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"content": "\u003cp>It’s taken the better part of 60 years, but the bold women who helped kickstart America’s sexual revolution seem to finally be getting their due on film.\u003c/p>\n\u003cp>[aside postid='arts_13953248']Earlier this year, San Francisco’s own Carol Doda was honored with \u003ca href=\"https://www.kqed.org/arts/13953248/topless-at-the-condor-movie-review-carol-doda-documentary-north-beach-history\">\u003cem>Topless at the Condor\u003c/em>\u003c/a>, a documentary recounting the dancer’s fame as North Beach’s first topless performer and the hardships she faced after her heyday. Now comes \u003ca href=\"https://www.imdb.com/title/tt10445326/\">\u003cem>Naked Ambition\u003c/em>\u003c/a>, a film that captures the life story of Bunny Yeager, a photographer and model who created some of the most iconic pin-up images of the 1950s and ’60s.\u003c/p>\n\u003cp>\u003cem>Naked Ambition\u003c/em> is careful to pay tribute to what made Yeager so special. Though attention early in her career came from being dubbed the “world’s prettiest photographer,” the documentary explains in detail just why her work was so special at the time and why it continues to endure now. The film also demonstrates the ways in which her photographs and stylistic choices have impacted popular culture in the decades since.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Iwy83i5XDx8\u003c/p>\n\u003cp>As seen in Dennis Scholl and Kareem Tausch’s film, Yeager didn’t merely shoot images that titillated, she made sure that each of her models’ personalities had space to shine through. Her ability to put women at ease and to present their nudity in joyful, celebratory ways was born from her own experiences as a model in the 1940s. It was Yeager’s inherent humor and playfulness that transformed Bettie Page from an underground fetish model to the leopard-print-clad icon she is most commonly thought of today. Yeager’s own work with self-portraits also broke new ground.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I think it’s so important that she was a bombshell pin-up girl,” burlesque star Dita Von Teese notes in the film. “It really made all the difference in how she photographed other people.”\u003c/p>\n\u003cp>One of the most fascinating elements of \u003cem>Naked Ambition\u003c/em> is the way in which Yeager managed to walk a line between sexually liberated creative and 1950s domestic goddess. Though dedicated to her two daughters and to building a suburban home in Miami, Yeager also had zero qualms about taking photos of women in various states of undress for publications like \u003cem>Playboy\u003c/em>. (Yeager was one of the magazine’s first regular contributors and first female photographers. She counted Hugh Hefner as a close personal friend.)\u003c/p>\n\u003cp>Interviewees in the documentary include cultural commentators, Yeager’s friends and family members, individuals tasked with safeguarding Yeager’s legacy, and models with fond memories of working with the photographer, including \u003ca href=\"https://www.legacy.com/us/obituaries/herald/name/marcia-ludwig-obituary?id=33129914\">Marcia Valibus\u003c/a> and \u003ca href=\"https://www.maikaihistory.com/2016/08/07/nani-maka-tropical-maiden/\">Nani Maka\u003c/a>. There is also wonderful archival footage of Yeager at work, as well as some words between her and Bettie Page recorded in a 1993 conversation for \u003cem>Interview\u003c/em> magazine.\u003c/p>\n\u003cfigure id=\"attachment_13958173\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958173\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/bunny_self_portrait_four_copy-e1716246569243.jpg\" alt=\"A beautiful 1950s-era woman wearing a low cut top, looks down towards her camera.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">When her career behind the camera began in the 1950s, Bunny Yeager was dubbed the ‘world’s prettiest photographer.’ \u003ccite>(Courtesy SF DocFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As with many women who make their names working in the sex industry, Yeager’s later life came with some extra challenges. The photographer struggled financially because her tone and aesthetics fell out of favor in the 1970s, as porn hit the mainstream. (“The Yeager photographic style does not parallel the contemporary mood and image of \u003cem>Penthouse\u003c/em> magazine,” one stinging rejection letter reads.) Only with the 1990s rise of rockabilly and swing did Yeager’s work find a new generation of fans. During the lull before, she made ends meet with work in graphic design and even as a nightclub singer.\u003c/p>\n\u003cp>Yeager’s personal life was also impacted by her career. One of her daughters, Cherilu Irwin, remains ashamed of her mother’s catalog of work, speaking openly of her disapproval in \u003cem>Naked Ambition\u003c/em>. When asked what she thinks her mother’s legacy is, Irwin leaves a long pause before openly wishing Yeager had not followed the career path she followed. Irwin’s longing to disassociate from her mom’s work has also clearly been a source of tension between her and her sister Lisa, who, in contrast, feels very proud of Yeager’s accomplishments.\u003c/p>\n\u003cp>[aside postid='arts_13954358']\u003cem>Naked Ambition\u003c/em> isn’t all perfect. One gets the sense that darker elements of Yeager’s story are glossed over for the sake of a more upbeat veneer. There is no commentary about the fact that her husband Bud Irwin was fired from the police force after being charged with falsifying burglary reports. There is little mention of the toll that his suicide in 1977 took on her. The fact that one of her best friends — and favorite models — \u003ca href=\"https://www.themoviedb.org/person/1790519-maria-stinger?language=en-US\">Maria Stinger\u003c/a> died by suicide in 1967 isn’t even touched on, despite the fact that Yeager’s working relationship with Stinger is prominently featured.\u003c/p>\n\u003cp>Overall, \u003cem>Naked Ambition\u003c/em> is an entertaining snapshot of a resourceful and endlessly creative woman who was determined to live life on her own terms. It works fabulously as an introduction to an often-forgotten talent. It’s just a shame that, now and again, it leaves a little too much to the imagination.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://roxie.com/film/sf-docfest-2024-naked-ambition-steph-and-the-customers/\">‘Naked Ambition’ screens at San Francisco’s Roxie Cinema\u003c/a> as part of SF DocFest, on May 31, 2024 at 6:30 p.m.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Earlier this year, San Francisco’s own Carol Doda was honored with \u003ca href=\"https://www.kqed.org/arts/13953248/topless-at-the-condor-movie-review-carol-doda-documentary-north-beach-history\">\u003cem>Topless at the Condor\u003c/em>\u003c/a>, a documentary recounting the dancer’s fame as North Beach’s first topless performer and the hardships she faced after her heyday. Now comes \u003ca href=\"https://www.imdb.com/title/tt10445326/\">\u003cem>Naked Ambition\u003c/em>\u003c/a>, a film that captures the life story of Bunny Yeager, a photographer and model who created some of the most iconic pin-up images of the 1950s and ’60s.\u003c/p>\n\u003cp>\u003cem>Naked Ambition\u003c/em> is careful to pay tribute to what made Yeager so special. Though attention early in her career came from being dubbed the “world’s prettiest photographer,” the documentary explains in detail just why her work was so special at the time and why it continues to endure now. The film also demonstrates the ways in which her photographs and stylistic choices have impacted popular culture in the decades since.\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/Iwy83i5XDx8'\n title='//www.youtube.com/embed/Iwy83i5XDx8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As seen in Dennis Scholl and Kareem Tausch’s film, Yeager didn’t merely shoot images that titillated, she made sure that each of her models’ personalities had space to shine through. Her ability to put women at ease and to present their nudity in joyful, celebratory ways was born from her own experiences as a model in the 1940s. It was Yeager’s inherent humor and playfulness that transformed Bettie Page from an underground fetish model to the leopard-print-clad icon she is most commonly thought of today. Yeager’s own work with self-portraits also broke new ground.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think it’s so important that she was a bombshell pin-up girl,” burlesque star Dita Von Teese notes in the film. “It really made all the difference in how she photographed other people.”\u003c/p>\n\u003cp>One of the most fascinating elements of \u003cem>Naked Ambition\u003c/em> is the way in which Yeager managed to walk a line between sexually liberated creative and 1950s domestic goddess. Though dedicated to her two daughters and to building a suburban home in Miami, Yeager also had zero qualms about taking photos of women in various states of undress for publications like \u003cem>Playboy\u003c/em>. (Yeager was one of the magazine’s first regular contributors and first female photographers. She counted Hugh Hefner as a close personal friend.)\u003c/p>\n\u003cp>Interviewees in the documentary include cultural commentators, Yeager’s friends and family members, individuals tasked with safeguarding Yeager’s legacy, and models with fond memories of working with the photographer, including \u003ca href=\"https://www.legacy.com/us/obituaries/herald/name/marcia-ludwig-obituary?id=33129914\">Marcia Valibus\u003c/a> and \u003ca href=\"https://www.maikaihistory.com/2016/08/07/nani-maka-tropical-maiden/\">Nani Maka\u003c/a>. There is also wonderful archival footage of Yeager at work, as well as some words between her and Bettie Page recorded in a 1993 conversation for \u003cem>Interview\u003c/em> magazine.\u003c/p>\n\u003cfigure id=\"attachment_13958173\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958173\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/bunny_self_portrait_four_copy-e1716246569243.jpg\" alt=\"A beautiful 1950s-era woman wearing a low cut top, looks down towards her camera.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">When her career behind the camera began in the 1950s, Bunny Yeager was dubbed the ‘world’s prettiest photographer.’ \u003ccite>(Courtesy SF DocFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As with many women who make their names working in the sex industry, Yeager’s later life came with some extra challenges. The photographer struggled financially because her tone and aesthetics fell out of favor in the 1970s, as porn hit the mainstream. (“The Yeager photographic style does not parallel the contemporary mood and image of \u003cem>Penthouse\u003c/em> magazine,” one stinging rejection letter reads.) Only with the 1990s rise of rockabilly and swing did Yeager’s work find a new generation of fans. During the lull before, she made ends meet with work in graphic design and even as a nightclub singer.\u003c/p>\n\u003cp>Yeager’s personal life was also impacted by her career. One of her daughters, Cherilu Irwin, remains ashamed of her mother’s catalog of work, speaking openly of her disapproval in \u003cem>Naked Ambition\u003c/em>. When asked what she thinks her mother’s legacy is, Irwin leaves a long pause before openly wishing Yeager had not followed the career path she followed. Irwin’s longing to disassociate from her mom’s work has also clearly been a source of tension between her and her sister Lisa, who, in contrast, feels very proud of Yeager’s accomplishments.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Naked Ambition\u003c/em> isn’t all perfect. One gets the sense that darker elements of Yeager’s story are glossed over for the sake of a more upbeat veneer. There is no commentary about the fact that her husband Bud Irwin was fired from the police force after being charged with falsifying burglary reports. There is little mention of the toll that his suicide in 1977 took on her. The fact that one of her best friends — and favorite models — \u003ca href=\"https://www.themoviedb.org/person/1790519-maria-stinger?language=en-US\">Maria Stinger\u003c/a> died by suicide in 1967 isn’t even touched on, despite the fact that Yeager’s working relationship with Stinger is prominently featured.\u003c/p>\n\u003cp>Overall, \u003cem>Naked Ambition\u003c/em> is an entertaining snapshot of a resourceful and endlessly creative woman who was determined to live life on her own terms. It works fabulously as an introduction to an often-forgotten talent. It’s just a shame that, now and again, it leaves a little too much to the imagination.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://roxie.com/film/sf-docfest-2024-naked-ambition-steph-and-the-customers/\">‘Naked Ambition’ screens at San Francisco’s Roxie Cinema\u003c/a> as part of SF DocFest, on May 31, 2024 at 6:30 p.m.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "This is Her, Now, in Space: J.Lo Heads to a New Galaxy for AI Love Story in ‘Atlas’",
