtesy-Bleecker-Street-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-1-Courtesy-Bleecker-Street-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-1-Courtesy-Bleecker-Street-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Lena Dunham in ‘Treasure.’ \u003ccite>(Bleecker Street and FilmNation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Treasure\u003c/em> is keenly interested in the complicated Polish experience of World War II and its Soviet afterlife, as well as the immense suffering of the Jewish population. The freshest element of the film, though, is its allusive depiction of the difficulties of being a child of Holocaust survivors.\u003c/p>\n\u003cp>Set in 1991, a hazy patch of the past that initially puts us at some distance from the characters and place, \u003cem>Treasure\u003c/em> opens with Ruth and Edek at a cheerless Warsaw airport. We gather that the trip is Ruth’s idea; a music journalist in her mid-30s, she’s decided she wants to see where her dad grew up.\u003c/p>\n\u003cp>Ruth is underwritten — not a fatal flaw, since the film spins on what’s gone unsaid between her and her father — so we fill her in with Dunham’s screen persona: intelligent, underachieving, unsentimental, unlucky in love and self-aware (up to a point). Ruth is witheringly uncharismatic, but gets her juice from Dunham’s overriding quality as an actress: unpredictability.\u003c/p>\n\u003cfigure id=\"attachment_13959832\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-6-Courtesy-Bleecker-Street.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959832\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-6-Courtesy-Bleecker-Street.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-6-Courtesy-Bleecker-Street-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-6-Courtesy-Bleecker-Street-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-6-Courtesy-Bleecker-Street-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-6-Courtesy-Bleecker-Street-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-6-Courtesy-Bleecker-Street-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Lena Dunham and Stephen Fry in ‘Treasure.’ \u003ccite>(Bleecker Street and FilmNation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fry plays Edek as a 20th Century Tevye, complete with bushy gray beard and booming voice. But where the Yiddish-speaking original bore the burdens of shtetl life on a milk wagon, Edek labors to give the impression of a man whose pain, if not every iota of sadness, is in the past.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yet we can see that Edek’s resistance to Ruth’s train itinerary isn’t philosophical but molecular. He refuses to ride the rails to Lodz or anywhere else, hiring a taxi driver instead as their chauffeur-slash-tour guide.\u003c/p>\n\u003cp>\u003cem>Treasure\u003c/em> kicks into gear when Edek and Ruth find his childhood home. The family living in the barely maintained apartment are suspicious of the Jewish visitors’ motives, but nevertheless offer basic European hospitality. The appearance of the teapot rocks Edek; it was his grandmother’s. \u003c/p>\n\u003cp>It rocks us, too. The tea set is the only thing of quality this poor Polish family has. Whether obtained through opportunism (they nabbed the apartment when Edek’s family was deported) or luck (it was among the possessions left behind), it is a symbol of dignity. After decades of Soviet-era depradations, it is also a liquid asset if American Jews want to purchase their heirloom.\u003c/p>\n\u003cfigure id=\"attachment_13959833\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-5-Courtesy-Bleecker-Street.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959833\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-5-Courtesy-Bleecker-Street.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-5-Courtesy-Bleecker-Street-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-5-Courtesy-Bleecker-Street-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-5-Courtesy-Bleecker-Street-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-5-Courtesy-Bleecker-Street-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-5-Courtesy-Bleecker-Street-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Fry in ‘Treasure.’ \u003ccite>(Bleecker Street and FilmNation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the film’s recurring “jokes” is that the Poles know the value of a dollar far better than the Americans. The implications of the teapot transaction are quite profound, actually, because they reveal Ruth’s desire to connect with relatives she never knew, as well as her urge to make a gesture (in the form of a gift) to Edek. \u003c/p>\n\u003cp>\u003cem>Treasure\u003c/em>, like every work related to the Holocaust, is concerned with how the past informs and influences the present. What are the moments we treasure, or are scarred by? What is the value of memories, after all? Are they worth the price?\u003c/p>\n\u003cp>The movie subtly yet viscerally brings this home with a pair of parallel scenes. A visit to a Jewish cemetery in Lodz at Ruth’s request leaves Edek unmoved. “We don’t have a family plot,” he declares. At Auschwitz, however, he loses it, kicking the weeds at an unmarked site where he last saw his family after getting off the transport train.\u003c/p>\n\u003cfigure id=\"attachment_13959831\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-8-Courtesy-Bleecker-Street.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959831\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-8-Courtesy-Bleecker-Street.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-8-Courtesy-Bleecker-Street-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-8-Courtesy-Bleecker-Street-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-8-Courtesy-Bleecker-Street-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-8-Courtesy-Bleecker-Street-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-8-Courtesy-Bleecker-Street-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Fry, Lena Dunham and Zbigniew Zamachowski in ‘Treasure.’ \u003ccite>(Bleecker Street and FilmNation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If memory serves, Steven Spielberg’s coda to \u003cem>Schindler’s List\u003c/em> was a gathering of the individuals whom the German industrialist saved from the Nazis along with their generations of offspring. The group portrait was a powerful statement: Life itself is a declaration of victory.\u003c/p>\n\u003cp>Edek’s journey may be more wrenching, but Ruth’s ultimately comes to feel like the movie’s raison d’etre. Late one night in the hotel, she takes a needle to her skin in what we are initially led to think is an act of self-harm. Actually, Ruth is inking herself; much later we see the tattoo itself, and recognize it as an act of commemoration and of identification. \u003c/p>\n\u003cp>This initiative of Ruth’s, like other peak moments in \u003cem>Treasure\u003c/em>, has built-in contradictions. According to a longstanding interpretation of Jewish law, body art is a taboo.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Treasure\u003c/em> leaves us thinking about what children of survivors needed growing up, and didn’t get. I wish it was more specific, though, about Ruth’s circumstances and articulated her pain more effectively. Admittedly, that would make her reconciliation with Edek more difficult. And it likely wouldn’t make for as satisfying an ending.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The first time photographer and filmmaker Clara Pérez visited Berkeley’s \u003ca href=\"https://lapena.org/\">La Peña Cultural Center\u003c/a> for an open mic, they were amazed by the sense of community at the venue.\u003c/p>\n\u003cp>“I was new to the Bay, trying to get my grounding,” says Pérez, “and just walking into that room, there was so much love.” Moved by the performers and the way the crowd received them, Pérez reached out to management that same evening. “Pretty quickly after that I became a staff photographer with La Peña.”\u003c/p>\n\u003cp>The venue, active for nearly 50 years, is well known for its live music and community gatherings that are often full of political discourse.\u003c/p>\n\u003cp>On the outside of the building is \u003ca href=\"https://lapena.org/about-lapena/\">the center’s trademark mural\u003c/a>, \u003ci>Song of Unity\u003c/i>. The 15-by-40-foot piece depicts multiple icons, including Mexican American labor leader Cesar Chavez, Native American activist Bill Wahpepah and slain Chilean folk singer Victor Jara. Originally painted in 1978, the mural is a visual representation of what the space is all about — the people \u003cem>and\u003c/em> the culture.\u003c/p>\n\u003cfigure id=\"attachment_13959720\" class=\"wp-caption aligncenter\" style=\"max-width: 1159px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-8.jpg\" alt=\"four people look at a sheet of paper with brainstorming ideas in a colorfully painted room\" width=\"1159\" height=\"608\" class=\"size-full wp-image-13959720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-8.jpg 1159w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-8-800x420.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-8-1020x535.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-8-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-8-768x403.jpg 768w\" sizes=\"auto, (max-width: 1159px) 100vw, 1159px\">\u003cfigcaption class=\"wp-caption-text\">Artist Cece Carpio leads a workshop as attendees review notes. \u003ccite>(Clara Pérez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That idea, of using murals to claim space for cultural purposes, is explored in the new short film \u003cem>A Place to Call Home\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Directed by \u003ca href=\"https://www.claraperezmedina.com/\">Clara Pérez\u003c/a> and co-produced by \u003ca href=\"https://www.instagram.com/coreylapena/\">Corey Raynor\u003c/a>, the film focuses on La Peña’s intergenerational mural-making workshops and the importance of cultural preservation through visual art.\u003c/p>\n\u003cp>The 11-minute documentary film, which screens on Friday, June 14, at \u003ca href=\"https://qwocff.org/\">San Francisco’s Queer Women of Color Film Festival\u003c/a>, features budding visual artists \u003ca href=\"https://www.instagram.com/art.bymarshall/\">Lauryn Marshall\u003c/a>, \u003ca href=\"https://www.instagram.com/corazon_ycolor/\">Angélica López\u003c/a> and \u003ca href=\"https://www.instagram.com/maangohoney/\">kahalla\u003c/a> all working on their craft under the tutelage of artist and educator \u003ca href=\"https://www.instagram.com/cececarpio/\">Cece Carpio\u003c/a>.\u003c/p>\n\u003cp>The film follows the artists through the process of painting a floor-to-ceiling mural in the center’s community room. The finished mural, Pérez explains, is a nod to intergenerational connections.\u003c/p>\n\u003cp>“On the left side is a Black queer trans nonbinary person, and the different iterations of them as a child. And then on the right, you see three generations of Black women who are braiding each other’s hair — a grandmother, a mother and a child,” says Pérez. Elsewhere, an image of corn is López’s way of acknowledging the cultural ritual of corn dances to celebrate womanhood.\u003c/p>\n\u003cp>“[The artists] had these amazing stories about honoring their ancestors, in place,” says Pérez, noting that a tree in the middle of the mural represents Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13959728\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-6.jpg\" alt=\"Three artists sit at a table during the filming of a documentary.\" width=\"2048\" height=\"1536\" class=\"size-full wp-image-13959728\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-6.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-6-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-6-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-6-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-6-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-6-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-6-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Behind the scenes of ‘A Place To Call Home’: artists Lauryn Marshall, kahalla and Angélica López talk shop. \u003ccite>(Clara Pérez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pérez followed the trio through the creative process, attending meetings and brainstorming sessions. At times, Pérez put the camera down to allow the artists to fully express themselves during vulnerable moments.\u003c/p>\n\u003cp>“Seeing them, as artists, come up with something on the spot, it really requires a collaboration that you don’t see in other spaces,” says Pérez. Discussions about turning abstract ideas into a tangible creation takes more than just \u003cem>work\u003c/em>. “Color, shape, theme — how can we communicate these things?” asks Pérez. “It requires a certain level of vulnerability.”\u003c/p>\n\u003cp>Add in the hurdle of finding funding, and these artists get the real-world experience of being muralists. \u003c/p>\n\u003cp>https://vimeo.com/957245456\u003c/p>\n\u003cp>The hope is that those who see the film will appreciate the time artists must spend to learn and perfect their craft. Having a vision, translating it to something real, and in doing so, uplifting their cultural heritage: “It’s real spiritual work,” says Pérez.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘A Place to Call Home’ screens Friday, June 14 at 7 p.m. at the Presidio Theatre (499 Moraga Ave., San Francisco). \u003ca href=\"http://qwocff.org\">Find tickets and information here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first time photographer and filmmaker Clara Pérez visited Berkeley’s \u003ca href=\"https://lapena.org/\">La Peña Cultural Center\u003c/a> for an open mic, they were amazed by the sense of community at the venue.\u003c/p>\n\u003cp>“I was new to the Bay, trying to get my grounding,” says Pérez, “and just walking into that room, there was so much love.” Moved by the performers and the way the crowd received them, Pérez reached out to management that same evening. “Pretty quickly after that I became a staff photographer with La Peña.”\u003c/p>\n\u003cp>The venue, active for nearly 50 years, is well known for its live music and community gatherings that are often full of political discourse.\u003c/p>\n\u003cp>On the outside of the building is \u003ca href=\"https://lapena.org/about-lapena/\">the center’s trademark mural\u003c/a>, \u003ci>Song of Unity\u003c/i>. The 15-by-40-foot piece depicts multiple icons, including Mexican American labor leader Cesar Chavez, Native American activist Bill Wahpepah and slain Chilean folk singer Victor Jara. Originally painted in 1978, the mural is a visual representation of what the space is all about — the people \u003cem>and\u003c/em> the culture.\u003c/p>\n\u003cfigure id=\"attachment_13959720\" class=\"wp-caption aligncenter\" style=\"max-width: 1159px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-8.jpg\" alt=\"four people look at a sheet of paper with brainstorming ideas in a colorfully painted room\" width=\"1159\" height=\"608\" class=\"size-full wp-image-13959720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-8.jpg 1159w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-8-800x420.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-8-1020x535.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-8-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-8-768x403.jpg 768w\" sizes=\"auto, (max-width: 1159px) 100vw, 1159px\">\u003cfigcaption class=\"wp-caption-text\">Artist Cece Carpio leads a workshop as attendees review notes. \u003ccite>(Clara Pérez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That idea, of using murals to claim space for cultural purposes, is explored in the new short film \u003cem>A Place to Call Home\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Directed by \u003ca href=\"https://www.claraperezmedina.com/\">Clara Pérez\u003c/a> and co-produced by \u003ca href=\"https://www.instagram.com/coreylapena/\">Corey Raynor\u003c/a>, the film focuses on La Peña’s intergenerational mural-making workshops and the importance of cultural preservation through visual art.\u003c/p>\n\u003cp>The 11-minute documentary film, which screens on Friday, June 14, at \u003ca href=\"https://qwocff.org/\">San Francisco’s Queer Women of Color Film Festival\u003c/a>, features budding visual artists \u003ca href=\"https://www.instagram.com/art.bymarshall/\">Lauryn Marshall\u003c/a>, \u003ca href=\"https://www.instagram.com/corazon_ycolor/\">Angélica López\u003c/a> and \u003ca href=\"https://www.instagram.com/maangohoney/\">kahalla\u003c/a> all working on their craft under the tutelage of artist and educator \u003ca href=\"https://www.instagram.com/cececarpio/\">Cece Carpio\u003c/a>.