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"content": "\u003cp>Let’s all be clear, if we weren’t already, that when it comes to Jennifer Lopez, it’s about the love story. Always the love story.\u003c/p>\n\u003cp>J.Lo the pop star, singing about rekindled love on her latest album, \u003cem>This is Me … Now\u003c/em>. J.Lo the rom-com regular, making movies about seeking love (including the extremely autobiographical film of the same name.) J.Lo the real-life celebrity goddess, in countless headlines about … what else?\u003c/p>\n\u003cp>[aside postid='arts_13957540']Love, for better or worse.\u003c/p>\n\u003cp>And so if we tell you that now, we have J.Lo in \u003cem>Atlas\u003c/em>, playing a data analyst who travels to a planet populated solely by evil AI bots preparing to extinguish humanity, well, your only question really should be, “Where’s the love story?”\u003c/p>\n\u003cp>Glad you asked! Because there is one. It may not be with a human. It may actually be with a computer program. But there is one. Because \u003cem>Atlas\u003c/em>, an often ridiculous sci-fi epic with dialogue cheesier than a Brie wheel but also an old-fashioned, human heart o’ gold, is a J.Lo movie. Through and through.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We’ll give the filmmakers some credit: \u003cem>Atlas\u003c/em>, directed by Brad Peyton (\u003cem>San Andreas\u003c/em>) is timely. And not just because Lopez has been in the news lately, but because the subject is AI — which has been in the news even more than Bennifer, believe it or not.\u003c/p>\n\u003cp>We begin our story on Earth, way off into the future, at a time where someone can say “Remember there used to be things called smartphones?” and everyone laughs. A montage of news reports informs us that things have not been going well for the human race. AI, created to advance humanity, has turned against it, killing over 1 million civilians.\u003c/p>\n\u003cp>The evil AI leader is Harlan (Simu Liu), who after turning on humanity has escaped to an unknown location far from Earth. But when an associate of his, Casca, is captured on Earth, the head of ICN, a coalition of nations fighting the AI menace, calls on Atlas Shepherd (Lopez) to help question him. Who better than the woman who’s devoted her life to the hunt for Harlan?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Jokpt_LJpbw\u003c/p>\n\u003cp>We learn Atlas is not a happy person. Also, she’s addicted to coffee — quad Americanos, to be precise. And she hates — absolutely hates — AI, for reasons unknown.\u003c/p>\n\u003cp>[aside postid='arts_13957803']Anyway, Atlas deftly manages to obtain Harlan’s location from Casca, and soon finds herself begging to join a mission to his far-off planet to capture the villainous bot, with whom she shares a mysterious past connection. At first, mission commander Banks (Sterling K. Brown) objects strenuously, but quickly and rather illogically changes his mind. (Both Liu and Brown deserve much better roles than the generic, lifeless ones they’re given.)\u003c/p>\n\u003cp>Soon they’re off, to GR-39 in the Andromeda galaxy, where the ICN space rangers fall into a disastrous trap laid by Harlan. It’s here that Atlas meets the most important other person in the movie — well, not a person. It’s her AI software, who proves her crucial ally once Atlas is forced to crash land, in her mechanized battle suit, onto the planet.\u003c/p>\n\u003cp>The key issue is trust-building. Atlas, as we said, doesn’t trust AI. As the two get to know each other, the software gives himself (he has a “default” male voice) a name: Smith\u003c/p>\n\u003cp>Atlas: “Is that really necessary?” Smith: “Names create an emotional reaction.” Atlas: “You’re a computer program.”\u003c/p>\n\u003cp>The plan consists of finding Harlan, defeating his dastardly plot to destroy humanity and getting off the planet — all while hopefully staying alive. At every step, Smith informs Atlas with all the data at his disposal how precisely desperate the odds are. This results in some amusing banter as Smith, voiced by Gregory James Cohan, “learns” sarcasm and humor.\u003c/p>\n\u003cp>As for Atlas, she needs to learn how to let down her guard — or rather, her brain walls. Her mistrust of AI leads her to stubbornly refuse (at first) Smith’s entreaties to use the “neural link” — a pathway into each other’s brains — that will vastly enhance Atlas’ chances of survival, combining her analytic capacity with Smith’s data access.\u003c/p>\n\u003cp>[aside postid='arts_13958145']Harlan doesn’t appear until halfway into the movie, and we soon learn something about the tragic past he shares with Atlas. In any case, it’s Smith, not Harlan, that ultimately evokes real feeling from Atlas — and gives Lopez a chance to emote, which she does reasonably well given the mediocre dialogue. You could call it a futuristic triangle: Human, bad AI, good AI.\u003c/p>\n\u003cp>Who will win out? Our protocol, as Smith would say, doesn’t allow us to give spoilers. But you can guess one idea that emerges shining bright: It’s a four letter word that starts with “L.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Atlas’ begins streaming on Netflix on May 24, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Love, for better or worse.\u003c/p>\n\u003cp>And so if we tell you that now, we have J.Lo in \u003cem>Atlas\u003c/em>, playing a data analyst who travels to a planet populated solely by evil AI bots preparing to extinguish humanity, well, your only question really should be, “Where’s the love story?”\u003c/p>\n\u003cp>Glad you asked! Because there is one. It may not be with a human. It may actually be with a computer program. But there is one. Because \u003cem>Atlas\u003c/em>, an often ridiculous sci-fi epic with dialogue cheesier than a Brie wheel but also an old-fashioned, human heart o’ gold, is a J.Lo movie. Through and through.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We’ll give the filmmakers some credit: \u003cem>Atlas\u003c/em>, directed by Brad Peyton (\u003cem>San Andreas\u003c/em>) is timely. And not just because Lopez has been in the news lately, but because the subject is AI — which has been in the news even more than Bennifer, believe it or not.\u003c/p>\n\u003cp>We begin our story on Earth, way off into the future, at a time where someone can say “Remember there used to be things called smartphones?” and everyone laughs. A montage of news reports informs us that things have not been going well for the human race. AI, created to advance humanity, has turned against it, killing over 1 million civilians.\u003c/p>\n\u003cp>The evil AI leader is Harlan (Simu Liu), who after turning on humanity has escaped to an unknown location far from Earth. But when an associate of his, Casca, is captured on Earth, the head of ICN, a coalition of nations fighting the AI menace, calls on Atlas Shepherd (Lopez) to help question him. Who better than the woman who’s devoted her life to the hunt for Harlan?\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/Jokpt_LJpbw'\n title='//www.youtube.com/embed/Jokpt_LJpbw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We learn Atlas is not a happy person. Also, she’s addicted to coffee — quad Americanos, to be precise. And she hates — absolutely hates — AI, for reasons unknown.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Anyway, Atlas deftly manages to obtain Harlan’s location from Casca, and soon finds herself begging to join a mission to his far-off planet to capture the villainous bot, with whom she shares a mysterious past connection. At first, mission commander Banks (Sterling K. Brown) objects strenuously, but quickly and rather illogically changes his mind. (Both Liu and Brown deserve much better roles than the generic, lifeless ones they’re given.)\u003c/p>\n\u003cp>Soon they’re off, to GR-39 in the Andromeda galaxy, where the ICN space rangers fall into a disastrous trap laid by Harlan. It’s here that Atlas meets the most important other person in the movie — well, not a person. It’s her AI software, who proves her crucial ally once Atlas is forced to crash land, in her mechanized battle suit, onto the planet.\u003c/p>\n\u003cp>The key issue is trust-building. Atlas, as we said, doesn’t trust AI. As the two get to know each other, the software gives himself (he has a “default” male voice) a name: Smith\u003c/p>\n\u003cp>Atlas: “Is that really necessary?” Smith: “Names create an emotional reaction.” Atlas: “You’re a computer program.”\u003c/p>\n\u003cp>The plan consists of finding Harlan, defeating his dastardly plot to destroy humanity and getting off the planet — all while hopefully staying alive. At every step, Smith informs Atlas with all the data at his disposal how precisely desperate the odds are. This results in some amusing banter as Smith, voiced by Gregory James Cohan, “learns” sarcasm and humor.\u003c/p>\n\u003cp>As for Atlas, she needs to learn how to let down her guard — or rather, her brain walls. Her mistrust of AI leads her to stubbornly refuse (at first) Smith’s entreaties to use the “neural link” — a pathway into each other’s brains — that will vastly enhance Atlas’ chances of survival, combining her analytic capacity with Smith’s data access.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Harlan doesn’t appear until halfway into the movie, and we soon learn something about the tragic past he shares with Atlas. In any case, it’s Smith, not Harlan, that ultimately evokes real feeling from Atlas — and gives Lopez a chance to emote, which she does reasonably well given the mediocre dialogue. You could call it a futuristic triangle: Human, bad AI, good AI.\u003c/p>\n\u003cp>Who will win out? Our protocol, as Smith would say, doesn’t allow us to give spoilers. But you can guess one idea that emerges shining bright: It’s a four letter word that starts with “L.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Atlas’ begins streaming on Netflix on May 24, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The 95-year-old Sequoia Theatre in downtown Mill Valley reopened on Monday, May 20, marking a rare movie theater reopening amid a \u003ca href=\"https://www.kqed.org/forum/2010101893696/the-pandemic-took-a-number-of-bay-area-movie-theaters-whats-working-for-the-theaters-that-survived\">spate of closures\u003c/a>.\u003c/p>\n\u003cp>The theater, built in 1929, has been dark since last October, when the lease held by the movie theater chain Cinemark ran out. Over the past six months, its owner and new operator, the California Film Institute, upgraded the projectors and sound equipment and refurbished the lobby.\u003c/p>\n\u003cp>Starting May 20, the theater — newly christened as \u003ca href=\"https://www.sequoiafilm.org/\">Sequoia Cinema\u003c/a> — will celebrate by screening four days of classic films like \u003cem>Vertigo\u003c/em>, \u003cem>The Wizard of Oz\u003c/em> and \u003cem>Back to the Future\u003c/em>, charging just $1 admission.\u003c/p>\n\u003cp>[aside postID='forum_2010101893696']The California Film Institute also runs the Smith Rafael Film Center in San Rafael, as well as the Mill Valley Film Festival.\u003c/p>\n\u003cp>An increasing number of Bay Area movie theaters have closed, including but not limited to the Century Cinema in Corte Madera, the Regency 6 in San Rafael, the Century Regency in San Rafael, the Albany Twin in Albany, Century Cinema in San Francisco, Embarcadero Cinema in San Francisco and the West Portal Theater in San Francisco. The Sequoia’s reopening, meanwhile, is a welcome outlier.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“When we do really great, unique programing, especially if there’s a local filmmaker or a local community partnership involved, people support it,” said Dan Zastrow, general manager of the Smith Rafael Film Center and Sequoia Cinema. “Every time I walk in the building, someone stops me to ask me about when we’re reopening. People are just excited about the cinema coming back.”\u003c/p>\n\u003cfigure id=\"attachment_13958182\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958182\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/seq_history_04.jpg\" alt=\"\" width=\"1920\" height=\"1582\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/seq_history_04.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/seq_history_04-800x659.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/seq_history_04-1020x840.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/seq_history_04-160x132.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/seq_history_04-768x633.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/seq_history_04-1536x1266.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Sequoia Theater pictured in 1967. Eight years later, its main auditorium would be “twinned,” or split into two, as it is today. \u003ccite>(Courtesy of the Lucritia Little History Room, Mill Valley Public Library )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many of the local movie theaters that have closed in the past few years, Zastrow observed, had been operated by large chains like Regency, AMC, Landmark, Century and Cinemark.\u003c/p>\n\u003cp>“And nothing against the big chain theaters, which I love,” Zastrow said, adding that the Sequoia will inevitably show some mainstream films often seen at the region’s megaplexes. “But it’s a different kind of exhibition animal; it’s the next-big-film in, and low-grosser out. What we do is more community-focused and filmmaker-focused.”\u003c/p>\n\u003cp>Film booking at the Sequoia will be handled by Jan Klingelhofer, who also books the Smith Rafael Film Center. On May 31, the theater opens \u003cem>Edge of Everything\u003c/em>, by filmmakers Sophia Sabella and Pablo Feldman. The film was inspired by the writer and directors’ teenage years growing up in Mill Valley.\u003c/p>\n\u003cp>[aside postID='news_11952358']The Sequoia Theater may eventually get a significant remodel. In 2022, the California Film Institute \u003ca href=\"https://www.cityofmillvalley.org/966/Sequoia-Theater-Renovation-Plan\">filed plans with the city of Mill Valley\u003c/a> to dig out a lower ground floor and add a second story, increasing the number of auditoriums from two to four.\u003c/p>\n\u003cp>Zastrow could not comment on the exact details of the plans, or where they stand. “We’ll see where we are in a couple of years,” he said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“But, as we raise funds and plan for a renovation, we couldn’t leave the building dark. We had to operate it, keep it open and run film,” he said. “It’s just this incredibly beloved community cinema.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The 95-year-old Sequoia Theatre in downtown Mill Valley reopened on Monday, May 20, marking a rare movie theater reopening amid a \u003ca href=\"https://www.kqed.org/forum/2010101893696/the-pandemic-took-a-number-of-bay-area-movie-theaters-whats-working-for-the-theaters-that-survived\">spate of closures\u003c/a>.\u003c/p>\n\u003cp>The theater, built in 1929, has been dark since last October, when the lease held by the movie theater chain Cinemark ran out. Over the past six months, its owner and new operator, the California Film Institute, upgraded the projectors and sound equipment and refurbished the lobby.\u003c/p>\n\u003cp>Starting May 20, the theater — newly christened as \u003ca href=\"https://www.sequoiafilm.org/\">Sequoia Cinema\u003c/a> — will celebrate by screening four days of classic films like \u003cem>Vertigo\u003c/em>, \u003cem>The Wizard of Oz\u003c/em> and \u003cem>Back to the Future\u003c/em>, charging just $1 admission.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When we do really great, unique programing, especially if there’s a local filmmaker or a local community partnership involved, people support it,” said Dan Zastrow, general manager of the Smith Rafael Film Center and Sequoia Cinema. “Every time I walk in the building, someone stops me to ask me about when we’re reopening. People are just excited about the cinema coming back.”\u003c/p>\n\u003cfigure id=\"attachment_13958182\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958182\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/seq_history_04.jpg\" alt=\"\" width=\"1920\" height=\"1582\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/seq_history_04.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/seq_history_04-800x659.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/seq_history_04-1020x840.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/seq_history_04-160x132.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/seq_history_04-768x633.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/seq_history_04-1536x1266.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Sequoia Theater pictured in 1967. Eight years later, its main auditorium would be “twinned,” or split into two, as it is today. \u003ccite>(Courtesy of the Lucritia Little History Room, Mill Valley Public Library )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many of the local movie theaters that have closed in the past few years, Zastrow observed, had been operated by large chains like Regency, AMC, Landmark, Century and Cinemark.\u003c/p>\n\u003cp>“And nothing against the big chain theaters, which I love,” Zastrow said, adding that the Sequoia will inevitably show some mainstream films often seen at the region’s megaplexes. “But it’s a different kind of exhibition animal; it’s the next-big-film in, and low-grosser out. What we do is more community-focused and filmmaker-focused.”\u003c/p>\n\u003cp>Film booking at the Sequoia will be handled by Jan Klingelhofer, who also books the Smith Rafael Film Center. On May 31, the theater opens \u003cem>Edge of Everything\u003c/em>, by filmmakers Sophia Sabella and Pablo Feldman. The film was inspired by the writer and directors’ teenage years growing up in Mill Valley.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The Sequoia Theater may eventually get a significant remodel. In 2022, the California Film Institute \u003ca href=\"https://www.cityofmillvalley.org/966/Sequoia-Theater-Renovation-Plan\">filed plans with the city of Mill Valley\u003c/a> to dig out a lower ground floor and add a second story, increasing the number of auditoriums from two to four.\u003c/p>\n\u003cp>Zastrow could not comment on the exact details of the plans, or where they stand. “We’ll see where we are in a couple of years,” he said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“But, as we raise funds and plan for a renovation, we couldn’t leave the building dark. We had to operate it, keep it open and run film,” he said. “It’s just this incredibly beloved community cinema.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The ‘Mad Max’ Saga Treads (Hard-to-Find) Water With Frustrating ‘Furiosa’",
"headTitle": "The ‘Mad Max’ Saga Treads (Hard-to-Find) Water With Frustrating ‘Furiosa’ | KQED",
"content": "\u003cp>At the beginning of \u003cem>Furiosa: A Mad Max Saga\u003c/em>, we are introduced to a kick-ass woman who rides a horse, then a motorbike, nails a few bad guys with sharpshooting finesse and fights off a mob. But it’s not Furiosa — it’s her mom.\u003c/p>\n\u003cp>That’s one of the oddities of this latest offering in the Mad Max Cinematic Universe: Creator and director George Miller has taken the coolest role of 2015’s \u003ca href=\"https://www.kqed.org/arts/10657581/a-visceral-inventive-blockbuster-roars-to-life-in-mad-max-fury-road\">\u003cem>Mad Max: Fury Road\u003c/em>\u003c/a> and built a whole prequel around her yet has her overshadowed by everyone else.\u003c/p>\n\u003cp>[aside postid='pop_95111']The adult Furiosa — a coiled, clenched Anya Taylor-Joy — only appears after the first hour-mark — we get way too much preteen Furiosa — and she’s meek for another quarter of the film. We, frankly, wanted more. Charlize Theron as Furiosa promised a \u003cem>Top\u003c/em> \u003cem>Gun\u003c/em> swagger yet Taylor-Joy mostly does furious side eye.\u003c/p>\n\u003cp>What goes into making adult Furiosa is very unpleasant: She endures childhood kidnapping and torture, goes mute, passes herself as a boy, gets traded for gas, works her way up a madman’s hierarchy and only in the final scenes does she have real agency. We do learn how her left hand was maimed and that she was sweet on a guy. But making her mute? In her own movie?\u003c/p>\n\u003cp>Back are some familiar, scarred faces — Immortan Joe, The People Eater and a legion of half-naked War Boys. The new mega villain is Chris Hemsworth’s Dementus, who has a hunger for human blood sausage and a knack for spectacularly murdering people who Furiosa cares about.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Miller has added pretentious chapter titles like he was making a black-and-white Czech New Wave exposition on existentialism — “The Pole of Inaccessibility” and “The Stowaway” are among the sections — despite also employing a narrator.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FVswuip0-co\u003c/p>\n\u003cp>By the time Miller is finished, he’s built an epic, gritty history in the Wasteland like \u003cem>Lord of the Rings\u003c/em> or \u003cem>Game of Thrones\u003c/em>. But was the point of this franchise a better understanding of the negotiating tactics of untrusty warlords in a hellscape? No: It was rocket-propelled grenades, motorcycles, chains, massive sandstorms and cracked skulls.\u003c/p>\n\u003cp>The best action sequence happens at the halfway point — not a good omen — with a 15-minute sequence inside, over and under a barreling silver double-tanker War Rig while it is being attacked by motorbikes, buggies and parachuting adversaries. It’s a marvel, truly, but since 2015 we’ve had cooler moments in things like \u003cem>Mission: Impossible\u003c/em> and \u003cem>Fast and Furious\u003c/em> so, sorry, mind not blown.