\u003c/p>\n\u003cp>The film follows the artists through the process of painting a floor-to-ceiling mural in the center’s community room. The finished mural, Pérez explains, is a nod to intergenerational connections.\u003c/p>\n\u003cp>“On the left side is a Black queer trans nonbinary person, and the different iterations of them as a child. And then on the right, you see three generations of Black women who are braiding each other’s hair — a grandmother, a mother and a child,” says Pérez. Elsewhere, an image of corn is López’s way of acknowledging the cultural ritual of corn dances to celebrate womanhood.\u003c/p>\n\u003cp>“[The artists] had these amazing stories about honoring their ancestors, in place,” says Pérez, noting that a tree in the middle of the mural represents Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13959728\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-6.jpg\" alt=\"Three artists sit at a table during the filming of a documentary.\" width=\"2048\" height=\"1536\" class=\"size-full wp-image-13959728\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-6.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-6-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-6-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-6-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-6-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-6-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/unnamed-6-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Behind the scenes of ‘A Place To Call Home’: artists Lauryn Marshall, kahalla and Angélica López talk shop. \u003ccite>(Clara Pérez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pérez followed the trio through the creative process, attending meetings and brainstorming sessions. At times, Pérez put the camera down to allow the artists to fully express themselves during vulnerable moments.\u003c/p>\n\u003cp>“Seeing them, as artists, come up with something on the spot, it really requires a collaboration that you don’t see in other spaces,” says Pérez. Discussions about turning abstract ideas into a tangible creation takes more than just \u003cem>work\u003c/em>. “Color, shape, theme — how can we communicate these things?” asks Pérez. “It requires a certain level of vulnerability.”\u003c/p>\n\u003cp>Add in the hurdle of finding funding, and these artists get the real-world experience of being muralists. \u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The hope is that those who see the film will appreciate the time artists must spend to learn and perfect their craft. Having a vision, translating it to something real, and in doing so, uplifting their cultural heritage: “It’s real spiritual work,” says Pérez.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘A Place to Call Home’ screens Friday, June 14 at 7 p.m. at the Presidio Theatre (499 Moraga Ave., San Francisco). \u003ca href=\"http://qwocff.org\">Find tickets and information here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Death has taken many forms in cinema. It’s been Bengt Ekerot. Ian McKellen. John Cleese. Even Brad Pitt with blonde highlights. But in \u003cem>Tuesday\u003c/em>, filmmaker Daina O. Pusić’s bold, fantastical and affecting debut, death looks like a lot like a macaw that’s seen better days.\u003c/p>\n\u003cp>Covered in a thick layer of grime and oil with patches of feathers missing, \u003cem>Tuesday\u003c/em>’s Death can be as big as a room or as small as an ear canal. Its booming, gravelly voice (that of actor Arinzé Kene) sounds ancient and otherworldly. And it all adds up to something profoundly unsettling. Not exactly a comforting welcome into the afterlife, or whatever comes next.\u003c/p>\n\u003cp>[aside postid='arts_13959385']\u003cem>Tuesday\u003c/em>, expanding nationwide Friday, is about death, and acceptance, between a mother and her dying daughter. But this is no Hallmark affair fitting for a sympathy card. It is prickly, wry, somewhat unsentimental, a bit gritty and awfully painful at times. Or maybe it’s just uniquely British. And you may just find yourself in a puddle of your own tears as a result.\u003c/p>\n\u003cp>Now, in terms of cinematic emotional blackmail, a parent coming to terms with a child’s imminent death is pretty much in the red zone. That sort of setup could produce involuntary tears from an audience regardless of the level of talent involved. Thankfully for us, there is immense creativity and vision both in front of and behind the camera, including not just the writer-director but the special effects experts responsible for Death as well as the haunting and innovative sound design.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qvqyBWCN39o\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lola Petticrew plays the titular Tuesday, a teen with a \u003cem>Breathless\u003c/em> pixie cut, a love of jokes and rap music and a terminal illness that has bound her to an oxygen tank and the use of a wheelchair. Her mother, Zora ( Julia Louis-Dreyfus ), has entirely disconnected from the situation. She tiptoes around the house waiting for the nurse, Billie (a lovely Leah Harvey), to do the caretaking. She stays out all day, pawning household items for cash to pay for the care, ignoring Tuesday’s calls and occasionally falling asleep on park benches. At home, she doesn’t want to talk to Tuesday about anything real — the death, her job, their precarious financial position — it’s all been deeply repressed and compartmentalized and is making everyone crazy.\u003c/p>\n\u003cp>The day we meet Zora and Tuesday is the day Death arrives. Billie has left Tuesday on the patio for just a minute to start a bath. All of a sudden, the girl who was just joking around is having an episode, gasping for air, when the macaw lands by her side. Death is actually the first character introduced, in an unnerving series of deaths setting an ominous tone that will loom throughout. Some are ready to go, begging for relief. Some are just scared. And all have the same outcome once he’s put his wing around them.\u003c/p>\n\u003cp>[aside postid='arts_13959268']Tuesday, however, decides to tell a joke. This disarms Death (who bursts out laughing) and suddenly they’re in conversation together. She gives him a bath, puts on some music and asks a favor: She’d like to say goodbye to her mom first. Death obliges.\u003c/p>\n\u003cp>Of course the story both is and isn’t that simple. \u003cem>Tuesday\u003c/em> becomes some strange combination of body horror, fairy tale, domestic drama and apocalypse thriller. It is weird and transfixing — never predictable and never boring. Louis-Dreyfus is both chilling and deeply empathetic as this woman who has been paralyzed by grief even before it’s happened. She seems to be preparing for her own death in a way, unable and unwilling to process a life without her daughter who, at this point, doesn’t even realize that her mother still loves her. Petticrew holds her own, going head-to-head with Louis-Dreyfus at her cruelest, exhibiting a wisdom beyond her years and fitting of a person who’s had to grow up and face death far too early.\u003c/p>\n\u003cp>\u003cem>Tuesday\u003c/em> is ultimately a cathartic affair, whether death is top of mind at the moment or not. And it announces the arrival of a daring filmmaker worth following.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Tuesday’ begins screening around the Bay Area on June 13, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lola Petticrew plays the titular Tuesday, a teen with a \u003cem>Breathless\u003c/em> pixie cut, a love of jokes and rap music and a terminal illness that has bound her to an oxygen tank and the use of a wheelchair. Her mother, Zora ( Julia Louis-Dreyfus ), has entirely disconnected from the situation. She tiptoes around the house waiting for the nurse, Billie (a lovely Leah Harvey), to do the caretaking. She stays out all day, pawning household items for cash to pay for the care, ignoring Tuesday’s calls and occasionally falling asleep on park benches. At home, she doesn’t want to talk to Tuesday about anything real — the death, her job, their precarious financial position — it’s all been deeply repressed and compartmentalized and is making everyone crazy.\u003c/p>\n\u003cp>The day we meet Zora and Tuesday is the day Death arrives. Billie has left Tuesday on the patio for just a minute to start a bath. All of a sudden, the girl who was just joking around is having an episode, gasping for air, when the macaw lands by her side. Death is actually the first character introduced, in an unnerving series of deaths setting an ominous tone that will loom throughout. Some are ready to go, begging for relief. Some are just scared. And all have the same outcome once he’s put his wing around them.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Tuesday, however, decides to tell a joke. This disarms Death (who bursts out laughing) and suddenly they’re in conversation together. She gives him a bath, puts on some music and asks a favor: She’d like to say goodbye to her mom first. Death obliges.\u003c/p>\n\u003cp>Of course the story both is and isn’t that simple. \u003cem>Tuesday\u003c/em> becomes some strange combination of body horror, fairy tale, domestic drama and apocalypse thriller. It is weird and transfixing — never predictable and never boring. Louis-Dreyfus is both chilling and deeply empathetic as this woman who has been paralyzed by grief even before it’s happened. She seems to be preparing for her own death in a way, unable and unwilling to process a life without her daughter who, at this point, doesn’t even realize that her mother still loves her. Petticrew holds her own, going head-to-head with Louis-Dreyfus at her cruelest, exhibiting a wisdom beyond her years and fitting of a person who’s had to grow up and face death far too early.\u003c/p>\n\u003cp>\u003cem>Tuesday\u003c/em> is ultimately a cathartic affair, whether death is top of mind at the moment or not. And it announces the arrival of a daring filmmaker worth following.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Tuesday’ begins screening around the Bay Area on June 13, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>He’s 61 now, well-off and trim. He has many accomplishments as an actor but there’s this one thing he finds hard to shake: Back in 1985, he got called something.\u003c/p>\n\u003cp>During the Reagan administration, rising star Andrew McCarthy was lumped into an amorphous group of young actors who were changing Hollywood. They were called the “Brat Pack.”\u003c/p>\n\u003cp>[aside postid='arts_13959577']Now, it’s never nice to be called a “brat” or to lose your individuality to a pack, but McCarthy and the members of this collective — Emilio Estevez, Molly Ringwald, Demi Moore, Ally Sheedy, Judd Nelson, Rob Lowe and maybe Anthony Michael Hall — seemed to implode.\u003c/p>\n\u003cp>“That changed my life,” says McCarthy, who starred in \u003cem>Pretty in Pink\u003c/em> and \u003cem>St. Elmo’s Fire\u003c/em>. After being branded, the so-called bratty actors scattered, not wanting to work together again. The stigma, McCarthy says, was “defining.” He has PTSD, he suggests.\u003c/p>\n\u003cp>Now almost 40 years later, McCarthy hit the road to star in and direct his new Hulu documentary \u003cem>Brats\u003c/em>, trying to get a handle on the label and how some of the pack handled it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>First stop is a wary Estevez, who acknowledges that the Brat Pack term had some early benefits but was ultimately “more damage than good.”\u003c/p>\n\u003cp>“It created the perception that we were lightweights,” he adds.\u003c/p>\n\u003cfigure id=\"attachment_13959605\" class=\"wp-caption aligncenter\" style=\"max-width: 1620px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959605\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM.png\" alt=\"A handsome middle-aged man sits at a kitchen counter, laughing warmly.\" width=\"1620\" height=\"1028\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM.png 1620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM-800x508.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM-1020x647.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM-768x487.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM-1536x975.png 1536w\" sizes=\"(max-width: 1620px) 100vw, 1620px\">\u003cfigcaption class=\"wp-caption-text\">Rob Lowe in a scene from new documentary, ‘Brats.’ \u003ccite>(Hulu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then there are visits to Sheedy, Moore, Lowe, Jon Cryer, Tim Hutton and Lea Thompson — all who commiserate with McCarthy. (Ringwald and Nelson are notable absences, perhaps still nursing wounds.) These visits have the feeling of therapy sessions.\u003c/p>\n\u003cp>“Marty Scorsese, Steven Spielberg is not going to call up somebody who’s in the Brat Pack,” McCarthy tells Estevez, who admits to pulling out of a movie at the prospect of teaming up with McCarthy.\u003c/p>\n\u003cp>[aside postid='arts_13958881'](Not to be rude, but the Brat Pack-adjacent Tom Cruise did a movie with Scorsese, \u003cem>The Color of Money\u003c/em>, Moore became the hottest thing in Hollywood in the ’90s and Robert Downey Jr., also Pack-adjacent, just took home an Oscar.)\u003c/p>\n\u003cp>As he pays one former colleague after another a visit at their well-appointed homes, the heat of injustice has dissipated. Moore’s estate with its tasteful wood panels, shaded pool, massive glass walls and Japanese-inspired minimalism doesn’t exactly scream, “That label from 1985 really destroyed my life.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AUjGATC7tWs\u003c/p>\n\u003cp>The doc is scored well, with songs by The Cure, Lou Reed and Steve Winwood, “Forever Young” by Alphaville and a haunting “Don’t You (Forget About Me)” cover by Zoe Fox and the Rocket Clocks.\u003c/p>\n\u003cp>But McCarthy’s visual style is too fragmented, happy to capture his scrambling camera and sound operators in the frame and changing up his shots from guerilla-style jerky iPhone images to tasteful, polished portraits. His use of old clips is excellent, incorporating not just scenes from movies but TV interview outtakes, too.\u003c/p>\n\u003cp>[aside postid='arts_13958762']A more interesting thing happens in McCarthy’s road movie by the halfway mark — it becomes a sort of celebration of Brat Pack movies. Cultural observer Malcolm Gladwell talks about the generational transition in Hollywood, while Susannah Gora, who wrote \u003cem>You Couldn’t Ignore Me if You Tried\u003c/em> about the Brat Pack’s impact, notes that teens in the Midwest were singing British New Wave synth-pop tunes thanks to McCarthy.\u003c/p>\n\u003cp>Pop culture critic Ira Madison III zeroes in on the lack of diversity in Brat Pack movies, \u003cem>Less Than Zero\u003c/em> writer Bret Easton Ellis notes the influence the movies had on his work, and screenwriter Michael Oates Palmer comments that Brat Pack movies were the first to take “young people’s lives seriously.”\u003c/p>\n\u003cp>These are the building blocks of a better movie — Gladwell cutely mentions that he used parts of Cryer’s character Duckie from \u003cem>Pretty in Pink\u003c/em> as his identity in high school — but McCarthy isn’t willing to stray.\u003c/p>\n\u003cp>He comes across as a very thoughtful guy, able to quote Tennessee Williams and Eugene O’Neill, reserved, shy and wry, so often deep in his feelings. But this bratty label he cannot shake. He also wrote about it in \u003cem>Brat: An ’80s Story\u003c/em>. It is his \u003cem>Moby Dick\u003c/em>.\u003c/p>\n\u003cp>That analogy works when he finally harpoons his white whale — David Blum, who at 29 in 1985, hoping to snag some attention in the journalism world, coined the phrase “Brat Pack” — a flip play on the Rat Pack — for \u003cem>New York\u003c/em> magazine.\u003c/p>\n\u003cp>[aside postid='arts_13958101']McCarthy sits down with Blum at the conclusion of the film — the aggrieved actor and the journalist meeting for the first time four decades after being dragged into the ’80s cultural lexicon. This is the “You can’t handle the truth” moment.\u003c/p>\n\u003cp>And yet McCarthy is so nice that while he makes his case well, he sort of also understands Blum’s position and kind of likes him, too. Will Blum finally admit that the label is scathing? “I mean, I guess in retrospect, yes. At the time, no. I was proud of the creation of the phrase,” says the writer. They end their meeting with a hug.