\u003c/p>\n\u003cp>Viewers also spend time whipping through the Citadel, the Bullet Farm and Gas Town but there’s something missing, that unpredictable spark of madness, maybe. Perhaps once you’ve seen an insane guy chained to the outside of a zooming truck playing guitar solos in front of a wall of amps with fire coming out of the headstock, the shock wears off.\u003c/p>\n\u003cp>[aside postid='arts_13957803']Speaking of heavy metal, Hemsworth wears fingerless gloves, a codpiece, leather pants, a sleeveless leather vest and flowing hair, like he was a member of Mötley Crüe circa 1983. He has decided to perform his role in full psychotic camp — licking the tears of a victim, he describes them as “zesty” — and proves it by incorporating a teddy bear into his ensemble. Perhaps he should have his own stand-alone movie because he doesn’t really fit in here as the deranged comedy monster in a film with grim faces and famine.\u003c/p>\n\u003cp>A large part of the problem here is that young Furiosa is on an epic hero’s quest to go home — like \u003cem>The Odyssey\u003c/em> or any \u003cem>John Wick\u003c/em> movie — but we know from \u003cem>Fury Road\u003c/em> that the Green Place is no more. So \u003cem>Furiosa\u003c/em> then just becomes a catalogue of crazy stuff that happens to her until it morphs into her cold-blooded quest for revenge. There’s no real risk either because we know Furiosa lives to team up with Tom Hardy in 2015.\u003c/p>\n\u003cp>It feels like with this fifth Mad Max installment, Miller is trying to add operatic heft and seriousness to what started in 1979 as a fun, rip-roaring smear of nightmarish, post-apocalyptic motor oil. In that case, \u003cem>Fury Road\u003c/em> was fantastic, but \u003cem>Furiosa\u003c/em> is just fine.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Furiosa’ is released nationwide on May 24, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At the beginning of \u003cem>Furiosa: A Mad Max Saga\u003c/em>, we are introduced to a kick-ass woman who rides a horse, then a motorbike, nails a few bad guys with sharpshooting finesse and fights off a mob. But it’s not Furiosa — it’s her mom.\u003c/p>\n\u003cp>That’s one of the oddities of this latest offering in the Mad Max Cinematic Universe: Creator and director George Miller has taken the coolest role of 2015’s \u003ca href=\"https://www.kqed.org/arts/10657581/a-visceral-inventive-blockbuster-roars-to-life-in-mad-max-fury-road\">\u003cem>Mad Max: Fury Road\u003c/em>\u003c/a> and built a whole prequel around her yet has her overshadowed by everyone else.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The adult Furiosa — a coiled, clenched Anya Taylor-Joy — only appears after the first hour-mark — we get way too much preteen Furiosa — and she’s meek for another quarter of the film. We, frankly, wanted more. Charlize Theron as Furiosa promised a \u003cem>Top\u003c/em> \u003cem>Gun\u003c/em> swagger yet Taylor-Joy mostly does furious side eye.\u003c/p>\n\u003cp>What goes into making adult Furiosa is very unpleasant: She endures childhood kidnapping and torture, goes mute, passes herself as a boy, gets traded for gas, works her way up a madman’s hierarchy and only in the final scenes does she have real agency. We do learn how her left hand was maimed and that she was sweet on a guy. But making her mute? In her own movie?\u003c/p>\n\u003cp>Back are some familiar, scarred faces — Immortan Joe, The People Eater and a legion of half-naked War Boys. The new mega villain is Chris Hemsworth’s Dementus, who has a hunger for human blood sausage and a knack for spectacularly murdering people who Furiosa cares about.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Miller has added pretentious chapter titles like he was making a black-and-white Czech New Wave exposition on existentialism — “The Pole of Inaccessibility” and “The Stowaway” are among the sections — despite also employing a narrator.\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/FVswuip0-co'\n title='//www.youtube.com/embed/FVswuip0-co'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>By the time Miller is finished, he’s built an epic, gritty history in the Wasteland like \u003cem>Lord of the Rings\u003c/em> or \u003cem>Game of Thrones\u003c/em>. But was the point of this franchise a better understanding of the negotiating tactics of untrusty warlords in a hellscape? No: It was rocket-propelled grenades, motorcycles, chains, massive sandstorms and cracked skulls.\u003c/p>\n\u003cp>The best action sequence happens at the halfway point — not a good omen — with a 15-minute sequence inside, over and under a barreling silver double-tanker War Rig while it is being attacked by motorbikes, buggies and parachuting adversaries. It’s a marvel, truly, but since 2015 we’ve had cooler moments in things like \u003cem>Mission: Impossible\u003c/em> and \u003cem>Fast and Furious\u003c/em> so, sorry, mind not blown.\u003c/p>\n\u003cp>Viewers also spend time whipping through the Citadel, the Bullet Farm and Gas Town but there’s something missing, that unpredictable spark of madness, maybe. Perhaps once you’ve seen an insane guy chained to the outside of a zooming truck playing guitar solos in front of a wall of amps with fire coming out of the headstock, the shock wears off.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Speaking of heavy metal, Hemsworth wears fingerless gloves, a codpiece, leather pants, a sleeveless leather vest and flowing hair, like he was a member of Mötley Crüe circa 1983. He has decided to perform his role in full psychotic camp — licking the tears of a victim, he describes them as “zesty” — and proves it by incorporating a teddy bear into his ensemble. Perhaps he should have his own stand-alone movie because he doesn’t really fit in here as the deranged comedy monster in a film with grim faces and famine.\u003c/p>\n\u003cp>A large part of the problem here is that young Furiosa is on an epic hero’s quest to go home — like \u003cem>The Odyssey\u003c/em> or any \u003cem>John Wick\u003c/em> movie — but we know from \u003cem>Fury Road\u003c/em> that the Green Place is no more. So \u003cem>Furiosa\u003c/em> then just becomes a catalogue of crazy stuff that happens to her until it morphs into her cold-blooded quest for revenge. There’s no real risk either because we know Furiosa lives to team up with Tom Hardy in 2015.\u003c/p>\n\u003cp>It feels like with this fifth Mad Max installment, Miller is trying to add operatic heft and seriousness to what started in 1979 as a fun, rip-roaring smear of nightmarish, post-apocalyptic motor oil. In that case, \u003cem>Fury Road\u003c/em> was fantastic, but \u003cem>Furiosa\u003c/em> is just fine.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Furiosa’ is released nationwide on May 24, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Babes’ is a Giddy, Raunchy, Moving and (Very) Gooey Look at Childbirth and Friendship",
"headTitle": "‘Babes’ is a Giddy, Raunchy, Moving and (Very) Gooey Look at Childbirth and Friendship | KQED",
"content": "\u003cfigure id=\"attachment_13957964\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957964\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-15-at-5.38.43-PM-e1715820056416.png\" alt=\"A pregnant Black woman talks to a shorter white woman outside a restaurant.\" width=\"1920\" height=\"1139\">\u003cfigcaption class=\"wp-caption-text\">Michelle Buteau and Ilana Glazer in ‘Babes.’ \u003ccite>(Gwen Capistran/ Neon via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You know what? It’s true. They never do tell you about the placenta.\u003c/p>\n\u003cp>Let us explain. But first, let’s also point out that if you’re already queasy at the mention of “placenta,” well, \u003cem>Babes\u003c/em> — director Pamela Adlon’s brash, chaotic, hilarious and occasionally overly gooey (in so many ways) childbirth comedy — may not be your thing. Just saying.\u003c/p>\n\u003cp>Anyway! Somewhere late into \u003cem>Babes\u003c/em>, Eden (Ilana Glazer) is giving birth. We’ve seen most of this before in countless comedies: the outlandish obstacles, the tense trip to the hospital, the traffic — oh, the traffic — all melting away in that glorious moment when baby arrives and everyone starts happy-crying.\u003c/p>\n\u003cp>[aside postid='pop_96171']We get all that in \u003cem>Babes\u003c/em>, too, but then the doctor says “Start pushing” — again — and Eden asks, “What, is there another baby?” And she’s told no, it’s the placenta, aka the afterbirth. Ugh! “They don’t tell you about this part,” notes her friend, Dawn.\u003c/p>\n\u003cp>Which is funny, but also basically true. And there are lots of other pregnancy-related things people don’t mention, let alone depict in movies. Like: secretions. \u003cem>Babes\u003c/em>, written by Glazer with Josh Rabinowitz, loves bodily secretions of any kind. Not showing them, thank heavens, but talking about them. No wonder some are calling \u003cem>Babes\u003c/em> the \u003cem>Bridesmaids\u003c/em> of childbearing. Or \u003cem>Knocked Up\u003c/em> without the Seth Rogen part.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Speaking of the men in \u003cem>Babes\u003c/em>, well, the title should give you a sense of how important they are to the narrative. This is a film about two women, Eden and Dawn, lifelong buddies, and how pregnancy and childbirth change them. Side note: When we speak of goo, we’re referring both to actual goo — as referenced earlier — but also narrative goo. As in, schmaltz. No obstacle ever arises for long. Everybody basically hugs and cries it out whenever things get complicated.\u003c/p>\n\u003cp>But hey, most of this can be forgiven when a film is this well acted — especially by Glazer, a gifted comedian. Both she and Michelle Buteau as Dawn, are nothing but authentic and moving, but Glazer in particular will have you howling one minute and wiping those misty eyes the next.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rAfS15DIyEY\u003c/p>\n\u003cp>We begin early on Thanksgiving morning, at the multiplex, because Thanksgiving morning movies are a tradition for Eden and Dawn. The wrinkle here is that Dawn is pregnant with her second kid. Very pregnant. Very, very pregnant.\u003c/p>\n\u003cp>[aside postid='pop_11483']In fact, she goes into active labor as the movie starts. But instead of going to the hospital as directed by her doctor, Dawn requests a big meal at a restaurant, because you’re not allowed to eat in the hospital — leading to a high-slapstick scene at a posh eatery that includes Eden examining, amid bites, whether Dawn is dilated (we told you these are very good friends).\u003c/p>\n\u003cp>Eventually we’re at the hospital, where Dawn crawls down the corridors in pain, and we learn about more gross things that happen during childbirth (the movie does not crawl toward grossness — it runs headlong into it). We also meet Dawn’s husband, Marty (Hasan Minhaj). Marty is supportive and patient — to the point of utter implausibility.\u003c/p>\n\u003cp>Eden heads out to buy everyone sushi. In one of many Manhattan vs. Queens jokes, she buys it at a fancy place in Manhattan (she herself has remained in Queens, while Dawn has moved to the Upper West Side) and the bill comes to nearly $500. Unfortunately this IS plausible. It leads to a wonderful sequence where, on three or four subway trains back to Queens (we’re on a holiday schedule), Eden shares this sushi spread with a cute actor (Stephan James) she meets, dressed in a burgundy tux, who’s just left a film shoot where he played “Sexy Black Waiter.”\u003c/p>\n\u003cp>A one-night stand ensues. And then, Eden discovers she’s pregnant. This will radically shift the balance of her relationship with Dawn — and we don’t need to update you on any other relationships, because THIS is the one that matters.\u003c/p>\n\u003cp>There’s much here that rings true. Adlon, Glazer and Rabinowitz know how to get across the intensity of female buddyship, with the added complexity — not often explored in comedies — that these relationships can hurt, at bad times, perhaps even more than romantic ones.\u003c/p>\n\u003cp>[aside postid='arts_13872209']Though there are occasional lapses in narrative logic, on a deeper level the filmmakers clearly know of what they speak. At a recent screening, Adlon and her stars related a few personal childbirth anecdotes in a pre-show talk, and sure enough, at least three of these anecdotes could be found in the movie. (The funniest, though not in the film, came from moderator Julia Louis-Dreyfus — involving a starstruck nurse exclaiming “Elaine!” at a very embarrassing moment.)\u003c/p>\n\u003cp>Breast pumps. Raging pregnancy hormones that make even produce look sexy. A male obstetrician (John Carroll Lynch, funny) who overshares. A birth plan with, why not, a “prom” theme. All these elements, wacky or not, come together in a charming mishmash that adds something ultimately very important to the childbirth comedy genre: the message that childbirth is profound, yes, and full of wonder. But also, like life, it can be funny — and a bit of a mess.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Babes’ is released nationwide on May 17, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13957964\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957964\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-15-at-5.38.43-PM-e1715820056416.png\" alt=\"A pregnant Black woman talks to a shorter white woman outside a restaurant.\" width=\"1920\" height=\"1139\">\u003cfigcaption class=\"wp-caption-text\">Michelle Buteau and Ilana Glazer in ‘Babes.’ \u003ccite>(Gwen Capistran/ Neon via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You know what? It’s true. They never do tell you about the placenta.\u003c/p>\n\u003cp>Let us explain. But first, let’s also point out that if you’re already queasy at the mention of “placenta,” well, \u003cem>Babes\u003c/em> — director Pamela Adlon’s brash, chaotic, hilarious and occasionally overly gooey (in so many ways) childbirth comedy — may not be your thing. Just saying.\u003c/p>\n\u003cp>Anyway! Somewhere late into \u003cem>Babes\u003c/em>, Eden (Ilana Glazer) is giving birth. We’ve seen most of this before in countless comedies: the outlandish obstacles, the tense trip to the hospital, the traffic — oh, the traffic — all melting away in that glorious moment when baby arrives and everyone starts happy-crying.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>We get all that in \u003cem>Babes\u003c/em>, too, but then the doctor says “Start pushing” — again — and Eden asks, “What, is there another baby?” And she’s told no, it’s the placenta, aka the afterbirth. Ugh! “They don’t tell you about this part,” notes her friend, Dawn.\u003c/p>\n\u003cp>Which is funny, but also basically true. And there are lots of other pregnancy-related things people don’t mention, let alone depict in movies. Like: secretions. \u003cem>Babes\u003c/em>, written by Glazer with Josh Rabinowitz, loves bodily secretions of any kind. Not showing them, thank heavens, but talking about them. No wonder some are calling \u003cem>Babes\u003c/em> the \u003cem>Bridesmaids\u003c/em> of childbearing. Or \u003cem>Knocked Up\u003c/em> without the Seth Rogen part.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Speaking of the men in \u003cem>Babes\u003c/em>, well, the title should give you a sense of how important they are to the narrative. This is a film about two women, Eden and Dawn, lifelong buddies, and how pregnancy and childbirth change them. Side note: When we speak of goo, we’re referring both to actual goo — as referenced earlier — but also narrative goo. As in, schmaltz. No obstacle ever arises for long. Everybody basically hugs and cries it out whenever things get complicated.\u003c/p>\n\u003cp>But hey, most of this can be forgiven when a film is this well acted — especially by Glazer, a gifted comedian. Both she and Michelle Buteau as Dawn, are nothing but authentic and moving, but Glazer in particular will have you howling one minute and wiping those misty eyes the next.\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/rAfS15DIyEY'\n title='//www.youtube.com/embed/rAfS15DIyEY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We begin early on Thanksgiving morning, at the multiplex, because Thanksgiving morning movies are a tradition for Eden and Dawn. The wrinkle here is that Dawn is pregnant with her second kid. Very pregnant. Very, very pregnant.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In fact, she goes into active labor as the movie starts. But instead of going to the hospital as directed by her doctor, Dawn requests a big meal at a restaurant, because you’re not allowed to eat in the hospital — leading to a high-slapstick scene at a posh eatery that includes Eden examining, amid bites, whether Dawn is dilated (we told you these are very good friends).\u003c/p>\n\u003cp>Eventually we’re at the hospital, where Dawn crawls down the corridors in pain, and we learn about more gross things that happen during childbirth (the movie does not crawl toward grossness — it runs headlong into it). We also meet Dawn’s husband, Marty (Hasan Minhaj). Marty is supportive and patient — to the point of utter implausibility.\u003c/p>\n\u003cp>Eden heads out to buy everyone sushi. In one of many Manhattan vs. Queens jokes, she buys it at a fancy place in Manhattan (she herself has remained in Queens, while Dawn has moved to the Upper West Side) and the bill comes to nearly $500. Unfortunately this IS plausible. It leads to a wonderful sequence where, on three or four subway trains back to Queens (we’re on a holiday schedule), Eden shares this sushi spread with a cute actor (Stephan James) she meets, dressed in a burgundy tux, who’s just left a film shoot where he played “Sexy Black Waiter.”\u003c/p>\n\u003cp>A one-night stand ensues. And then, Eden discovers she’s pregnant. This will radically shift the balance of her relationship with Dawn — and we don’t need to update you on any other relationships, because THIS is the one that matters.\u003c/p>\n\u003cp>There’s much here that rings true. Adlon, Glazer and Rabinowitz know how to get across the intensity of female buddyship, with the added complexity — not often explored in comedies — that these relationships can hurt, at bad times, perhaps even more than romantic ones.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Though there are occasional lapses in narrative logic, on a deeper level the filmmakers clearly know of what they speak. At a recent screening, Adlon and her stars related a few personal childbirth anecdotes in a pre-show talk, and sure enough, at least three of these anecdotes could be found in the movie. (The funniest, though not in the film, came from moderator Julia Louis-Dreyfus — involving a starstruck nurse exclaiming “Elaine!” at a very embarrassing moment.)\u003c/p>\n\u003cp>Breast pumps. Raging pregnancy hormones that make even produce look sexy. A male obstetrician (John Carroll Lynch, funny) who overshares. A birth plan with, why not, a “prom” theme. All these elements, wacky or not, come together in a charming mishmash that adds something ultimately very important to the childbirth comedy genre: the message that childbirth is profound, yes, and full of wonder. But also, like life, it can be funny — and a bit of a mess.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Babes’ is released nationwide on May 17, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Throughout the 1990s, there was a slightly bonkers British television show on which members of the public would dress up like famous singers and perform songs as them. \u003ca href=\"https://www.youtube.com/watch?v=O2Xc7nlNYRs\">\u003cem>Stars in Their Eyes\u003c/em>\u003c/a> — essentially, elevated karaoke for a national audience — was full of talented people, performing in full costume, doing impressive impressions.\u003c/p>\n\u003cp>Watching \u003cem>Back to Black\u003c/em> made me think of \u003cem>Stars in Their Eyes \u003c/em>repeatedly.\u003c/p>\n\u003cp>[aside postid='pop_17172']The \u003ca href=\"https://www.kqed.org/arts/13940429/back-to-black-amy-winehouse-biopic-commentary\">new Amy Winehouse biopic\u003c/a> is — like that weird TV show — full of excellent impersonations and on-point recreations of iconic outfits and performances. But it never actually looks beneath the surface. Charting the charismatic songwriter’s rise from scrappy working-class London beginnings to international superstardom, the film is rarely anything more than a thinly drawn approximation of her life.\u003c/p>\n\u003cp>We’ve got Amy Winehouse (Marisa Abela) aggressively yelling about how much she loves jazz and breaking into song at family gatherings. We’ve got her lover, Blake Fielder-Civil (Jack O’Connell), being a cheeky chappy, betting on horses and drinking pints in the pub. Then of course there’s Amy’s dad, Mitch Winehouse (Eddie Marsan), being a salt-of-the-earth supporter of his daughter who occasionally drops some Cockney rhyming slang into a sentence, lest we forget where he’s from.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rYzIOBwyhIU\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The actors do the absolute most with the material at hand — kudos to the entire cast — but a self-conscious script holds them back at every turn. There’s just not enough meat to work with.\u003c/p>\n\u003cp>Part of the problem is that the Amy and Blake we see here are ripped almost entirely from the tabloids of the mid-to-late-aughts. Opportunities are missed at every turn. For example, the movie focuses repeatedly on how plagued by paparazzi photographers Amy was at home in London. Rather than use this as a chance to talk about the psychological toll that attention took on the vulnerable young woman — or even how famous women of this era were treated by those armies of photographers — paparazzi scenes are instead used to recreate some of the worst exploitation those cameras ever captured.\u003c/p>\n\u003cp>[aside postid='pop_112753']Also problematic: the version of Mitch we get in \u003cem>Back to Black\u003c/em> is the most placid, supportive, big-softy version of Amy’s father possible. The Winehouse estate approved this movie\u003cem> \u003c/em>and — despite director Sam Taylor-Johnson’s assertions that the family did not dictate the content of the movie — you can’t help but wonder if its endorsement had an impact. Anyone who has watched Oscar-winning 2015 documentary \u003cem>Amy\u003c/em> knows that the father-daughter dynamics in the Winehouse family were complicated and at times very uncomfortable. The version we get in \u003cem>Back to Black\u003c/em> sometimes feels like little more than a Mitch Winehouse PR campaign.\u003c/p>\n\u003cp>The film does offer a few redeeming elements, starting with the relationship between Amy and her beloved grandmother Cynthia (Lesley Manville). The chemistry between Manville and Abela, while a little forced in their earliest scenes, winds up being the most arresting of the movie, and their pairing ultimately produces the most realistically heart-wrenching moments in\u003cem> Back to Black\u003c/em>. If only the filmmakers had leaned further into this relationship, the viewer might actually have learned something new about Amy’s inner life, motivations and anxieties. (Even her lifelong struggle with bulimia is treated as an afterthought here.)