\u003c/p>\n\u003cp>Like a Brat Pack movie.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Brats’ begins streaming on Hulu on June 13, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>He’s 61 now, well-off and trim. He has many accomplishments as an actor but there’s this one thing he finds hard to shake: Back in 1985, he got called something.\u003c/p>\n\u003cp>During the Reagan administration, rising star Andrew McCarthy was lumped into an amorphous group of young actors who were changing Hollywood. They were called the “Brat Pack.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Now, it’s never nice to be called a “brat” or to lose your individuality to a pack, but McCarthy and the members of this collective — Emilio Estevez, Molly Ringwald, Demi Moore, Ally Sheedy, Judd Nelson, Rob Lowe and maybe Anthony Michael Hall — seemed to implode.\u003c/p>\n\u003cp>“That changed my life,” says McCarthy, who starred in \u003cem>Pretty in Pink\u003c/em> and \u003cem>St. Elmo’s Fire\u003c/em>. After being branded, the so-called bratty actors scattered, not wanting to work together again. The stigma, McCarthy says, was “defining.” He has PTSD, he suggests.\u003c/p>\n\u003cp>Now almost 40 years later, McCarthy hit the road to star in and direct his new Hulu documentary \u003cem>Brats\u003c/em>, trying to get a handle on the label and how some of the pack handled it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>First stop is a wary Estevez, who acknowledges that the Brat Pack term had some early benefits but was ultimately “more damage than good.”\u003c/p>\n\u003cp>“It created the perception that we were lightweights,” he adds.\u003c/p>\n\u003cfigure id=\"attachment_13959605\" class=\"wp-caption aligncenter\" style=\"max-width: 1620px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959605\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM.png\" alt=\"A handsome middle-aged man sits at a kitchen counter, laughing warmly.\" width=\"1620\" height=\"1028\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM.png 1620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM-800x508.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM-1020x647.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM-768x487.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM-1536x975.png 1536w\" sizes=\"(max-width: 1620px) 100vw, 1620px\">\u003cfigcaption class=\"wp-caption-text\">Rob Lowe in a scene from new documentary, ‘Brats.’ \u003ccite>(Hulu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then there are visits to Sheedy, Moore, Lowe, Jon Cryer, Tim Hutton and Lea Thompson — all who commiserate with McCarthy. (Ringwald and Nelson are notable absences, perhaps still nursing wounds.) These visits have the feeling of therapy sessions.\u003c/p>\n\u003cp>“Marty Scorsese, Steven Spielberg is not going to call up somebody who’s in the Brat Pack,” McCarthy tells Estevez, who admits to pulling out of a movie at the prospect of teaming up with McCarthy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>(Not to be rude, but the Brat Pack-adjacent Tom Cruise did a movie with Scorsese, \u003cem>The Color of Money\u003c/em>, Moore became the hottest thing in Hollywood in the ’90s and Robert Downey Jr., also Pack-adjacent, just took home an Oscar.)\u003c/p>\n\u003cp>As he pays one former colleague after another a visit at their well-appointed homes, the heat of injustice has dissipated. Moore’s estate with its tasteful wood panels, shaded pool, massive glass walls and Japanese-inspired minimalism doesn’t exactly scream, “That label from 1985 really destroyed my life.”\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/AUjGATC7tWs'\n title='//www.youtube.com/embed/AUjGATC7tWs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The doc is scored well, with songs by The Cure, Lou Reed and Steve Winwood, “Forever Young” by Alphaville and a haunting “Don’t You (Forget About Me)” cover by Zoe Fox and the Rocket Clocks.\u003c/p>\n\u003cp>But McCarthy’s visual style is too fragmented, happy to capture his scrambling camera and sound operators in the frame and changing up his shots from guerilla-style jerky iPhone images to tasteful, polished portraits. His use of old clips is excellent, incorporating not just scenes from movies but TV interview outtakes, too.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>A more interesting thing happens in McCarthy’s road movie by the halfway mark — it becomes a sort of celebration of Brat Pack movies. Cultural observer Malcolm Gladwell talks about the generational transition in Hollywood, while Susannah Gora, who wrote \u003cem>You Couldn’t Ignore Me if You Tried\u003c/em> about the Brat Pack’s impact, notes that teens in the Midwest were singing British New Wave synth-pop tunes thanks to McCarthy.\u003c/p>\n\u003cp>Pop culture critic Ira Madison III zeroes in on the lack of diversity in Brat Pack movies, \u003cem>Less Than Zero\u003c/em> writer Bret Easton Ellis notes the influence the movies had on his work, and screenwriter Michael Oates Palmer comments that Brat Pack movies were the first to take “young people’s lives seriously.”\u003c/p>\n\u003cp>These are the building blocks of a better movie — Gladwell cutely mentions that he used parts of Cryer’s character Duckie from \u003cem>Pretty in Pink\u003c/em> as his identity in high school — but McCarthy isn’t willing to stray.\u003c/p>\n\u003cp>He comes across as a very thoughtful guy, able to quote Tennessee Williams and Eugene O’Neill, reserved, shy and wry, so often deep in his feelings. But this bratty label he cannot shake. He also wrote about it in \u003cem>Brat: An ’80s Story\u003c/em>. It is his \u003cem>Moby Dick\u003c/em>.\u003c/p>\n\u003cp>That analogy works when he finally harpoons his white whale — David Blum, who at 29 in 1985, hoping to snag some attention in the journalism world, coined the phrase “Brat Pack” — a flip play on the Rat Pack — for \u003cem>New York\u003c/em> magazine.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>McCarthy sits down with Blum at the conclusion of the film — the aggrieved actor and the journalist meeting for the first time four decades after being dragged into the ’80s cultural lexicon. This is the “You can’t handle the truth” moment.\u003c/p>\n\u003cp>And yet McCarthy is so nice that while he makes his case well, he sort of also understands Blum’s position and kind of likes him, too. Will Blum finally admit that the label is scathing? “I mean, I guess in retrospect, yes. At the time, no. I was proud of the creation of the phrase,” says the writer. They end their meeting with a hug.\u003c/p>\n\u003cp>Like a Brat Pack movie.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Brats’ begins streaming on Hulu on June 13, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "best-movies-summer-2024-npr-critics-picks",
"title": "The 19 Movies NPR Critics Are Most Excited About This Summer",
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"content": "\u003cp>At this time of year, there’s air conditioning, and then there’s movie theater air conditioning — a frigid blast forceful enough to cool down the biggest crowd on a hot summer’s day. And if that’s not enough, your neighborhood multiplex also boasts enormous ice-cold drinks to go with popcorn and candy and … oh, right … it also has movies! Comedies, action-adventures, coming-of-age tales, animation.\u003c/p>\n\u003cp>If you’re wondering which to catch, NPR critics have you covered. Here’s our take on the cream of the cinematic crop — Marvel to just plain marvelous — from now through Labor Day.\u003c/p>\n\u003cp>\u003cstrong>‘Hit Man,’ in theaters May 24, on Netflix June 7\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DXwa8DKIK7g&t=10s\u003c/p>\n\u003cp>Red-hot star Glen Powell plays the titular hit man — well, a cop pretending to be a hit man — in this action rom-com. Romantic comedies are much rarer than they used to be, and the ones that do show up are often disappointing. But! Powell co-wrote the screenplay with director Richard Linklater, whose skill with love stories is well established (the Before trilogy is all the love-story credibility anybody needs, forever). A lot of Netflix movies have fizzled. Hopefully this one will not. — Linda Holmes\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>‘Ghostlight,’ in theaters June 14\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=R1TycuGX4Mw\u003c/p>\n\u003cp>The title of this warmly engaging drama refers to theatrical superstition: a light left onstage to keep the theater ghost at bay — or at least to keep it happy — when actors aren’t present. Actors are everywhere here, as family tragedy blends into Shakespearean tragedy (a grieving construction worker getting roped into a community theater \u003cem>Romeo and Juliet\u003c/em>), and the film doubles down on connections by casting a real-life father, wife and daughter as the construction worker, his wife and their daughter. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Inside Out 2,’ in theaters June 14\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LEjhY15eCx0\u003c/p>\n\u003cp>\u003cem>Inside Out\u003c/em> was one of Pixar’s best films, but sequels haven’t always been the studio’s strength. Still, it’s exciting to know that Joy (Amy Poehler) is back, as are Phyllis Smith’s Sadness and Lewis Black’s Anger. New voices and new emotions arrive as Riley enters her teenage years, and the world may not be ready for Maya Hawke as Anxiety or Ayo Edebiri as Envy (OK, I may not). But get out the tissues or whatever else you need to cope with an onslaught of feelings, because it’s coming. — Linda Holmes\u003c/p>\n\u003cp>\u003cstrong>‘The Bikeriders,’ in theaters June 21\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PYioWaFdp70\u003c/p>\n\u003cp>A melodrama about a fictional 1960s motorcycle gang starring Austin Butler, Jodie Comer and Tom Hardy? Sure, why not! This is Jeff Nichols’ first feature in almost a decade (following 2016’s \u003cem>Loving\u003c/em> and \u003cem>Midnight Special\u003c/em>), and he has proved himself again and again as a filmmaker who excels at capturing mood and ambience, through setting as well as a great Michael Shannon performance. At the very least, this could be a thrill ride. — Aisha Harris\u003c/p>\n\u003cp>\u003cstrong>‘Fancy Dance,’ in theaters June 21, on Apple TV+ June 28\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AmPPiLaiN8g\u003c/p>\n\u003cp>It has taken far too long for Erica Tremblay’s profound feature debut to get a proper release — it premiered at Sundance back in January 2023 — but the wait is worth it. Lily Gladstone plays Jax, a woman caring for her young niece on a Native American reservation after her sister goes missing. Part crime drama and part road trip movie, it avoids emotional clichés while offering an underseen perspective and a dynamic performance from Gladstone. — Aisha Harris\u003c/p>\n\u003cp>\u003cstrong>‘Kinds of Kindness,’ in theaters June 21\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=inAuktwXbew\u003c/p>\n\u003cp>Viewers who know Yorgos Lanthimos’ recent work — \u003ca href=\"https://www.kqed.org/arts/13938158/poor-things-movie-review-emma-stone-bella-baxter-mark-ruffalo-willem-dafoe\">\u003cem>Poor Things\u003c/em>\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13846027/the-favourite-sou-smart-sou-wicked-sou-witty-sou-gououd\">\u003cem>The Favourite\u003c/em>\u003c/a> — might find him whimsically absurd. Those of us who’ve been with him from his 2009 breakthrough, \u003cem>Dogtooth\u003c/em>, however, know him to be a deadpan satirist of the most scalding, remorseless variety. He has reteamed with \u003cem>Dogtooth\u003c/em> writer Efthimis Filippou for this anthology film featuring the same stable of actors playing different roles in three shorts. Can’t wait to see him getting back to his roots; bring on the bleak. — Glen Weldon\u003c/p>\n\u003cp>\u003cstrong>‘Thelma,’ in theaters June 21\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lyE_hYkZPPE\u003c/p>\n\u003cp>Ninety-three-year-old Thelma (June Squibb) is duped by a phone scammer in the opening reel and then sets off on a geriatric \u003cem>Mission: Impossible\u003c/em> across Los Angeles to get her money back. Along the way, she enlists the aid (and electric scooter) of an old pal (the late Richard Roundtree), runs rings around her frantic daughter (Parker Posey) and matches wits with scammer Malcolm McDowell. An understated riot that’s arguably the most Sundance-ean comedy since \u003cem>Little Miss Sunshine\u003c/em>. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Horizon: An American Saga, Chapter 1\u003c/em> and \u003cem>Chapter 2\u003c/em>, in theaters June 28 and Aug. 16\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YYsReoZMj1k\u003c/p>\n\u003cp>Kevin Costner’s passion project (he has said he mortgaged his 10-acre oceanfront property in Santa Barbara to finance it) returns him to \u003cem>Dances With Wolves\u003c/em> territory — settlers arriving in covered wagons, expecting Indigenous communities to disappear. \u003cem>Chapter 1\u003c/em> is reportedly roughly three hours long. \u003cem>Chapter 2\u003c/em> will hit theaters seven weeks later. And depending on whether audiences show up, Costner will spend his summer either shooting the next chapter or, I guess, nursing his wounds. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘A Quiet Place: Day One,’ in theaters June 28\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gjx-iHGXk9Q\u003c/p>\n\u003cp>It’s not a spoiler anymore that \u003cem>A Quiet Place\u003c/em>‘s story made sequels complicated — but there are always prequels. This one, starring Lupita Nyong’o, rewinds all the way back to the alien invasion that got everybody to shut up in the first place. And unlike the other two films, it takes place smack in the middle of New York City, not the most natural place to attempt total silence. John Krasinski stepped back from both directing and writing the screenplay, which could be a problem — or a fresh start. — Linda Holmes\u003c/p>\n\u003cp>\u003cstrong>‘Beverly Hills Cop: Axel F,’ on Netflix July 3\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KoxhkE_U3Ww\u003c/p>\n\u003cp>Street-smart Detroit detective Axel Foley is the role that made Eddie Murphy a movie star in 1984. This Part 4 has been in development since the mid-1990s, after morphing briefly into a TV pilot that never got picked up. Joining Murphy from the earlier films will be fellow cops Judge Reinhold, John Ashton and Paul Reiser, as well as Bronson Pinchot’s star-making art gallerist, Serge. Franchise newbies include Joseph Gordon-Levitt and Kevin Bacon. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Fly Me to the Moon,’ in theaters July 12\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lW7enw6mFxs\u003c/p>\n\u003cp>“Space race rom-com” isn’t exactly well-trod territory, so this project from Greg Berlanti (\u003cem>Love, Simon\u003c/em>) could be a light, refreshing summer diversion starring a pair of ridiculously good-looking actors. Scarlett Johansson and Channing Tatum play a marketing consultant and NASA launch director who team up to stage a “backup” recording of the moon landing in case the actual moon-landing attempt fails. Presumably they fall in love, with at least one Sinatra song crooning in the background. — Aisha Harris\u003c/p>\n\u003cp>\u003cstrong>‘National Anthem,’ in theaters July 12\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oeGCjSOHfZ8\u003c/p>\n\u003cp>This is the first feature by photographer Luke Gilford. Charlie Plummer stars as a young man in New Mexico who takes a job at a homestead of queer rodeo performers where, as often happens in films like this, he comes to learn things about himself. I haven’t yet seen it, but by all accounts it’s a quiet and lyrical movie that tells a queer story that isn’t rooted in trauma and tragedy, but in self-discovery and finding your people. It arrives at a time when those stories are much needed. — Glen Weldon\u003c/p>\n\u003cp>\u003cstrong>‘Sing Sing,’ in theaters July 12 (limited), Aug. 2 (wide)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=j3dXc6P3zH8\u003c/p>\n\u003cp>One current rule: If it has \u003ca href=\"https://www.kqed.org/arts/13909135/colman-domingo-strand-theater-valentines-euphoria-walking-dead-zola\">Colman Domingo\u003c/a> in it, it will be worth watching. \u003cem>Sing Sing\u003c/em> is about a man played by Domingo who is incarcerated for a crime he didn’t commit and who joins the New York prison’s theater program to produce a comedy with his fellow inmates. The movie’s publicity campaign makes some broad claims (including that it’s a “true story of resilience, humanity, and the transformative power of art”), but if it lives up to them the way its early reviews suggest, it will be special. — Linda Holmes\u003c/p>\n\u003cp>\u003cstrong>‘Twisters,’ in theaters July 19\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wdok0rZdmx4\u003c/p>\n\u003cp>The most intriguing thing about this sequel to the classic, bombastic disaster movie \u003cem>Twister\u003c/em> is that it’s directed by Lee Isaac Chung, who directed \u003cem>Minari\u003c/em> — one of the least bombastic films in recent memory. Glen Powell and Daisy Edgar-Jones star in this sequel, which certainly tries in its trailer to call to mind the goofy, special-effects-heavy, not-actually-advisable-in-a-storm feeling of the original. Will it have a plot? Who knows? Does it need a plot? Probably not! — Linda Holmes\u003c/p>\n\u003cp>\u003cstrong>‘Deadpool & Wolverine,’ in theaters July 26\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pn5fdK61o9c\u003c/p>\n\u003cp>Marvel may be releasing only one superhero movie this year, but it’s a double-header, with two regenerative dudes in spandex — one joke-spewing and disfigured, the other snarling and adamantium-clawed — teaming up to save something or other. Technically, it’s Ryan Reynolds’ movie, so he’ll be setting the tone, meaning lotsa laughs. What? — you say — Wolverine died in his last movie? Well, to that I say … multiverse … or time-shift … or who cares, if Hugh Jackman’s willing to come back. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Dìdi,’ in theaters July 26\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=e6gve8GtSuU\u003c/p>\n\u003cp>Thirteen-year-old Chris begins Sean Wang’s semi-autobiographical, coming-of-age dramedy trading insults with his older sister, and he ends it choked up as she leaves home (and him) for college. In between, there are pranks, misadventures, a clumsy first romance and an ill-advised attempt to ingratiate himself with some cool high school skateboarders by claiming to be an expert filmmaker. The film, which charmed at Sundance, is a lot like its pint-size hero — cute, exasperating, promising. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Kneecap,’ in theaters Aug. 2\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QB2LsoZOQpU\u003c/p>\n\u003cp>Raw, raunchy, violent and uproarious, this origin story of the titular Irish-language hip-hop group is both a riot and a call to arms. Filled with the fury of a populace that had to fight for the right to keep its own language, the film features rappers Naoise Ó Cairealláin and Liam Óg Ó Hannaidh, as well as the mild-mannered substitute music teacher who became their DJ, JJ Ó Dochartaigh, playing themselves — entirely professionally — through sex scenes, police beatings and drug-fueled jam sessions. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Close to You,’ in theaters Aug. 16\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13959596\" class=\"wp-caption aligncenter\" style=\"max-width: 966px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959596\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM.png\" alt=\"A shirtless young trans man leans up against a window frame and gazes outside.\" width=\"966\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM.png 966w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM-800x444.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM-768x426.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM-672x372.png 672w\" sizes=\"(max-width: 966px) 100vw, 966px\">\u003cfigcaption class=\"wp-caption-text\">Elliot Page in ‘Close to You.’ \u003ccite>(Me+You Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With Elliot Page, in his first movie role in six years, playing a trans man who’s wary about attending his first family reunion since his transition, this story already had hooks for audiences. Throw in reports that the film’s scenes were mostly improvised on the day of shooting, and it sounds like an emotional high-wire act. Page, who came out as trans in 2020, is also involved with another queer coming-of-age story this summer, as executive producer for the cheerleading tale \u003cem>Backspot\u003c/em>. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Between the Temples,’ in theaters Aug. 23\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13959595\" class=\"wp-caption aligncenter\" style=\"max-width: 1292px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959595\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM.png\" alt=\"An older woman leans her head onto the shoulder of a younger man. \" width=\"1292\" height=\"722\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM.png 1292w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM-800x447.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM-1020x570.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM-768x429.png 768w\" sizes=\"(max-width: 1292px) 100vw, 1292px\">\u003cfigcaption class=\"wp-caption-text\">Jason Schwartzman and Carol Kane in ‘Between the Temples.’ \u003ccite>(Sean Price Williams/Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>A depressed cantor (Jason Schwartzman) who can’t sing since his wife’s death gets an odd request while teaching bar/bat mitzvah classes at his synagogue. His septuagenarian grade-school music teacher (Carol Kane) recognizes he’s foundering and wants to help, so she asks him to tutor her for a late-in-life bat mitzvah. He resists, she insists, and things go predictably \u003cem>Harold and Maude\u003c/em> from there in plot terms, though Schwartzman and Kane bring their own quirks. — Bob Mondello\u003c/p>\n\n",
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"title": "The Best Movies of Summer 2024, According to NPR Critics | KQED",
"description": "Comedies, action-adventures, coming-of-age tales, animation. Now through Labor Day, there are a wealth of great movies on the way.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At this time of year, there’s air conditioning, and then there’s movie theater air conditioning — a frigid blast forceful enough to cool down the biggest crowd on a hot summer’s day. And if that’s not enough, your neighborhood multiplex also boasts enormous ice-cold drinks to go with popcorn and candy and … oh, right … it also has movies! Comedies, action-adventures, coming-of-age tales, animation.\u003c/p>\n\u003cp>If you’re wondering which to catch, NPR critics have you covered. Here’s our take on the cream of the cinematic crop — Marvel to just plain marvelous — from now through Labor Day.\u003c/p>\n\u003cp>\u003cstrong>‘Hit Man,’ in theaters May 24, on Netflix June 7\u003c/strong>\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/DXwa8DKIK7g'\n title='//www.youtube.com/embed/DXwa8DKIK7g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Red-hot star Glen Powell plays the titular hit man — well, a cop pretending to be a hit man — in this action rom-com. Romantic comedies are much rarer than they used to be, and the ones that do show up are often disappointing. But! Powell co-wrote the screenplay with director Richard Linklater, whose skill with love stories is well established (the Before trilogy is all the love-story credibility anybody needs, forever). A lot of Netflix movies have fizzled. Hopefully this one will not. — Linda Holmes\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>‘Ghostlight,’ in theaters June 14\u003c/strong>\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/R1TycuGX4Mw'\n title='//www.youtube.com/embed/R1TycuGX4Mw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The title of this warmly engaging drama refers to theatrical superstition: a light left onstage to keep the theater ghost at bay — or at least to keep it happy — when actors aren’t present. Actors are everywhere here, as family tragedy blends into Shakespearean tragedy (a grieving construction worker getting roped into a community theater \u003cem>Romeo and Juliet\u003c/em>), and the film doubles down on connections by casting a real-life father, wife and daughter as the construction worker, his wife and their daughter. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Inside Out 2,’ in theaters June 14\u003c/strong>\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/LEjhY15eCx0'\n title='//www.youtube.com/embed/LEjhY15eCx0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Inside Out\u003c/em> was one of Pixar’s best films, but sequels haven’t always been the studio’s strength. Still, it’s exciting to know that Joy (Amy Poehler) is back, as are Phyllis Smith’s Sadness and Lewis Black’s Anger. New voices and new emotions arrive as Riley enters her teenage years, and the world may not be ready for Maya Hawke as Anxiety or Ayo Edebiri as Envy (OK, I may not). But get out the tissues or whatever else you need to cope with an onslaught of feelings, because it’s coming. — Linda Holmes\u003c/p>\n\u003cp>\u003cstrong>‘The Bikeriders,’ in theaters June 21\u003c/strong>\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/PYioWaFdp70'\n title='//www.youtube.com/embed/PYioWaFdp70'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A melodrama about a fictional 1960s motorcycle gang starring Austin Butler, Jodie Comer and Tom Hardy? Sure, why not! This is Jeff Nichols’ first feature in almost a decade (following 2016’s \u003cem>Loving\u003c/em> and \u003cem>Midnight Special\u003c/em>), and he has proved himself again and again as a filmmaker who excels at capturing mood and ambience, through setting as well as a great Michael Shannon performance. At the very least, this could be a thrill ride. — Aisha Harris\u003c/p>\n\u003cp>\u003cstrong>‘Fancy Dance,’ in theaters June 21, on Apple TV+ June 28\u003c/strong>\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/AmPPiLaiN8g'\n title='//www.youtube.com/embed/AmPPiLaiN8g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It has taken far too long for Erica Tremblay’s profound feature debut to get a proper release — it premiered at Sundance back in January 2023 — but the wait is worth it. Lily Gladstone plays Jax, a woman caring for her young niece on a Native American reservation after her sister goes missing. Part crime drama and part road trip movie, it avoids emotional clichés while offering an underseen perspective and a dynamic performance from Gladstone. — Aisha Harris\u003c/p>\n\u003cp>\u003cstrong>‘Kinds of Kindness,’ in theaters June 21\u003c/strong>\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/inAuktwXbew'\n title='//www.youtube.com/embed/inAuktwXbew'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Viewers who know Yorgos Lanthimos’ recent work — \u003ca href=\"https://www.kqed.org/arts/13938158/poor-things-movie-review-emma-stone-bella-baxter-mark-ruffalo-willem-dafoe\">\u003cem>Poor Things\u003c/em>\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13846027/the-favourite-sou-smart-sou-wicked-sou-witty-sou-gououd\">\u003cem>The Favourite\u003c/em>\u003c/a> — might find him whimsically absurd. Those of us who’ve been with him from his 2009 breakthrough, \u003cem>Dogtooth\u003c/em>, however, know him to be a deadpan satirist of the most scalding, remorseless variety. He has reteamed with \u003cem>Dogtooth\u003c/em> writer Efthimis Filippou for this anthology film featuring the same stable of actors playing different roles in three shorts. Can’t wait to see him getting back to his roots; bring on the bleak. — Glen Weldon\u003c/p>\n\u003cp>\u003cstrong>‘Thelma,’ in theaters June 21\u003c/strong>\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/lyE_hYkZPPE'\n title='//www.youtube.com/embed/lyE_hYkZPPE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Ninety-three-year-old Thelma (June Squibb) is duped by a phone scammer in the opening reel and then sets off on a geriatric \u003cem>Mission: Impossible\u003c/em> across Los Angeles to get her money back. Along the way, she enlists the aid (and electric scooter) of an old pal (the late Richard Roundtree), runs rings around her frantic daughter (Parker Posey) and matches wits with scammer Malcolm McDowell. An understated riot that’s arguably the most Sundance-ean comedy since \u003cem>Little Miss Sunshine\u003c/em>. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Horizon: An American Saga, Chapter 1\u003c/em> and \u003cem>Chapter 2\u003c/em>, in theaters June 28 and Aug. 16\u003c/strong>\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/YYsReoZMj1k'\n title='//www.youtube.com/embed/YYsReoZMj1k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Kevin Costner’s passion project (he has said he mortgaged his 10-acre oceanfront property in Santa Barbara to finance it) returns him to \u003cem>Dances With Wolves\u003c/em> territory — settlers arriving in covered wagons, expecting Indigenous communities to disappear. \u003cem>Chapter 1\u003c/em> is reportedly roughly three hours long. \u003cem>Chapter 2\u003c/em> will hit theaters seven weeks later. And depending on whether audiences show up, Costner will spend his summer either shooting the next chapter or, I guess, nursing his wounds. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘A Quiet Place: Day One,’ in theaters June 28\u003c/strong>\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/gjx-iHGXk9Q'\n title='//www.youtube.com/embed/gjx-iHGXk9Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s not a spoiler anymore that \u003cem>A Quiet Place\u003c/em>‘s story made sequels complicated — but there are always prequels. This one, starring Lupita Nyong’o, rewinds all the way back to the alien invasion that got everybody to shut up in the first place. And unlike the other two films, it takes place smack in the middle of New York City, not the most natural place to attempt total silence. John Krasinski stepped back from both directing and writing the screenplay, which could be a problem — or a fresh start. — Linda Holmes\u003c/p>\n\u003cp>\u003cstrong>‘Beverly Hills Cop: Axel F,’ on Netflix July 3\u003c/strong>\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/KoxhkE_U3Ww'\n title='//www.youtube.com/embed/KoxhkE_U3Ww'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Street-smart Detroit detective Axel Foley is the role that made Eddie Murphy a movie star in 1984. This Part 4 has been in development since the mid-1990s, after morphing briefly into a TV pilot that never got picked up. Joining Murphy from the earlier films will be fellow cops Judge Reinhold, John Ashton and Paul Reiser, as well as Bronson Pinchot’s star-making art gallerist, Serge. Franchise newbies include Joseph Gordon-Levitt and Kevin Bacon. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Fly Me to the Moon,’ in theaters July 12\u003c/strong>\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/lW7enw6mFxs'\n title='//www.youtube.com/embed/lW7enw6mFxs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Space race rom-com” isn’t exactly well-trod territory, so this project from Greg Berlanti (\u003cem>Love, Simon\u003c/em>) could be a light, refreshing summer diversion starring a pair of ridiculously good-looking actors. Scarlett Johansson and Channing Tatum play a marketing consultant and NASA launch director who team up to stage a “backup” recording of the moon landing in case the actual moon-landing attempt fails. Presumably they fall in love, with at least one Sinatra song crooning in the background. — Aisha Harris\u003c/p>\n\u003cp>\u003cstrong>‘National Anthem,’ in theaters July 12\u003c/strong>\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/oeGCjSOHfZ8'\n title='//www.youtube.com/embed/oeGCjSOHfZ8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This is the first feature by photographer Luke Gilford. Charlie Plummer stars as a young man in New Mexico who takes a job at a homestead of queer rodeo performers where, as often happens in films like this, he comes to learn things about himself. I haven’t yet seen it, but by all accounts it’s a quiet and lyrical movie that tells a queer story that isn’t rooted in trauma and tragedy, but in self-discovery and finding your people. It arrives at a time when those stories are much needed. — Glen Weldon\u003c/p>\n\u003cp>\u003cstrong>‘Sing Sing,’ in theaters July 12 (limited), Aug. 2 (wide)\u003c/strong>\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>One current rule: If it has \u003ca href=\"https://www.kqed.org/arts/13909135/colman-domingo-strand-theater-valentines-euphoria-walking-dead-zola\">Colman Domingo\u003c/a> in it, it will be worth watching. \u003cem>Sing Sing\u003c/em> is about a man played by Domingo who is incarcerated for a crime he didn’t commit and who joins the New York prison’s theater program to produce a comedy with his fellow inmates. The movie’s publicity campaign makes some broad claims (including that it’s a “true story of resilience, humanity, and the transformative power of art”), but if it lives up to them the way its early reviews suggest, it will be special. — Linda Holmes\u003c/p>\n\u003cp>\u003cstrong>‘Twisters,’ in theaters July 19\u003c/strong>\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/wdok0rZdmx4'\n title='//www.youtube.com/embed/wdok0rZdmx4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The most intriguing thing about this sequel to the classic, bombastic disaster movie \u003cem>Twister\u003c/em> is that it’s directed by Lee Isaac Chung, who directed \u003cem>Minari\u003c/em> — one of the least bombastic films in recent memory. Glen Powell and Daisy Edgar-Jones star in this sequel, which certainly tries in its trailer to call to mind the goofy, special-effects-heavy, not-actually-advisable-in-a-storm feeling of the original. Will it have a plot? Who knows? Does it need a plot? Probably not! — Linda Holmes\u003c/p>\n\u003cp>\u003cstrong>‘Deadpool & Wolverine,’ in theaters July 26\u003c/strong>\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/pn5fdK61o9c'\n title='//www.youtube.com/embed/pn5fdK61o9c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Marvel may be releasing only one superhero movie this year, but it’s a double-header, with two regenerative dudes in spandex — one joke-spewing and disfigured, the other snarling and adamantium-clawed — teaming up to save something or other. Technically, it’s Ryan Reynolds’ movie, so he’ll be setting the tone, meaning lotsa laughs. What? — you say — Wolverine died in his last movie? Well, to that I say … multiverse … or time-shift … or who cares, if Hugh Jackman’s willing to come back. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Dìdi,’ in theaters July 26\u003c/strong>\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/e6gve8GtSuU'\n title='//www.youtube.com/embed/e6gve8GtSuU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Thirteen-year-old Chris begins Sean Wang’s semi-autobiographical, coming-of-age dramedy trading insults with his older sister, and he ends it choked up as she leaves home (and him) for college. In between, there are pranks, misadventures, a clumsy first romance and an ill-advised attempt to ingratiate himself with some cool high school skateboarders by claiming to be an expert filmmaker. The film, which charmed at Sundance, is a lot like its pint-size hero — cute, exasperating, promising. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Kneecap,’ in theaters Aug. 2\u003c/strong>\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/QB2LsoZOQpU'\n title='//www.youtube.com/embed/QB2LsoZOQpU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Raw, raunchy, violent and uproarious, this origin story of the titular Irish-language hip-hop group is both a riot and a call to arms. Filled with the fury of a populace that had to fight for the right to keep its own language, the film features rappers Naoise Ó Cairealláin and Liam Óg Ó Hannaidh, as well as the mild-mannered substitute music teacher who became their DJ, JJ Ó Dochartaigh, playing themselves — entirely professionally — through sex scenes, police beatings and drug-fueled jam sessions. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Close to You,’ in theaters Aug. 16\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13959596\" class=\"wp-caption aligncenter\" style=\"max-width: 966px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959596\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM.png\" alt=\"A shirtless young trans man leans up against a window frame and gazes outside.\" width=\"966\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM.png 966w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM-800x444.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM-768x426.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM-672x372.png 672w\" sizes=\"(max-width: 966px) 100vw, 966px\">\u003cfigcaption class=\"wp-caption-text\">Elliot Page in ‘Close to You.’ \u003ccite>(Me+You Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With Elliot Page, in his first movie role in six years, playing a trans man who’s wary about attending his first family reunion since his transition, this story already had hooks for audiences. Throw in reports that the film’s scenes were mostly improvised on the day of shooting, and it sounds like an emotional high-wire act. Page, who came out as trans in 2020, is also involved with another queer coming-of-age story this summer, as executive producer for the cheerleading tale \u003cem>Backspot\u003c/em>. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Between the Temples,’ in theaters Aug. 23\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13959595\" class=\"wp-caption aligncenter\" style=\"max-width: 1292px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959595\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM.png\" alt=\"An older woman leans her head onto the shoulder of a younger man. \" width=\"1292\" height=\"722\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM.png 1292w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM-800x447.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM-1020x570.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM-768x429.png 768w\" sizes=\"(max-width: 1292px) 100vw, 1292px\">\u003cfigcaption class=\"wp-caption-text\">Jason Schwartzman and Carol Kane in ‘Between the Temples.’ \u003ccite>(Sean Price Williams/Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A depressed cantor (Jason Schwartzman) who can’t sing since his wife’s death gets an odd request while teaching bar/bat mitzvah classes at his synagogue. His septuagenarian grade-school music teacher (Carol Kane) recognizes he’s foundering and wants to help, so she asks him to tutor her for a late-in-life bat mitzvah. He resists, she insists, and things go predictably \u003cem>Harold and Maude\u003c/em> from there in plot terms, though Schwartzman and Kane bring their own quirks. — Bob Mondello\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It seems the film industry’s reputation is in a perpetual state of lament. \u003cem>They don’t make them like they used to\u003c/em> can be and often is applied to movie stars, special effects, non-franchise screenplays, erotic thrillers, rom-coms.\u003c/p>\n\u003cp>There’s validity to these concerns, though every now and then, a new movie comes along with a strong whiff of throwback energy — deliberate yet breezy pacing, crackling banter that’s at once contemporary and timeless, and a performance that convinces you a star’s been born right here in this moment on screen. And with it comes the warm reminder that they still \u003cem>can \u003c/em>make them like they used to, and sometimes still do. Richard Linklater’s sexy, nihilistic comedy \u003cem>Hit Man\u003c/em> is one of those movies.\u003c/p>\n\u003cp>[aside postid='arts_13958891']Glen Powell is Gary Johnson, a conventionally attractive yet aggressively plain psych and philosophy professor at the University of New Orleans. He’s the type of unassuming jean shorts-wearing guy who blends easily into the background and is perfectly content being boring; he lives alone in the suburbs with two cats named Ego and Id, drives a Honda Civic, and appears to have no social life to speak of.\u003c/p>\n\u003cp>His sole quirk, if we’re going to call it that, is that he moonlights with the New Orleans Police Department, and as the movie begins, that part-time gig suddenly kicks into overdrive. When dirtbag undercover detective Jasper (Austin Amelio) is suspended for a police brutality case, Gary replaces him as the department’s go-to fake hit man, meeting with — and arresting — all varieties of disgruntled recruiters as “Ron.” It turns out Gary relishes convincing unsuspecting strangers he’s a cold-blooded assassin. He researches his would-be “clients” to tailor his persona to their hit man fantasies, using an array of elaborate costumes, wigs, and fake makeup. For one suspect, he eerily resembles Patrick Bateman.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DXwa8DKIK7g\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Hit Man \u003c/em>sounds wacky in premise, but it’s loosely based on a \u003ca href=\"https://www.texasmonthly.com/true-crime/hit-man-2/\">\u003cem>Texas Monthly\u003c/em> profile\u003c/a> of a real Gary Johnson, who worked on-call for the Houston Police Department and was dubbed the “Laurence Olivier” of undercover murder-for-hire investigations. Linklater and Powell, who co-wrote the screenplay, take the bones of Johnson’s story and embellish it for cinematic effect, slipping from a slick, lightly comical procedural in the first act to an erotic cat-and-mouse game by the film’s climax.\u003c/p>\n\u003cp>Like the private detective archetype in film noir, Gary is eventually hired by a gorgeous young woman, except in this case, she’s looking to off her controlling husband. Maddy (Adria Arjona) is, of course, pouty and flirty and femme fatale-y, and gets him entangled in quite a compromising pickle.\u003c/p>\n\u003cfigure id=\"attachment_13959389\" class=\"wp-caption aligncenter\" style=\"max-width: 1466px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959389\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM.png\" alt=\"A woman leans back, eyes closed against a man in a lover's embrace.\" width=\"1466\" height=\"906\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM.png 1466w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM-800x494.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM-1020x630.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM-768x475.png 768w\" sizes=\"(max-width: 1466px) 100vw, 1466px\">\u003cfigcaption class=\"wp-caption-text\">Adria Arjona as Madison and Glen Powell as Gary Johnson in ’Hit Man.‘ \u003ccite>(Brian Roedel/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The story stays grounded by avoiding a few present-day pop culture clichés — thankfully there are no obvious needle-drops here — and the clear, electric chemistry between Powell and Arjona, whose dynamic evokes Jack and Karen’s frenetic dalliance in \u003cem>Out of Sight\u003c/em>.\u003c/p>\n\u003cp>But above all, this is Powell’s movie. It’s almost too easy to draw direct parallels between him and Gary, but sometimes the most obvious thing is also the most correct. The actor’s been kicking around Hollywood for some time now, more recently playing an antagonist in \u003cem>Top Gun: Maverick\u003c/em> and \u003ca href=\"https://www.nytimes.com/2024/04/23/movies/anyone-but-you-sydney-sweeney-glen-powell.html\">whipping gossip blogs into a frenzy\u003c/a> with his \u003cem>Anyone But You \u003c/em>co-star Sydney Sweeney. Yet like Gary the professor, he’s been more of a side salad than an entrée, inoffensive and fine, not exactly memorable.\u003c/p>\n\u003cp>[aside postid='arts_13959268']Ron the fake-contract-killer affords Gary the chance to tap into a part of himself that’s far more fascinating, and Powell plays this uber-confident side to the hilt. When Ron utters a corny catchphrase about pie with a straight face or goes off on a smooth tangent in great detail about how he’ll “dispose” of a body, Glen Powell, capital-M Movie Star suddenly makes sense as a concept.\u003c/p>\n\u003cp>\u003cem>Hit Man\u003c/em>’s final act is the kind you either go with or get frustrated by. It’s a big swing that tests the limits of suspending disbelief. But the movie’s driving theme reflects curiosity about the human capacity for change and self-creation, a struggle to decipher where the “real” essence of you begins and/or ends. In Gary, Linklater and Powell find a character who cleverly demonstrates how anyone, especially a movie actor, can mold the persona they wish to have — with the right tools.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Hit Man’ begins streaming on Netflix on June 7, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It seems the film industry’s reputation is in a perpetual state of lament. \u003cem>They don’t make them like they used to\u003c/em> can be and often is applied to movie stars, special effects, non-franchise screenplays, erotic thrillers, rom-coms.\u003c/p>\n\u003cp>There’s validity to these concerns, though every now and then, a new movie comes along with a strong whiff of throwback energy — deliberate yet breezy pacing, crackling banter that’s at once contemporary and timeless, and a performance that convinces you a star’s been born right here in this moment on screen. And with it comes the warm reminder that they still \u003cem>can \u003c/em>make them like they used to, and sometimes still do. Richard Linklater’s sexy, nihilistic comedy \u003cem>Hit Man\u003c/em> is one of those movies.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Glen Powell is Gary Johnson, a conventionally attractive yet aggressively plain psych and philosophy professor at the University of New Orleans. He’s the type of unassuming jean shorts-wearing guy who blends easily into the background and is perfectly content being boring; he lives alone in the suburbs with two cats named Ego and Id, drives a Honda Civic, and appears to have no social life to speak of.\u003c/p>\n\u003cp>His sole quirk, if we’re going to call it that, is that he moonlights with the New Orleans Police Department, and as the movie begins, that part-time gig suddenly kicks into overdrive. When dirtbag undercover detective Jasper (Austin Amelio) is suspended for a police brutality case, Gary replaces him as the department’s go-to fake hit man, meeting with — and arresting — all varieties of disgruntled recruiters as “Ron.” It turns out Gary relishes convincing unsuspecting strangers he’s a cold-blooded assassin. He researches his would-be “clients” to tailor his persona to their hit man fantasies, using an array of elaborate costumes, wigs, and fake makeup. For one suspect, he eerily resembles Patrick Bateman.\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/DXwa8DKIK7g'\n title='//www.youtube.com/embed/DXwa8DKIK7g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Hit Man \u003c/em>sounds wacky in premise, but it’s loosely based on a \u003ca href=\"https://www.texasmonthly.com/true-crime/hit-man-2/\">\u003cem>Texas Monthly\u003c/em> profile\u003c/a> of a real Gary Johnson, who worked on-call for the Houston Police Department and was dubbed the “Laurence Olivier” of undercover murder-for-hire investigations. Linklater and Powell, who co-wrote the screenplay, take the bones of Johnson’s story and embellish it for cinematic effect, slipping from a slick, lightly comical procedural in the first act to an erotic cat-and-mouse game by the film’s climax.\u003c/p>\n\u003cp>Like the private detective archetype in film noir, Gary is eventually hired by a gorgeous young woman, except in this case, she’s looking to off her controlling husband. Maddy (Adria Arjona) is, of course, pouty and flirty and femme fatale-y, and gets him entangled in quite a compromising pickle.\u003c/p>\n\u003cfigure id=\"attachment_13959389\" class=\"wp-caption aligncenter\" style=\"max-width: 1466px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959389\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM.png\" alt=\"A woman leans back, eyes closed against a man in a lover's embrace.\" width=\"1466\" height=\"906\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM.png 1466w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM-800x494.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM-1020x630.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM-768x475.png 768w\" sizes=\"(max-width: 1466px) 100vw, 1466px\">\u003cfigcaption class=\"wp-caption-text\">Adria Arjona as Madison and Glen Powell as Gary Johnson in ’Hit Man.‘ \u003ccite>(Brian Roedel/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The story stays grounded by avoiding a few present-day pop culture clichés — thankfully there are no obvious needle-drops here — and the clear, electric chemistry between Powell and Arjona, whose dynamic evokes Jack and Karen’s frenetic dalliance in \u003cem>Out of Sight\u003c/em>.\u003c/p>\n\u003cp>But above all, this is Powell’s movie. It’s almost too easy to draw direct parallels between him and Gary, but sometimes the most obvious thing is also the most correct. The actor’s been kicking around Hollywood for some time now, more recently playing an antagonist in \u003cem>Top Gun: Maverick\u003c/em> and \u003ca href=\"https://www.nytimes.com/2024/04/23/movies/anyone-but-you-sydney-sweeney-glen-powell.html\">whipping gossip blogs into a frenzy\u003c/a> with his \u003cem>Anyone But You \u003c/em>co-star Sydney Sweeney. Yet like Gary the professor, he’s been more of a side salad than an entrée, inoffensive and fine, not exactly memorable.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Ron the fake-contract-killer affords Gary the chance to tap into a part of himself that’s far more fascinating, and Powell plays this uber-confident side to the hilt. When Ron utters a corny catchphrase about pie with a straight face or goes off on a smooth tangent in great detail about how he’ll “dispose” of a body, Glen Powell, capital-M Movie Star suddenly makes sense as a concept.\u003c/p>\n\u003cp>\u003cem>Hit Man\u003c/em>’s final act is the kind you either go with or get frustrated by. It’s a big swing that tests the limits of suspending disbelief. But the movie’s driving theme reflects curiosity about the human capacity for change and self-creation, a struggle to decipher where the “real” essence of you begins and/or ends. In Gary, Linklater and Powell find a character who cleverly demonstrates how anyone, especially a movie actor, can mold the persona they wish to have — with the right tools.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Hit Man’ begins streaming on Netflix on June 7, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Dakota Johnson Brings Her Winning Authenticity to Sweet Comedy ‘Am I OK?’",