\u003c/p>\n\u003cp>In the end, \u003cem>Back to Black\u003c/em> feels like a movie for people who don’t actually care about Amy Winehouse. It frequently comes off like an animated rendition of the public perception of the singer that existed before the release of the \u003cem>Amy\u003c/em> documentary.\u003c/p>\n\u003cp>That documentary gave her a multitude of layers beneath the exaggerated beehive and eyeliner. \u003cem>Back to Black\u003c/em> seems to want to take us back to a simpler time, drawing only a brief overview of Amy’s key life events and recorded output, and offering existing fans little more than a bleak little trip down (far too recent) memory lane.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Back to Black’ is released nationwide on May 17, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Also problematic: the version of Mitch we get in \u003cem>Back to Black\u003c/em> is the most placid, supportive, big-softy version of Amy’s father possible. The Winehouse estate approved this movie\u003cem> \u003c/em>and — despite director Sam Taylor-Johnson’s assertions that the family did not dictate the content of the movie — you can’t help but wonder if its endorsement had an impact. Anyone who has watched Oscar-winning 2015 documentary \u003cem>Amy\u003c/em> knows that the father-daughter dynamics in the Winehouse family were complicated and at times very uncomfortable. The version we get in \u003cem>Back to Black\u003c/em> sometimes feels like little more than a Mitch Winehouse PR campaign.\u003c/p>\n\u003cp>The film does offer a few redeeming elements, starting with the relationship between Amy and her beloved grandmother Cynthia (Lesley Manville). The chemistry between Manville and Abela, while a little forced in their earliest scenes, winds up being the most arresting of the movie, and their pairing ultimately produces the most realistically heart-wrenching moments in\u003cem> Back to Black\u003c/em>. If only the filmmakers had leaned further into this relationship, the viewer might actually have learned something new about Amy’s inner life, motivations and anxieties. (Even her lifelong struggle with bulimia is treated as an afterthought here.)\u003c/p>\n\u003cp>In the end, \u003cem>Back to Black\u003c/em> feels like a movie for people who don’t actually care about Amy Winehouse. It frequently comes off like an animated rendition of the public perception of the singer that existed before the release of the \u003cem>Amy\u003c/em> documentary.\u003c/p>\n\u003cp>That documentary gave her a multitude of layers beneath the exaggerated beehive and eyeliner. \u003cem>Back to Black\u003c/em> seems to want to take us back to a simpler time, drawing only a brief overview of Amy’s key life events and recorded output, and offering existing fans little more than a bleak little trip down (far too recent) memory lane.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Back to Black’ is released nationwide on May 17, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "‘Spacey Unmasked’ Demonstrates How Sexual Harassers Get Away With It | KQED",
"content": "\u003cp>At the conclusion of new documentary \u003cem>Spacey Unmasked\u003c/em>, the prevailing feeling is one of distressed resignation.\u003c/p>\n\u003cp>\u003cem>Unmasked\u003c/em> — about the personal conduct of Kevin Spacey, spanning five decades — is not the first documentary to chronicle a public figure’s sexual misconduct after they’d avoided or been released early from civil or criminal charges. \u003ca href=\"https://www.kqed.org/arts/13848980/what-took-sony-music-so-long-to-drop-r-kelly\">\u003cem>Surviving R. Kelly\u003c/em>\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13892800/allen-v-farrow-is-the-most-damning-indictment-of-woody-allen-yet\">\u003cem>Allen v. Farrow\u003c/em>\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13908728/we-need-to-talk-about-bill-cosby-showtime-documentary-w-kamau-bell\">\u003cem>We Need to Talk About Cosby\u003c/em>\u003c/a> all did just that.\u003c/p>\n\u003cp>But each of those series also left viewers with the sense that the subjects in question — R. Kelly, Woody Allen and Bill Cosby — would not be able to successfully resume their careers, in part because of the documentaries themselves.\u003c/p>\n\u003cp>\u003cem>Unmasked\u003c/em> leaves no such sense about Kevin Spacey.\u003c/p>\n\u003cp>The two-part documentary relies upon 10 men — nine of whom have never spoken out publicly against Spacey before — describing disturbing encounters they each had with the actor. These incidents start from the time Spacey was in high school, and come from Spacey’s former coworkers and students, as well as aspiring actors who believed Spacey could help their careers. Additional voices include \u003cem>House of Cards\u003c/em> crew members who describe a toxic work environment, and Spacey’s brother Randall Fowler, who alleges that he was sexually and physically abused by their Nazi-sympathizing father. (Randall is unclear if Spacey himself was ever abused in similar ways, but says that “acting was a way for [Spacey] to escape where he came from” — a home that “was creepy, cold and violent.”)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13954740']The men in the documentary suggest that Spacey has little comprehension of consent and zero qualms about using his own status to get what he wants. They describe being inappropriately groped and touched by Spacey in both private and remarkably public spaces, including on active sets. (One man even says he was assaulted in the lobby of London’s Savoy Hotel, not far from a bank of photographers.) Some of the men describe Spacey as a public masturbator. Other incidents are described in which the actor presses his body just a little too hard against someone, or whispers just a little too closely in their ear.\u003c/p>\n\u003cp>Many of the men describe feelings of guilt and shame after their run-ins with Spacey. Some describe negative consequences for their careers. Many have difficulty coming to terms with feeling sexually violated. The hyper-masculine men in \u003cem>Unmasked\u003c/em> in particular — two of the speakers here served as Marines — seem to struggle with that the most. Not feeling in control of their own personal space simply isn’t something they had ever anticipated dealing with. One tries to strike an optimistic note, saying that he hopes by coming forward, it will help other men speak honestly about matters relating to sexual harassment and abuse.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=NFbiev0MNls\u003c/p>\n\u003cp>Early in both installments, \u003cem>Unmasked\u003c/em> is careful to emphasize that \u003ca href=\"https://apnews.com/article/kevin-spacey-sexual-assault-trial-london-jury-deliberations-85cb3957c60de1a7b1e03a26dc278d95\">Spacey has been found not guilty\u003c/a> in a British court of nine different sexual assault charges, and that \u003ca href=\"https://variety.com/2022/tv/news/anthony-rapp-kevin-spacey-trial-reaction-1235432621/\">Anthony Rapp’s case against Spacey\u003c/a> was dismissed by an American court. (Rapp made accusations against Spacey during the peak of 2017’s #MeToo movement.)\u003c/p>\n\u003cp>And yet the overarching portrait \u003cem>Unmasked\u003c/em> paints of Spacey is one of a cold, sexually aggressive manipulator who pushes against normal physical and social boundaries, but also knows exactly where to draw the line in order to get away with it. The stories in \u003cem>Unmasked\u003c/em> suggest that Spacey was restrained enough to never verbally spell out quid pro quo sexual propositions, but that he was able to propose such arrangements to aspiring actors around him in more subtle ways.\u003c/p>\n\u003cp>[aside postid='arts_13956667']Harvey Weinstein’s accusers frequently talked of his outright threats to destroy their careers if they didn’t do what he wanted. The testimonies in \u003cem>Unmasked\u003c/em> suggest that Spacey’s propositions were infinitely more subtle, and less committal. Perhaps it’s that subtlety that has kept Spacey safe from prosecution. As the documentary notes, the actor regularly dismisses accusations against him by citing his “inappropriate drunken behavior,” making a “clumsy pass” and being “a big flirt.” While it’s impossible to know if Spacey believes this version of reality, it’s one that’s been effective at keeping him out of jail.\u003c/p>\n\u003cp>At the close of the documentary, words flash on the screen from Spacey himself:\u003c/p>\n\u003cblockquote>\u003cp>Kevin Spacey said that he had been provided with insufficient time and detail to respond to the testimonies in this film. He said, ‘I have consistently denied — and now successfully defended — numerous allegations made both in the US and the UK, both criminal and civil, and each time have been able to source evidence undermining the allegations and have been believed by a jury of my peers.’\u003c/p>\u003c/blockquote>\n\u003cp>Given how \u003ca href=\"https://www.kqed.org/arts/13956667/weinstein-overturned-conviction-me-too-misogyny-commentary\">few #MeToo era villains have suffered legal consequences\u003c/a>, one can’t help but feel resigned to the fact that at this point, Spacey probably never will either. Having that slowly spelled out over \u003cem>Spacey Unmasked\u003c/em>’s two hours of heart-wrenching testimonies makes for a bleak and frustrating conclusion.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Spacey Unmasked’ is streaming now on Max.\u003c/em>\u003c/p>\n\n",
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"excerpt": "A disturbing two-part documentary brings new allegations of sexual impropriety against Kevin Spacey.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At the conclusion of new documentary \u003cem>Spacey Unmasked\u003c/em>, the prevailing feeling is one of distressed resignation.\u003c/p>\n\u003cp>\u003cem>Unmasked\u003c/em> — about the personal conduct of Kevin Spacey, spanning five decades — is not the first documentary to chronicle a public figure’s sexual misconduct after they’d avoided or been released early from civil or criminal charges. \u003ca href=\"https://www.kqed.org/arts/13848980/what-took-sony-music-so-long-to-drop-r-kelly\">\u003cem>Surviving R. Kelly\u003c/em>\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13892800/allen-v-farrow-is-the-most-damning-indictment-of-woody-allen-yet\">\u003cem>Allen v. Farrow\u003c/em>\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13908728/we-need-to-talk-about-bill-cosby-showtime-documentary-w-kamau-bell\">\u003cem>We Need to Talk About Cosby\u003c/em>\u003c/a> all did just that.\u003c/p>\n\u003cp>But each of those series also left viewers with the sense that the subjects in question — R. Kelly, Woody Allen and Bill Cosby — would not be able to successfully resume their careers, in part because of the documentaries themselves.\u003c/p>\n\u003cp>\u003cem>Unmasked\u003c/em> leaves no such sense about Kevin Spacey.\u003c/p>\n\u003cp>The two-part documentary relies upon 10 men — nine of whom have never spoken out publicly against Spacey before — describing disturbing encounters they each had with the actor. These incidents start from the time Spacey was in high school, and come from Spacey’s former coworkers and students, as well as aspiring actors who believed Spacey could help their careers. Additional voices include \u003cem>House of Cards\u003c/em> crew members who describe a toxic work environment, and Spacey’s brother Randall Fowler, who alleges that he was sexually and physically abused by their Nazi-sympathizing father. (Randall is unclear if Spacey himself was ever abused in similar ways, but says that “acting was a way for [Spacey] to escape where he came from” — a home that “was creepy, cold and violent.”)