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"content": "\u003cp>We start — why not? — with a veggie burger.\u003c/p>\n\u003cp>Lucy (Dakota Johnson) and Jane (Sonoya Mizuno), besties in their 30s, have been so close for so long that when they meet at the diner, Jane can just recite Lucy’s regular order: Veggie burger and sweet potato fries.\u003c/p>\n\u003cp>[aside postid='arts_13958959']And so when, late into \u003cem>Am I Ok?\u003c/em>, Lucy goes rogue and orders a tomato and spinach omelet, there’s a look of subtle hurt that flits across Jane’s face. It seems silly — it was just a veggie burger — but to Jane it signifies something familiar and comforting that’s now gone.\u003c/p>\n\u003cp>There are similarly sweet, subtle touches peppered through this debut directorial effort by Tig Notaro and Stephanie Allynne — touches that land much better than the occasional attempts at broad humor that feel forced, or at least like a different movie (for example, the dialogue given to Jane’s boss, played by Sean Hayes).\u003c/p>\n\u003cp>And of course, there’s Johnson herself, the obvious focus of the lingering camera throughout, and for good reason: her always-winning authenticity, shining through in film after film even at times when the material around her feels thin.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The story here is simple and heartfelt. It’s a coming-out tale, but with the twist that the person coming out is 32, a decade (or even two) later than in most stories we see.\u003c/p>\n\u003cp>This particular story belongs to the film’s writer, Lauren Pomerantz, who came out when she was 34. Her closeness to the proceedings is evident in a few startlingly poignant moments — for example, the pain that Lucy feels when a straight woman toys with her emotions (and more). It’s one of the most moving passages in the film.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=b80FbdimIHs\u003c/p>\n\u003cp>After an opening montage that establishes the female friendship at the core of the movie, we begin at the aforementioned diner, with Jane telling Lucy (over the aforementioned veggie burger) that she really needs to get together with a certain cute male friend who obviously likes her: “Just do it,” she says. Lucy can’t explain why she doesn’t want to.\u003c/p>\n\u003cp>[aside postid='arts_13958855']Meanwhile, Jane, the more professionally advanced of the two, has a major life change coming. Her boss offers her the chance to leave Los Angeles and set up a London office. Plus, her very nice boyfriend (Jermaine Fowler, not given enough to work with for too much of the film) is coming along. But for Lucy, this news is devastating — and you can tell by the unconvincing way she keeps saying “Awesome!” when Jane tells her one evening over drinks.\u003c/p>\n\u003cp>After lots of tequila, the two friends end up crying together, as close friends do (at least in the movies) in the bathroom while peeing, and then later, on a sleepover. There, Lucy finally tells Jane that she likes girls.\u003c/p>\n\u003cp>Jane is nothing if not supportive. In fact, ever ambitious, she tells Lucy she’ll be “the star of the lesbian community.” And she resolves to help her find a woman, starting with an excursion to a gay bar. However, it’s Jane who winds up kissing a woman on the dance floor. Lucy flees, embarrassed.\u003c/p>\n\u003cp>But there’s this sensuous masseuse (Kiersey Clemons) at the spa where Lucy’s a receptionist. Brittany is flirting like crazy with Lucy, who finally gets up the courage to respond. She brings Lucy out of her shell, but with ultimately disheartening results. And Lucy’s on the outs now with Jane, normally the first person she’d call with any heartache.\u003c/p>\n\u003cp>This movie may be about a pair of friends, but witnessing the supremely watchable Johnson navigate uncertainty and sadness, it’s Lucy’s life you’ll find yourself caring about most. A last-minute obstacle to Jane’s well-laid plans for her trip to London rings a bit false — or maybe it just seems wedged in as if to say, well, both women have issues.\u003c/p>\n\u003cp>[aside postid='arts_13958728']In any case, It’s been a good month for female buddy comedies. While Pamela Adlon’s comedy \u003cem>Babes\u003c/em>, went all in for the raunch inherent in childbirth, \u003cem>Am I OK?\u003c/em> goes for a sweeter, soulful vibe. It feels good that we end up where we began — back at that table in the diner, hashing stuff out. The ultimate message here may be simple, but it’s comforting: friendships may change but can still adapt, withstand and survive.\u003c/p>\n\u003cp>Even when a veggie burger yields to an omelet.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Am I OK?’ begins streaming on Max on June 6, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And so when, late into \u003cem>Am I Ok?\u003c/em>, Lucy goes rogue and orders a tomato and spinach omelet, there’s a look of subtle hurt that flits across Jane’s face. It seems silly — it was just a veggie burger — but to Jane it signifies something familiar and comforting that’s now gone.\u003c/p>\n\u003cp>There are similarly sweet, subtle touches peppered through this debut directorial effort by Tig Notaro and Stephanie Allynne — touches that land much better than the occasional attempts at broad humor that feel forced, or at least like a different movie (for example, the dialogue given to Jane’s boss, played by Sean Hayes).\u003c/p>\n\u003cp>And of course, there’s Johnson herself, the obvious focus of the lingering camera throughout, and for good reason: her always-winning authenticity, shining through in film after film even at times when the material around her feels thin.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The story here is simple and heartfelt. It’s a coming-out tale, but with the twist that the person coming out is 32, a decade (or even two) later than in most stories we see.\u003c/p>\n\u003cp>This particular story belongs to the film’s writer, Lauren Pomerantz, who came out when she was 34. Her closeness to the proceedings is evident in a few startlingly poignant moments — for example, the pain that Lucy feels when a straight woman toys with her emotions (and more). It’s one of the most moving passages in the film.\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/b80FbdimIHs'\n title='//www.youtube.com/embed/b80FbdimIHs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>After an opening montage that establishes the female friendship at the core of the movie, we begin at the aforementioned diner, with Jane telling Lucy (over the aforementioned veggie burger) that she really needs to get together with a certain cute male friend who obviously likes her: “Just do it,” she says. Lucy can’t explain why she doesn’t want to.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Meanwhile, Jane, the more professionally advanced of the two, has a major life change coming. Her boss offers her the chance to leave Los Angeles and set up a London office. Plus, her very nice boyfriend (Jermaine Fowler, not given enough to work with for too much of the film) is coming along. But for Lucy, this news is devastating — and you can tell by the unconvincing way she keeps saying “Awesome!” when Jane tells her one evening over drinks.\u003c/p>\n\u003cp>After lots of tequila, the two friends end up crying together, as close friends do (at least in the movies) in the bathroom while peeing, and then later, on a sleepover. There, Lucy finally tells Jane that she likes girls.\u003c/p>\n\u003cp>Jane is nothing if not supportive. In fact, ever ambitious, she tells Lucy she’ll be “the star of the lesbian community.” And she resolves to help her find a woman, starting with an excursion to a gay bar. However, it’s Jane who winds up kissing a woman on the dance floor. Lucy flees, embarrassed.\u003c/p>\n\u003cp>But there’s this sensuous masseuse (Kiersey Clemons) at the spa where Lucy’s a receptionist. Brittany is flirting like crazy with Lucy, who finally gets up the courage to respond. She brings Lucy out of her shell, but with ultimately disheartening results. And Lucy’s on the outs now with Jane, normally the first person she’d call with any heartache.\u003c/p>\n\u003cp>This movie may be about a pair of friends, but witnessing the supremely watchable Johnson navigate uncertainty and sadness, it’s Lucy’s life you’ll find yourself caring about most. A last-minute obstacle to Jane’s well-laid plans for her trip to London rings a bit false — or maybe it just seems wedged in as if to say, well, both women have issues.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In any case, It’s been a good month for female buddy comedies. While Pamela Adlon’s comedy \u003cem>Babes\u003c/em>, went all in for the raunch inherent in childbirth, \u003cem>Am I OK?\u003c/em> goes for a sweeter, soulful vibe. It feels good that we end up where we began — back at that table in the diner, hashing stuff out. The ultimate message here may be simple, but it’s comforting: friendships may change but can still adapt, withstand and survive.\u003c/p>\n\u003cp>Even when a veggie burger yields to an omelet.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Am I OK?’ begins streaming on Max on June 6, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Fresh Look at San Francisco’s Starring Hollywood Roles",
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"content": "\u003cp>San Francisco has long captured the imagination of filmmakers, who love shooting establishing shots of the Golden Gate Bridge almost as much as destroying it. For over a century, the city’s downtown skyline, distinctive neighborhoods and dramatic history have provided iconic backdrops for cinematic imaginings. \u003c/p>\n\u003cp>Local writer and historian (and former librarian) Jim Van Buskirk, co-author of the 2006 book \u003ci>Celluloid San Francisco: The Film Lover’s Guide to Bay Area Movie Locations\u003c/i>, knows this well. Now, in a series of lively Tuesday night talks in the San Francisco Public Library’s Koret Auditorium, he’ll share some of that knowledge, along with clips and still photographs related to movie-making in the Bay. \u003c/p>\n\u003cp>The program kicks off on June 4 with “\u003ca href=\"https://sfpl.org/events/2024/06/18/film-cinematic-san-francisco\">San Francisco on the Silver Screen\u003c/a>,” a broad survey of the region’s role in movies and television shows. Christina Moretta, photo curator of the library’s San Francisco History Center, worked with Van Buskirk to pull images from the \u003ca href=\"https://sfpl.org/locations/main-library/historical-photographs/photo-collections/san-francisco-news-call-bulletin\">\u003cem>San Francisco News-Call Bulletin\u003c/em> Photo Morgue\u003c/a>, a collection of over 2 million photographs donated to the library in the 1960s.\u003c/p>\n\u003cfigure id=\"attachment_13959081\" class=\"wp-caption aligncenter\" style=\"max-width: 1406px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Novak_comp.jpg\" alt=\"Black-and-white image of man in old diving gear, back of photo with news clipping and writing\" width=\"1406\" height=\"1110\" class=\"size-full wp-image-13959081\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Novak_comp.jpg 1406w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Novak_comp-800x632.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Novak_comp-1020x805.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Novak_comp-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Novak_comp-768x606.jpg 768w\" sizes=\"(max-width: 1406px) 100vw, 1406px\">\u003cfigcaption class=\"wp-caption-text\">Photo of Kim Novak taken while filming ‘Vertigo’ in San Francisco, 1957. \u003ccite>(United Press Telephoto; Courtesy of San Francisco History Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We actually went through the photo morgue identifying all the movie stars and found original photographs of [them] on set here in San Francisco,” says Moretta. “For example, one is Alfred Hitchcock and James Stewart in the cemetery of Mission Dolores, with the lights in the background and them talking over a script.”\u003c/p>\n\u003cp>In addition to glimpses of behind-the-scenes action, the photographs tell a story of the studio publicity machine, Moretta notes: “For Bette Davis, they had like two cartons of photographs of her.” (Orson Welles? “Maybe five folders.”)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On June 11, Van Buskirk turns his focus to depictions of the 1906 earthquake and fire for “Hollywood Shakes San Francisco.” Alongside newsreels, the program includes clips from the silent film \u003ci>When the Earth Trembled\u003c/i> (1913), possibly the first drama to depict the disaster via early 20th-century special effects. In the ’30s, \u003ci>Frisco Jenny\u003c/i>, \u003ci>San Francisco\u003c/i> and \u003ci>The Sisters\u003c/i> all included the earthquake in their mix of political, romantic and musical drama, the devastation bringing characters together or temporarily forcing them apart. \u003c/p>\n\u003cp>A note here on the format of these Tuesday nights: Moretta implies that “talk” is a bit dry for what Van Buskirk has in store. “He does encourage audience participation and there’s kind of a camp element to it,” she says. (Van Buskirk has previously given presentations for San Francisco Neon on Market Street movie marquees and gay bar signs.)\u003c/p>\n\u003cfigure id=\"attachment_13959084\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Cobb_GGB_2000.jpg\" alt=\"Photo of man and woman looking up under the Golden Gate Bridge, verso to right with news clipping and writing\" width=\"2000\" height=\"1233\" class=\"size-full wp-image-13959084\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Cobb_GGB_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Cobb_GGB_2000-800x493.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Cobb_GGB_2000-1020x629.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Cobb_GGB_2000-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Cobb_GGB_2000-768x473.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Cobb_GGB_2000-1536x947.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Cobb_GGB_2000-1920x1184.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lee J. Cobb and Jane Wyatt during filming of ‘The Man Who Cheated Himself,’ 1950. \u003ccite>(Call Bulletin; Courtesy of San Francisco History Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the final two events of the series, he’ll turn his attention to the Golden Gate Bridge and Alcatraz (June 18 and 25, respectively). The bridge isn’t just a recognizable backdrop, Van Buskirk argues, but a character in its own right — one that has withstood sea monsters, natural disasters and villains of all stripes, in movies like \u003ci>Superman\u003c/i> (1978), \u003ci>A View to a Kill\u003c/i> (1985) and \u003ci>Rise of the Planet of the Apes\u003c/i> (2011). \u003c/p>\n\u003cp>[aside postID='arts_13958881,arts_13957326']Alcatraz, rocky and removed, was depicted \u003ca href=\"https://en.wikipedia.org/wiki/Alcatraz_Island_(film)\">on film in 1937\u003c/a>, just three years after it opened as a federal prison. Its role shifted in film as it did in real life: in 1967 the by-then deserted site was the setting of an ambush in \u003ci>Point Blank\u003c/i>; a criminal organization hides out on the island in 1976’s \u003ci>The Enforcer\u003c/i>, the third \u003ci>Dirty Harry\u003c/i> film. Van Buskirk, of course, will not overlook \u003ci>The Rock\u003c/i>. \u003c/p>\n\u003cp>(For those seeking a deeper dive on any of the above, the library has compiled \u003ca href=\"https://sfpl.bibliocommons.com/list/share/379727478_sfpl_artmusiclibrarians/2539869619_cinematic_san_francisco\">a list of recommendations\u003c/a> for further reading, and all the titles discussed are available to library patrons via \u003ca href=\"https://www.kanopy.com/en\">Kanopy\u003c/a> or on DVD.)\u003c/p>\n\u003cp>Moretta says the talks, peppered throughout with short clips, are for anyone interested in film and learning more about San Francisco. “And then also for anyone who thinks they know everything,” she says. “I think everyone will have a discovery in the moment.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Jim Van Buskirk’s series of ‘\u003ca href=\"https://sfpl.org/events/2024/06/18/film-cinematic-san-francisco\">Film: Cinematic San Francisco\u003c/a>’ talks take place June 4, 11, 18 and 25 in the San Francisco Public Library’s Koret Auditorium (100 Larkin St.). All events begin at 6:00 p.m. and are free to attend.\u003c/i>\u003c/p>\n\n",
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"excerpt": "On Tuesday nights in June, Jim Van Buskirk mines the city’s celluloid history, with clips and stills galore. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco has long captured the imagination of filmmakers, who love shooting establishing shots of the Golden Gate Bridge almost as much as destroying it. For over a century, the city’s downtown skyline, distinctive neighborhoods and dramatic history have provided iconic backdrops for cinematic imaginings. \u003c/p>\n\u003cp>Local writer and historian (and former librarian) Jim Van Buskirk, co-author of the 2006 book \u003ci>Celluloid San Francisco: The Film Lover’s Guide to Bay Area Movie Locations\u003c/i>, knows this well. Now, in a series of lively Tuesday night talks in the San Francisco Public Library’s Koret Auditorium, he’ll share some of that knowledge, along with clips and still photographs related to movie-making in the Bay. \u003c/p>\n\u003cp>The program kicks off on June 4 with “\u003ca href=\"https://sfpl.org/events/2024/06/18/film-cinematic-san-francisco\">San Francisco on the Silver Screen\u003c/a>,” a broad survey of the region’s role in movies and television shows. Christina Moretta, photo curator of the library’s San Francisco History Center, worked with Van Buskirk to pull images from the \u003ca href=\"https://sfpl.org/locations/main-library/historical-photographs/photo-collections/san-francisco-news-call-bulletin\">\u003cem>San Francisco News-Call Bulletin\u003c/em> Photo Morgue\u003c/a>, a collection of over 2 million photographs donated to the library in the 1960s.\u003c/p>\n\u003cfigure id=\"attachment_13959081\" class=\"wp-caption aligncenter\" style=\"max-width: 1406px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Novak_comp.jpg\" alt=\"Black-and-white image of man in old diving gear, back of photo with news clipping and writing\" width=\"1406\" height=\"1110\" class=\"size-full wp-image-13959081\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Novak_comp.jpg 1406w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Novak_comp-800x632.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Novak_comp-1020x805.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Novak_comp-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Novak_comp-768x606.jpg 768w\" sizes=\"(max-width: 1406px) 100vw, 1406px\">\u003cfigcaption class=\"wp-caption-text\">Photo of Kim Novak taken while filming ‘Vertigo’ in San Francisco, 1957. \u003ccite>(United Press Telephoto; Courtesy of San Francisco History Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We actually went through the photo morgue identifying all the movie stars and found original photographs of [them] on set here in San Francisco,” says Moretta. “For example, one is Alfred Hitchcock and James Stewart in the cemetery of Mission Dolores, with the lights in the background and them talking over a script.”\u003c/p>\n\u003cp>In addition to glimpses of behind-the-scenes action, the photographs tell a story of the studio publicity machine, Moretta notes: “For Bette Davis, they had like two cartons of photographs of her.” (Orson Welles? “Maybe five folders.”)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On June 11, Van Buskirk turns his focus to depictions of the 1906 earthquake and fire for “Hollywood Shakes San Francisco.” Alongside newsreels, the program includes clips from the silent film \u003ci>When the Earth Trembled\u003c/i> (1913), possibly the first drama to depict the disaster via early 20th-century special effects. In the ’30s, \u003ci>Frisco Jenny\u003c/i>, \u003ci>San Francisco\u003c/i> and \u003ci>The Sisters\u003c/i> all included the earthquake in their mix of political, romantic and musical drama, the devastation bringing characters together or temporarily forcing them apart. \u003c/p>\n\u003cp>A note here on the format of these Tuesday nights: Moretta implies that “talk” is a bit dry for what Van Buskirk has in store. “He does encourage audience participation and there’s kind of a camp element to it,” she says. (Van Buskirk has previously given presentations for San Francisco Neon on Market Street movie marquees and gay bar signs.)\u003c/p>\n\u003cfigure id=\"attachment_13959084\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Cobb_GGB_2000.jpg\" alt=\"Photo of man and woman looking up under the Golden Gate Bridge, verso to right with news clipping and writing\" width=\"2000\" height=\"1233\" class=\"size-full wp-image-13959084\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Cobb_GGB_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Cobb_GGB_2000-800x493.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Cobb_GGB_2000-1020x629.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Cobb_GGB_2000-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Cobb_GGB_2000-768x473.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Cobb_GGB_2000-1536x947.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Cobb_GGB_2000-1920x1184.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lee J. Cobb and Jane Wyatt during filming of ‘The Man Who Cheated Himself,’ 1950. \u003ccite>(Call Bulletin; Courtesy of San Francisco History Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the final two events of the series, he’ll turn his attention to the Golden Gate Bridge and Alcatraz (June 18 and 25, respectively). The bridge isn’t just a recognizable backdrop, Van Buskirk argues, but a character in its own right — one that has withstood sea monsters, natural disasters and villains of all stripes, in movies like \u003ci>Superman\u003c/i> (1978), \u003ci>A View to a Kill\u003c/i> (1985) and \u003ci>Rise of the Planet of the Apes\u003c/i> (2011). \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Alcatraz, rocky and removed, was depicted \u003ca href=\"https://en.wikipedia.org/wiki/Alcatraz_Island_(film)\">on film in 1937\u003c/a>, just three years after it opened as a federal prison. Its role shifted in film as it did in real life: in 1967 the by-then deserted site was the setting of an ambush in \u003ci>Point Blank\u003c/i>; a criminal organization hides out on the island in 1976’s \u003ci>The Enforcer\u003c/i>, the third \u003ci>Dirty Harry\u003c/i> film. Van Buskirk, of course, will not overlook \u003ci>The Rock\u003c/i>. \u003c/p>\n\u003cp>(For those seeking a deeper dive on any of the above, the library has compiled \u003ca href=\"https://sfpl.bibliocommons.com/list/share/379727478_sfpl_artmusiclibrarians/2539869619_cinematic_san_francisco\">a list of recommendations\u003c/a> for further reading, and all the titles discussed are available to library patrons via \u003ca href=\"https://www.kanopy.com/en\">Kanopy\u003c/a> or on DVD.)\u003c/p>\n\u003cp>Moretta says the talks, peppered throughout with short clips, are for anyone interested in film and learning more about San Francisco. “And then also for anyone who thinks they know everything,” she says. “I think everyone will have a discovery in the moment.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Jim Van Buskirk’s series of ‘\u003ca href=\"https://sfpl.org/events/2024/06/18/film-cinematic-san-francisco\">Film: Cinematic San Francisco\u003c/a>’ talks take place June 4, 11, 18 and 25 in the San Francisco Public Library’s Koret Auditorium (100 Larkin St.). All events begin at 6:00 p.m. and are free to attend.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A New Outdoor Movie Series Comes to Treasure Island This Summer",
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"content": "\u003cp>Starting June 3, Treasure Island distillery \u003ca href=\"https://goldbarwhiskey.com/\">Gold Bar Whiskey\u003c/a> is hosting a series of outdoor movie nights at sunset, spotlighting films shot in and around the Bay Area.\u003c/p>\n\u003cp>The full line-up so far includes \u003cem>Indiana Jones and the Last Crusade\u003c/em> on June 3, \u003cem>Milk\u003c/em> on June 11, \u003cem>The Pursuit of Happyness\u003c/em> on July 9, \u003cem>The Parent Trap\u003c/em> on Aug. 13, \u003cem>Bicentennial Man\u003c/em> on Sept. 10 and \u003cem>What Dreams May Come\u003c/em> on Oct. 8. The screenings cost $10, are dog- and child-friendly, and babies under two can attend for free.\u003c/p>\n\u003cp>[aside postid='arts_13957727']Gold Bar Whiskey has been open since October 2023 and is housed inside the former Pan Am Airport on Treasure Island, along with the \u003ca href=\"https://www.treasureislandmuseum.org/\">Treasure Island Museum\u003c/a>. The grand, semi-circular building makes an appearance in \u003cem>Indiana Jones and the Last Crusade\u003c/em> as the Berlin airport — no doubt the reason it’s the first on this summer’s movie roster.\u003c/p>\n\u003cp>The Art Deco-inspired building was first constructed as part of 1939’s \u003ca href=\"https://www.kqed.org/news/11790693/magic-city-and-the-making-of-treasure-island\">Golden Gate International Exposition\u003c/a> and was the brainchild of architects William Peyton Day, who designed Oakland’s Fox Theater, and George William Kelham, who helped reconstruct the Palace Hotel after the 1906 earthquake. It is perfectly situated to enjoy stunning views of the San Francisco skyline.\u003c/p>\n\u003cp>Though limited seating will be available during the movie screenings, attendees are encouraged to bring their own chairs and blankets. Drinks and snacks will be available for purchase from the distillery. Start times for each screening will vary in order to coincide with that day’s sunset. \u003ca href=\"https://www.eventbrite.com/e/sunset-movie-nights-on-treasure-island-tickets-906437347507?aff=oddtdtcreator\">Check individual events for specifics\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Starting June 3, Treasure Island distillery \u003ca href=\"https://goldbarwhiskey.com/\">Gold Bar Whiskey\u003c/a> is hosting a series of outdoor movie nights at sunset, spotlighting films shot in and around the Bay Area.\u003c/p>\n\u003cp>The full line-up so far includes \u003cem>Indiana Jones and the Last Crusade\u003c/em> on June 3, \u003cem>Milk\u003c/em> on June 11, \u003cem>The Pursuit of Happyness\u003c/em> on July 9, \u003cem>The Parent Trap\u003c/em> on Aug. 13, \u003cem>Bicentennial Man\u003c/em> on Sept. 10 and \u003cem>What Dreams May Come\u003c/em> on Oct. 8. The screenings cost $10, are dog- and child-friendly, and babies under two can attend for free.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Gold Bar Whiskey has been open since October 2023 and is housed inside the former Pan Am Airport on Treasure Island, along with the \u003ca href=\"https://www.treasureislandmuseum.org/\">Treasure Island Museum\u003c/a>. The grand, semi-circular building makes an appearance in \u003cem>Indiana Jones and the Last Crusade\u003c/em> as the Berlin airport — no doubt the reason it’s the first on this summer’s movie roster.\u003c/p>\n\u003cp>The Art Deco-inspired building was first constructed as part of 1939’s \u003ca href=\"https://www.kqed.org/news/11790693/magic-city-and-the-making-of-treasure-island\">Golden Gate International Exposition\u003c/a> and was the brainchild of architects William Peyton Day, who designed Oakland’s Fox Theater, and George William Kelham, who helped reconstruct the Palace Hotel after the 1906 earthquake. It is perfectly situated to enjoy stunning views of the San Francisco skyline.\u003c/p>\n\u003cp>Though limited seating will be available during the movie screenings, attendees are encouraged to bring their own chairs and blankets. Drinks and snacks will be available for purchase from the distillery. Start times for each screening will vary in order to coincide with that day’s sunset. \u003ca href=\"https://www.eventbrite.com/e/sunset-movie-nights-on-treasure-island-tickets-906437347507?aff=oddtdtcreator\">Check individual events for specifics\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>One of the many charms of \u003cem>The Dead Don’t Hurt\u003c/em> is that you can’t immediately tell whether it’s trying to be an old-fashioned Western or a revisionist one. It has a lot of familiar genre signposts: men riding horses across rugged landscapes, a bloody shootout in a saloon, and two actors, \u003ca href=\"https://www.npr.org/2007/09/13/14384937/cronenberg-mortensen-making-eastern-promises\">Viggo Mortensen\u003c/a> and \u003ca href=\"https://www.npr.org/2022/12/25/1145471861/vicky-krieps-plays-the-rebellious-empress-elisabeth-in-new-period-film-corsage\">Vicky Krieps\u003c/a>, who bring traditional movie-star charisma to a tender love story.\u003c/p>\n\u003cp>[aside postid='arts_13958735']But at times the film feels casually subversive. The first of those horsemen we see is not a cowboy but a knight in shining armor — a figure out of a child’s fantastical dream. And then there’s the way the movie plays with time: That shootout, which technically happens at the end of the story, is instead shown at the very beginning.\u003c/p>\n\u003cp>Mortensen, who wrote and directed the movie, trusts us to know the Western well enough by now that he can play around with the form without losing our attention. He isn’t attempting a radical reinvention of the genre, but he is using its conventions to tell a different and politically resonant kind of story.\u003c/p>\n\u003cfigure id=\"attachment_13958962\" class=\"wp-caption aligncenter\" style=\"max-width: 1444px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958962\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-31-at-1.45.11-PM.png\" alt=\"An old west cowboy sits next to his horse on a bench, reading a book.\" width=\"1444\" height=\"946\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-31-at-1.45.11-PM.png 1444w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-31-at-1.45.11-PM-800x524.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-31-at-1.45.11-PM-1020x668.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-31-at-1.45.11-PM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-31-at-1.45.11-PM-768x503.png 768w\" sizes=\"(max-width: 1444px) 100vw, 1444px\">\u003cfigcaption class=\"wp-caption-text\">Viggo Mortensen plays Holger Olsen in ‘The Dead Don’t Hurt.’ \u003ccite>(Marcel-Zyskind/ Shout! Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s especially significant that the two lead characters are both immigrants. Mortensen stars as Holger Olsen, a wandering Danish-born carpenter who finds himself in San Francisco in the 1860s. That’s where he meets Vivienne, a French Canadian florist, played by Krieps, who’s every bit as independent-minded as he is.\u003c/p>\n\u003cp>The two fall in love, and Vivienne moves with Olsen to a dusty Nevada town called Elk Flats. Because the story is told out of sequence, we already know some bad things are headed their way, but for now, the mood is light and even comical as Vivienne grouchily sets about tidying their wooden shack of a home.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Vivienne isn’t one for domestic confinement, and she soon gets a job bartending at the saloon, where she catches the eye of one of the nastiest customers in town: Weston Jeffries, played by Solly McLeod, the brutish son of a wealthy rancher. Meanwhile, with the Civil War under way, Olsen decides to join the Union Army, to Vivienne’s fury.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Xgv25Ni_jv0\u003c/p>\n\u003cp>One of the best things about \u003cem>The Dead Don’t Hurt\u003c/em> is that it honors Vivienne’s grit and capability while also acknowledging how alone and vulnerable she is in this hostile, male-dominated environment. Several months after Olsen leaves, Vivienne gives birth to a baby boy under circumstances that are shrouded in some mystery. Years later, Olsen returns to Vivienne and the child, but it isn’t an entirely happy reunion, and they face a grim reckoning with the town and some of its most corrupt individuals.