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The men in the documentary suggest that Spacey has little comprehension of consent and zero qualms about using his own status to get what he wants. They describe being inappropriately groped and touched by Spacey in both private and remarkably public spaces, including on active sets. (One man even says he was assaulted in the lobby of London’s Savoy Hotel, not far from a bank of photographers.) Some of the men describe Spacey as a public masturbator. Other incidents are described in which the actor presses his body just a little too hard against someone, or whispers just a little too closely in their ear.\u003c/p>\n\u003cp>Many of the men describe feelings of guilt and shame after their run-ins with Spacey. Some describe negative consequences for their careers. Many have difficulty coming to terms with feeling sexually violated. The hyper-masculine men in \u003cem>Unmasked\u003c/em> in particular — two of the speakers here served as Marines — seem to struggle with that the most. Not feeling in control of their own personal space simply isn’t something they had ever anticipated dealing with. One tries to strike an optimistic note, saying that he hopes by coming forward, it will help other men speak honestly about matters relating to sexual harassment and abuse.\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/NFbiev0MNls'\n title='//www.youtube.com/embed/NFbiev0MNls'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Early in both installments, \u003cem>Unmasked\u003c/em> is careful to emphasize that \u003ca href=\"https://apnews.com/article/kevin-spacey-sexual-assault-trial-london-jury-deliberations-85cb3957c60de1a7b1e03a26dc278d95\">Spacey has been found not guilty\u003c/a> in a British court of nine different sexual assault charges, and that \u003ca href=\"https://variety.com/2022/tv/news/anthony-rapp-kevin-spacey-trial-reaction-1235432621/\">Anthony Rapp’s case against Spacey\u003c/a> was dismissed by an American court. (Rapp made accusations against Spacey during the peak of 2017’s #MeToo movement.)\u003c/p>\n\u003cp>And yet the overarching portrait \u003cem>Unmasked\u003c/em> paints of Spacey is one of a cold, sexually aggressive manipulator who pushes against normal physical and social boundaries, but also knows exactly where to draw the line in order to get away with it. The stories in \u003cem>Unmasked\u003c/em> suggest that Spacey was restrained enough to never verbally spell out quid pro quo sexual propositions, but that he was able to propose such arrangements to aspiring actors around him in more subtle ways.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Harvey Weinstein’s accusers frequently talked of his outright threats to destroy their careers if they didn’t do what he wanted. The testimonies in \u003cem>Unmasked\u003c/em> suggest that Spacey’s propositions were infinitely more subtle, and less committal. Perhaps it’s that subtlety that has kept Spacey safe from prosecution. As the documentary notes, the actor regularly dismisses accusations against him by citing his “inappropriate drunken behavior,” making a “clumsy pass” and being “a big flirt.” While it’s impossible to know if Spacey believes this version of reality, it’s one that’s been effective at keeping him out of jail.\u003c/p>\n\u003cp>At the close of the documentary, words flash on the screen from Spacey himself:\u003c/p>\n\u003cblockquote>\u003cp>Kevin Spacey said that he had been provided with insufficient time and detail to respond to the testimonies in this film. He said, ‘I have consistently denied — and now successfully defended — numerous allegations made both in the US and the UK, both criminal and civil, and each time have been able to source evidence undermining the allegations and have been believed by a jury of my peers.’\u003c/p>\u003c/blockquote>\n\u003cp>Given how \u003ca href=\"https://www.kqed.org/arts/13956667/weinstein-overturned-conviction-me-too-misogyny-commentary\">few #MeToo era villains have suffered legal consequences\u003c/a>, one can’t help but feel resigned to the fact that at this point, Spacey probably never will either. Having that slowly spelled out over \u003cem>Spacey Unmasked\u003c/em>’s two hours of heart-wrenching testimonies makes for a bleak and frustrating conclusion.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Spacey Unmasked’ is streaming now on Max.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In This Summer’s Movies, It’s Not All Escapism and Reboots",
"headTitle": "In This Summer’s Movies, It’s Not All Escapism and Reboots | KQED",
"content": "\u003cp>Summer’s here and the time is right for dancing in the aisles. Everyone you know is eager to escape our clear, present and existential crises, at least for a couple popcorn-butter-smeared hours. Yet the risk-averse studios offer little more than sequels and retreads for our air-conditioned pleasure. When the most anticipated flick of the sunshine season is \u003cem>Deadpool and Wolverine\u003c/em> (July 26), the movie business is not in good hands. \u003c/p>\n\u003cp>But your resident Danny Downer nonetheless holds out hope that starry surprises will drop or pop out of the firmament to jolt us from our hot-weather lethargy and election-year ennui. Surely you, too, will find something on the Bay Area movie calendar to jog your pulse.\u003c/p>\n\u003cfigure id=\"attachment_13957431\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/BackToBlack_2000.jpg\" alt=\"Woman in dark room sings into a mic\" width=\"2000\" height=\"1080\" class=\"size-full wp-image-13957431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/BackToBlack_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/BackToBlack_2000-800x432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/BackToBlack_2000-1020x551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/BackToBlack_2000-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/BackToBlack_2000-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/BackToBlack_2000-1536x829.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/BackToBlack_2000-1920x1037.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Marisa Abela stars as Amy Winehouse in director Sam Taylor-Johnson’s ‘Back to Black.’ \u003ccite>(Courtesy of Focus Features)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Back to Black’\u003c/h2>\n\u003cp>\u003ci>Opens May 17, 2024\u003c/i>\u003c/p>\n\u003cp>Youthful ambition with a dash of sex has been a commissary staple since before the first \u003cem>A Star is Born\u003c/em> (1937). But no movie star-studded roman á clef can match the intensity of Amy Winehouse’s real-life drive to rise on her terms. Marisa Abela (from BBC-HBO’s \u003cem>Industry\u003c/em> and a bit part in \u003ci>Barbie\u003c/i>) belts the blues and rings the changes in director Sam Taylor-Johnson’s biopic, which reaches its crescendo with the titular 2006 album. The Amy Winehouse Estate is onboard, a tipoff that the spotlight stays on Amy’s art (with a dash of melodrama).\u003c/p>\n\u003cp>https://youtu.be/B-IHq2dROsc?feature=shared\u003c/p>\n\u003ch2>\u003ca href=\"https://sanfranciscoparksalliance.org/projects/sundown-cinema/\">Sundown Cinema\u003c/a>\u003c/h2>\n\u003cp>\u003ci>May 17–Oct. 18, 2024\u003cbr>\nVarious locations, San Francisco\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Free outdoor screening series have become a summer tradition, even in nippy nighttime San Francisco. A clever entrepreneur could make out all right with Croix de Dolores buttons (ask an older friend) at the sing-along season opener at Dolores Park, \u003cem>Selena\u003c/em>. An eagle-eyed viewer, meanwhile, could spot Marisa Abela on Aug. 2 (\u003cem>Barbie\u003c/em> at the Ferry Building). The emblematic local film in the ’24 lineup, though, is Peter Yates’ breathless \u003cem>Bullitt\u003c/em> (June 14 at the Presidio), starring the eternally cool Steve McQueen as a taciturn detective dueling with hit men and a slick DA (Robert Vaughn). Laughing at the impossible route of the still-great chase scene is a San Francisco ritual, while the wonderful Rick Prelinger compilation \u003cem>SF’s Lost Landscapes: Found Home Movies\u003c/em> (Sept. 6 at Duboce Park) offers a modern counterpoint (yelling out the locations of various 20th-century businesses and landmarks). \u003c/p>\n\u003cfigure id=\"attachment_13957432\" class=\"wp-caption aligncenter\" style=\"max-width: 1196px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Blank_Garlic-Is-as-Good-as-Ten-Mothers_005.png\" alt=\"Man in big white hat wears garland of garlic around shoulders\" width=\"1196\" height=\"895\" class=\"size-full wp-image-13957432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Blank_Garlic-Is-as-Good-as-Ten-Mothers_005.png 1196w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Blank_Garlic-Is-as-Good-as-Ten-Mothers_005-800x599.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Blank_Garlic-Is-as-Good-as-Ten-Mothers_005-1020x763.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Blank_Garlic-Is-as-Good-as-Ten-Mothers_005-160x120.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Blank_Garlic-Is-as-Good-as-Ten-Mothers_005-768x575.png 768w\" sizes=\"(max-width: 1196px) 100vw, 1196px\">\u003cfigcaption class=\"wp-caption-text\">Still from Les Blank’s ‘Garlic Is as Good as Ten Mothers.’ \u003ccite>(Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://bampfa.org/program/les-blank-life-well-spent\">Les Blank: A Life Well Spent\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>June 7–July 27, 2024\u003cbr>\nBerkeley Art Museum and Pacific Film Archive\u003c/i>\u003c/p>\n\u003cp>The one-of-a-kind East Bay documentary maker Les Blank (1935–2013), who typically also shot his films, was one of the world’s great observers. Works like 1976’s \u003cem>Chulas Fronteras\u003c/em> (on Tejano music), 1978’s \u003cem>Always for Pleasure\u003c/em> (on New Orleans) and 1980’s \u003cem>Garlic is as Good as Ten Mothers\u003c/em> certainly have anthropological and sociological value embedded within their musical and culinary explorations. But Blank’s great talent was that he saw, and connected with, individuals. That’s how he (and his omnipresent camera) got so close to his subjects, and why the viewer always feels like an invited guest. The irresistible films in BAMPFA’s retrospective are crammed with life, not symbols or theses. \u003c/p>\n\u003cp>https://youtu.be/LEjhY15eCx0?feature=shared\u003c/p>\n\u003ch2>‘Inside Out 2’\u003c/h2>\n\u003cp>\u003ci>Opens June 14, 2024\u003c/i>\u003c/p>\n\u003cp>Pixar’s latest phantasmagoria is a sequel, obviously. Sequels have been a significant chunk of the East Bay animation company’s output since Disney bought it in 2006. But it’s been nine years since little Riley was transplanted to San Francisco in \u003cem>Inside Out\u003c/em> — where does the time go? — and aren’t you curious to see how teenage Riley handles her emotions? Uh, I mean aren’t your kids, who were Riley’s age the first time around, eager to dive vicariously into a kaleidoscopic, big-screen, computer-generated teenage wasteland? (I mean, again, after last year’s manic \u003ci>Spider-Man: Across the Spider-Verse\u003c/i>.) They can expect a certain comfort level with returning voice actors Amy Poehler (Joy), Phyllis Smith (Sadness), Lewis Black (Anger), Diane Lane (Mrs. Andersen) and Paula Poundstone (Forgetter Paula).