\u003c/p>\n\u003cp>[aside postid='arts_13958855']Mortensen made his feature directing debut with the 2020 drama \u003cem>Falling\u003c/em>, in which he played a gay man trying to take care of his ailing, bigoted father. With \u003cem>The Dead Don’t Hurt\u003c/em>, he uses a story set in the past to comment on issues that are still with us in the present, from male violence against women to the complexity of immigrant relationships with their adopted country. Even as Vivienne embraces her life as an American settler, she proudly clings to her French Canadian roots, sometimes dreamily recalling the stories her mother told her about Joan of Arc — an obvious hero for a woman trying to forge her own unorthodox path through life.\u003c/p>\n\u003cp>As a director, Mortensen handles the material with quiet assurance; even when he cuts back and forth through time, he never loses the narrative thread. He also gives a gently grounded performance as Olsen, a decent man who sometimes makes impulsive, reckless decisions.\u003c/p>\n\u003cp>But this is ultimately Krieps’ movie. She’s often played women chafing against their proscribed stations in life, in dramas like \u003cem>Phantom Thread\u003c/em> and \u003cem>Corsage\u003c/em>. Here, she captures the indomitable spirit of a woman who’s making her way in a strange land and is determined to find and nurture beauty in even the harshest circumstances.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Dead Don’t Hurt’ is released nationwide on May 31, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But at times the film feels casually subversive. The first of those horsemen we see is not a cowboy but a knight in shining armor — a figure out of a child’s fantastical dream. And then there’s the way the movie plays with time: That shootout, which technically happens at the end of the story, is instead shown at the very beginning.\u003c/p>\n\u003cp>Mortensen, who wrote and directed the movie, trusts us to know the Western well enough by now that he can play around with the form without losing our attention. He isn’t attempting a radical reinvention of the genre, but he is using its conventions to tell a different and politically resonant kind of story.\u003c/p>\n\u003cfigure id=\"attachment_13958962\" class=\"wp-caption aligncenter\" style=\"max-width: 1444px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958962\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-31-at-1.45.11-PM.png\" alt=\"An old west cowboy sits next to his horse on a bench, reading a book.\" width=\"1444\" height=\"946\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-31-at-1.45.11-PM.png 1444w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-31-at-1.45.11-PM-800x524.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-31-at-1.45.11-PM-1020x668.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-31-at-1.45.11-PM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-31-at-1.45.11-PM-768x503.png 768w\" sizes=\"(max-width: 1444px) 100vw, 1444px\">\u003cfigcaption class=\"wp-caption-text\">Viggo Mortensen plays Holger Olsen in ‘The Dead Don’t Hurt.’ \u003ccite>(Marcel-Zyskind/ Shout! Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s especially significant that the two lead characters are both immigrants. Mortensen stars as Holger Olsen, a wandering Danish-born carpenter who finds himself in San Francisco in the 1860s. That’s where he meets Vivienne, a French Canadian florist, played by Krieps, who’s every bit as independent-minded as he is.\u003c/p>\n\u003cp>The two fall in love, and Vivienne moves with Olsen to a dusty Nevada town called Elk Flats. Because the story is told out of sequence, we already know some bad things are headed their way, but for now, the mood is light and even comical as Vivienne grouchily sets about tidying their wooden shack of a home.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Vivienne isn’t one for domestic confinement, and she soon gets a job bartending at the saloon, where she catches the eye of one of the nastiest customers in town: Weston Jeffries, played by Solly McLeod, the brutish son of a wealthy rancher. Meanwhile, with the Civil War under way, Olsen decides to join the Union Army, to Vivienne’s fury.\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/Xgv25Ni_jv0'\n title='//www.youtube.com/embed/Xgv25Ni_jv0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>One of the best things about \u003cem>The Dead Don’t Hurt\u003c/em> is that it honors Vivienne’s grit and capability while also acknowledging how alone and vulnerable she is in this hostile, male-dominated environment. Several months after Olsen leaves, Vivienne gives birth to a baby boy under circumstances that are shrouded in some mystery. Years later, Olsen returns to Vivienne and the child, but it isn’t an entirely happy reunion, and they face a grim reckoning with the town and some of its most corrupt individuals.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Mortensen made his feature directing debut with the 2020 drama \u003cem>Falling\u003c/em>, in which he played a gay man trying to take care of his ailing, bigoted father. With \u003cem>The Dead Don’t Hurt\u003c/em>, he uses a story set in the past to comment on issues that are still with us in the present, from male violence against women to the complexity of immigrant relationships with their adopted country. Even as Vivienne embraces her life as an American settler, she proudly clings to her French Canadian roots, sometimes dreamily recalling the stories her mother told her about Joan of Arc — an obvious hero for a woman trying to forge her own unorthodox path through life.\u003c/p>\n\u003cp>As a director, Mortensen handles the material with quiet assurance; even when he cuts back and forth through time, he never loses the narrative thread. He also gives a gently grounded performance as Olsen, a decent man who sometimes makes impulsive, reckless decisions.\u003c/p>\n\u003cp>But this is ultimately Krieps’ movie. She’s often played women chafing against their proscribed stations in life, in dramas like \u003cem>Phantom Thread\u003c/em> and \u003cem>Corsage\u003c/em>. Here, she captures the indomitable spirit of a woman who’s making her way in a strange land and is determined to find and nurture beauty in even the harshest circumstances.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Dead Don’t Hurt’ is released nationwide on May 31, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In August 1926, a 19-year-old New Yorker named Trudy Ederle became the first woman to swim the English Channel. Only five men had finished the 21-mile trek from Cape Gris-Nez in France to Kingsdown Beach in England before — a harrowing journey through frigid waters, unpredictable tides, currents and swarms of jellyfish. Ederle swam 35 miles that day and still beat their times by about two hours.\u003c/p>\n\u003cp>[aside postid='arts_13958735']Don’t worry if this doesn’t sound familiar. Ederle is not what you might call a household name, but she soon could be thanks to Daisy Ridley, who portrays the competitive swimmer in the inspirational new film\u003cem> Young Woman and the Sea\u003c/em>. It is a classically made and effectively stirring sports drama for everyone that feels right on the big screen. Families with young daughters should make this a special priority — this is one of those empowering stories that (mostly) avoids cloying cliches.\u003c/p>\n\u003cp>Just don’t try to write a school paper off of the movie or regale pals with your newfound knowledge of Ederle at a summer Olympics party. Written by Jeff Nathanson and directed by Joachim Rønning, the movie takes extensive liberties with some significant details surrounding her history-making swim. It even glosses over the fact that she won a gold medal at the 1924 Olympics in Paris in the 400-meter freestyle relay. \u003cem>Young Woman and the Sea\u003c/em> dwells on the high hopes for Ederle, who had set over a dozen records in women’s swimming, but only won bronze medals by herself.\u003c/p>\n\u003cp>They weren’t going to let facts get in the way of the truth — or, more accurately, a tidy story with symmetry and emotional payoff. If the whole story is what you’re looking for, the film was adapted from Glenn Stout’s exhaustively researched and widely available book \u003cem>Young Woman and the Sea: How Trudy Ederle Conquered the English Channel and Inspired the World\u003c/em>. But we don’t go the movies for a history lesson: We go to be entertained.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7tNvrYzPUrk\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This story paints Ederle as a survivor, a child of German immigrants who defeated measles and then rose to defy expectations as an exceptional athlete. By 1920, white women were beginning to make headway in sports like tennis and swimming but still beholden to strict standards of “femininity.” Remember those etiquette classes in \u003cem>A League of Their Own\u003c/em>? In this film, Trudy is assigned a misogynist coach who is more concerned with keeping her separated from the men and on a dainty diet of fruit than actually helping her to succeed with proper nourishment and advice.\u003c/p>\n\u003cp>Nathanson’s script puts a special emphasis on Trudy’s relationship with her sister Meg (Tilda Cobham-Hervey), also a swimmer, and her mother (Jeanette Hain) who pushes for the girls to learn and helps keep them in lessons with a determined instructor, Lottie Epstein (Sian Clifford).\u003c/p>\n\u003cp>[aside postid='arts_13958728']Epstein’s positive influence on Trudy is spotlighted, but the fact of her management of the women’s swimming teams during three Olympic Games in the 1920s is brushed aside in service of creating a male antagonist. Charitably, it is a shorthand way to illuminate the very real sexism they all faced. It also erases Epstein’s real accomplishments in order to do so. This is a film that’s also very, very white, though they do include one Black swimmer who bonds with Ederle as they both train for the Channel.\u003c/p>\n\u003cp>But again, the broader history is there for those who are curious and on its own terms this is a story that will keep you engaged. Much of that has to do with Ridley, who aside from \u003cem>Star Wars\u003c/em> has not been blessed with the most memorable roles. As an executive producer on \u003cem>Young Woman and the Sea\u003c/em>, she is perhaps signaling a new phase in her career in which she has more control over things. Trudy Ederle was a great choice, a perfect melding of actor and character that also shows dimensions we didn’t get to see from Rey.\u003c/p>\n\u003cp>A successful film like this is also a stark reminder that movies have only scratched the surface of the fascinating history of women in competitive sports. It doesn’t seem like a coincidence that more than a few of them have gone on to be classics. But maybe after this and \u003cem>Nyad\u003c/em>, open water swimming can take a bit of a breather.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Young Woman and the Sea’ is released nationwide on May 31, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In August 1926, a 19-year-old New Yorker named Trudy Ederle became the first woman to swim the English Channel. Only five men had finished the 21-mile trek from Cape Gris-Nez in France to Kingsdown Beach in England before — a harrowing journey through frigid waters, unpredictable tides, currents and swarms of jellyfish. Ederle swam 35 miles that day and still beat their times by about two hours.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Don’t worry if this doesn’t sound familiar. Ederle is not what you might call a household name, but she soon could be thanks to Daisy Ridley, who portrays the competitive swimmer in the inspirational new film\u003cem> Young Woman and the Sea\u003c/em>. It is a classically made and effectively stirring sports drama for everyone that feels right on the big screen. Families with young daughters should make this a special priority — this is one of those empowering stories that (mostly) avoids cloying cliches.\u003c/p>\n\u003cp>Just don’t try to write a school paper off of the movie or regale pals with your newfound knowledge of Ederle at a summer Olympics party. Written by Jeff Nathanson and directed by Joachim Rønning, the movie takes extensive liberties with some significant details surrounding her history-making swim. It even glosses over the fact that she won a gold medal at the 1924 Olympics in Paris in the 400-meter freestyle relay. \u003cem>Young Woman and the Sea\u003c/em> dwells on the high hopes for Ederle, who had set over a dozen records in women’s swimming, but only won bronze medals by herself.\u003c/p>\n\u003cp>They weren’t going to let facts get in the way of the truth — or, more accurately, a tidy story with symmetry and emotional payoff. If the whole story is what you’re looking for, the film was adapted from Glenn Stout’s exhaustively researched and widely available book \u003cem>Young Woman and the Sea: How Trudy Ederle Conquered the English Channel and Inspired the World\u003c/em>. But we don’t go the movies for a history lesson: We go to be entertained.\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/7tNvrYzPUrk'\n title='//www.youtube.com/embed/7tNvrYzPUrk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This story paints Ederle as a survivor, a child of German immigrants who defeated measles and then rose to defy expectations as an exceptional athlete. By 1920, white women were beginning to make headway in sports like tennis and swimming but still beholden to strict standards of “femininity.” Remember those etiquette classes in \u003cem>A League of Their Own\u003c/em>? In this film, Trudy is assigned a misogynist coach who is more concerned with keeping her separated from the men and on a dainty diet of fruit than actually helping her to succeed with proper nourishment and advice.\u003c/p>\n\u003cp>Nathanson’s script puts a special emphasis on Trudy’s relationship with her sister Meg (Tilda Cobham-Hervey), also a swimmer, and her mother (Jeanette Hain) who pushes for the girls to learn and helps keep them in lessons with a determined instructor, Lottie Epstein (Sian Clifford).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Epstein’s positive influence on Trudy is spotlighted, but the fact of her management of the women’s swimming teams during three Olympic Games in the 1920s is brushed aside in service of creating a male antagonist. Charitably, it is a shorthand way to illuminate the very real sexism they all faced. It also erases Epstein’s real accomplishments in order to do so. This is a film that’s also very, very white, though they do include one Black swimmer who bonds with Ederle as they both train for the Channel.\u003c/p>\n\u003cp>But again, the broader history is there for those who are curious and on its own terms this is a story that will keep you engaged. Much of that has to do with Ridley, who aside from \u003cem>Star Wars\u003c/em> has not been blessed with the most memorable roles. As an executive producer on \u003cem>Young Woman and the Sea\u003c/em>, she is perhaps signaling a new phase in her career in which she has more control over things. Trudy Ederle was a great choice, a perfect melding of actor and character that also shows dimensions we didn’t get to see from Rey.\u003c/p>\n\u003cp>A successful film like this is also a stark reminder that movies have only scratched the surface of the fascinating history of women in competitive sports. It doesn’t seem like a coincidence that more than a few of them have gone on to be classics. But maybe after this and \u003cem>Nyad\u003c/em>, open water swimming can take a bit of a breather.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Young Woman and the Sea’ is released nationwide on May 31, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "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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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"politicalbreakdown": {
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"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.",
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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.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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