\u003c/p>\n\u003cfigure id=\"attachment_13957434\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SallyGearhart-NoOn6.jpg\" alt=\"photo of a woman at a mic with 'No on 6' banner behind her\" width=\"2000\" height=\"1403\" class=\"size-full wp-image-13957434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SallyGearhart-NoOn6.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SallyGearhart-NoOn6-800x561.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SallyGearhart-NoOn6-1020x716.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SallyGearhart-NoOn6-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SallyGearhart-NoOn6-768x539.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SallyGearhart-NoOn6-1536x1078.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SallyGearhart-NoOn6-1920x1347.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from Deborah Craig’s ‘SALLY!’ \u003ccite>(Steve Savage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.frameline.org/\">Frameline48\u003c/a>, San Francisco International LGBTQ+ Film Festival\u003c/h2>\n\u003cp>\u003ci>June 19–29, 2024\u003cbr>\nVarious locations\u003c/i>\u003c/p>\n\u003cp>Frameline’s response to the closure of the Castro Theater for renovation? A Juneteenth block party on opening night. Dancing in the streets, indeed, to the sounds and sights of the behind-the-strobe-lights tour diary \u003cem>Lil Nas X: Long Live Montero\u003c/em>. Celebration is also on the bill at the world premiere of \u003cem>Sally!\u003c/em>, Deborah Craig’s long-gestating documentary about the life and times of the remarkable San Francisco lesbian activist, professor and fantasy author Sally Gearhart. Opening weekend dramas include Dutch filmmaker Anthony Schatteman’s Berlin prize-winning slice of adolescent first love, \u003cem>Young Hearts\u003c/em>, and Fawzia Mirza’s Pakistani mother-Canadian-born daughter saga \u003cem>The Queen of My Dreams\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13957433\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Fly_Me_To_The_Moon_Photo_0101_2000.jpg\" alt=\"Woman and man in 50s attire stand next to each other against blue sky\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13957433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Fly_Me_To_The_Moon_Photo_0101_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Fly_Me_To_The_Moon_Photo_0101_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Fly_Me_To_The_Moon_Photo_0101_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Fly_Me_To_The_Moon_Photo_0101_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Fly_Me_To_The_Moon_Photo_0101_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Fly_Me_To_The_Moon_Photo_0101_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Fly_Me_To_The_Moon_Photo_0101_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Scarlett Johansson and Channing Tatum in ‘Fly Me to the Moon.’ \u003ccite>(Apple)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Fly Me to the Moon’\u003c/h2>\n\u003cp>\u003ci>July 12, 2024\u003c/i>\u003c/p>\n\u003cp>Originally titled \u003cem>Project Artemis\u003c/em>, Apple Studio’s mega-million-dollar romantic comedy unfolds in the run-up to the Apollo 11 mission. You may recall that 1969 expedition landed the first humans on the moon, and that NASA’s endeavors were an offshoot of the Cold War — racing the Soviet Union into space — as well as a scientific foray into the future. High stakes, and high pressure on NASA honcho Cole Davis (Channing Tatum). The last thing he needs is a marketing pro (Scarlett Johansson) brought in to mount a fake landing in case the real one doesn’t come off. (The credits do not include an actor playing Stanley Kubrick, in a blatant putdown of well-meaning conspiracy theorists everywhere.) Someone deserves applause for taking a chance on this script; we’ll see if they still have a job in September.\u003c/p>\n\u003cp>https://youtu.be/wdok0rZdmx4?feature=shared\u003c/p>\n\u003ch2>‘Twisters’\u003c/h2>\n\u003cp>\u003ci>July 19, 2024\u003c/i>\u003c/p>\n\u003cp>Michael Crichton, the prince of pulp science-gone-wrong nightmares (\u003cem>The Andromeda Strain\u003c/em>, \u003cem>Jurassic Park\u003c/em>), wrote a movie about Midwestern storm chasers (\u003cem>Twister\u003c/em>) that grossed half a billion dollars worldwide in 1996. All these years later, screenwriter Mark L. Brown (\u003cem>The Revenant\u003c/em>) and director Lee Isaac Chung (\u003cem>Minari\u003c/em>) sensitively and thoughtfully update Crichton’s handiwork with TV actors Daisy Edgar-Jones and Glen Powell riding the whirlwind. Call it a reboot, a remake, a sequel, a riff on climate \u003cem>changed\u003c/em> (we are already in the throes), a CGI money machine. All I ask for is The Association’s \u003ca href=\"https://youtu.be/Qa9mGMdwv0g?feature=shared\">breezy 1967 hit\u003c/a> under the closing credits.\u003c/p>\n\u003cfigure id=\"attachment_13957518\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jews-by-Choice-Web-2023JFI.jpg\" alt=\"\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13957518\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jews-by-Choice-Web-2023JFI.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jews-by-Choice-Web-2023JFI-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jews-by-Choice-Web-2023JFI-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jews-by-Choice-Web-2023JFI-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jews-by-Choice-Web-2023JFI-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jews-by-Choice-Web-2023JFI-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Jews By Choice,’ screening at this year’s San Francisco Jewish Film Festival. \u003ccite>(Courtesy SFJFF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>SF Jewish Film Festival\u003c/h2>\n\u003cp>\u003ci>July 18–Aug. 4, 2024\u003cbr>\nVarious locations\u003c/i>\u003c/p>\n\u003cp>For 44 years, the SFJFF has proffered a left-of-center perspective on the Jewish experience that has mostly thrilled its Left Coast audience while occasionally irking the Establishment. Alongside poignant Holocaust documentaries and comedies about American Jewish life and history, the festival has presented countless dramas and documentaries critical of Israeli policies toward, and treatment of, the Palestinians — the vast majority made by Israeli filmmakers (and funded, at least in part, by the government). The challenge of compiling a program that creates spaces for dialogue and debate is especially daunting this year, especially as the festival could be a flashpoint for demonstrations. When cinema collides with the real world, opportunity knocks.\u003c/p>\n\u003cp>https://youtu.be/WojIv-PVYm8?feature=shared\u003c/p>\n\u003ch2>‘Harold and the Purple Crayon’\u003c/h2>\n\u003cp>\u003ci>Aug. 2, 2024\u003c/i>\u003c/p>\n\u003cp>In 1955, the cartoonist and painter Crockett Johnson published the first of seven children’s books starring little Harold. It was made into an animated short a couple years later, and joined by two subsequent shorts in the ’70s. HBO aired a 13-episode series in 2001 narrated by Sharon Stone (with music by Van Dyke Parks). Harold’s all grown up now (and played by Zachary Levi) in this feature written by \u003cem>Night at the Museum: Secret of the Tomb\u003c/em> and \u003cem>Slumberland\u003c/em> scribes David Guion and Michael Handelman, providing the hook for dads to take their kids to the multiplex. Hollywood’s M.O., may I remind you, is wowing wee ones with whiz-bang special effects and boom-bang soundtracks. Johnson’s books adeptly express the enchantment of imagination and creativity with just a few purple lines.\u003c/p>\n\u003cfigure id=\"attachment_13957435\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/borderlands-feature-still005rc-c2-crop_2000.jpg\" alt=\"Group of people seen from within a tube, looking up at sky\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13957435\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/borderlands-feature-still005rc-c2-crop_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/borderlands-feature-still005rc-c2-crop_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/borderlands-feature-still005rc-c2-crop_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/borderlands-feature-still005rc-c2-crop_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/borderlands-feature-still005rc-c2-crop_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/borderlands-feature-still005rc-c2-crop_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/borderlands-feature-still005rc-c2-crop_2000-1920x1080.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cate Blanchett, Ariana Greenblatt, Kevin Hart, Florian Munteanu and Jamie Lee Curtis in ‘Borderlands.’ \u003ccite>(Courtesy of Lionsgate)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Borderlands’\u003c/h2>\n\u003cp>\u003ci>Aug. 9, 2024\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I never imagined I would put Greatest Living Screen Actress Cate Blanchett (\u003cem>Elizabeth\u003c/em>, \u003cem>Tár\u003c/em>) and garage-band horrormeister Eli Roth (\u003cem>Cabin Fever\u003c/em>, \u003cem>Thanksgiving\u003c/em>) in the same paragraph, let alone the same sentence. Such is the demonic power of (massively successful) video games. Perhaps we could simply file Cate’s curious career move under Girls Just Want to Have Fun. (The cast also includes Gina Gershon and Jamie Lee Curtis.) Improbably, this action-comedy space oddity clocks in under two hours, which may indicate a) last-minute editing to streamline a ridiculously confusing plot or b) a directive from the United Nations Office for the Coordination of Humanitarian Affairs. When it comes to August releases, it’s best to set one’s expectations to Matinee Prices.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Summer’s here and the time is right for dancing in the aisles. Everyone you know is eager to escape our clear, present and existential crises, at least for a couple popcorn-butter-smeared hours. Yet the risk-averse studios offer little more than sequels and retreads for our air-conditioned pleasure. When the most anticipated flick of the sunshine season is \u003cem>Deadpool and Wolverine\u003c/em> (July 26), the movie business is not in good hands. \u003c/p>\n\u003cp>But your resident Danny Downer nonetheless holds out hope that starry surprises will drop or pop out of the firmament to jolt us from our hot-weather lethargy and election-year ennui. Surely you, too, will find something on the Bay Area movie calendar to jog your pulse.\u003c/p>\n\u003cfigure id=\"attachment_13957431\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/BackToBlack_2000.jpg\" alt=\"Woman in dark room sings into a mic\" width=\"2000\" height=\"1080\" class=\"size-full wp-image-13957431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/BackToBlack_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/BackToBlack_2000-800x432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/BackToBlack_2000-1020x551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/BackToBlack_2000-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/BackToBlack_2000-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/BackToBlack_2000-1536x829.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/BackToBlack_2000-1920x1037.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Marisa Abela stars as Amy Winehouse in director Sam Taylor-Johnson’s ‘Back to Black.’ \u003ccite>(Courtesy of Focus Features)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Back to Black’\u003c/h2>\n\u003cp>\u003ci>Opens May 17, 2024\u003c/i>\u003c/p>\n\u003cp>Youthful ambition with a dash of sex has been a commissary staple since before the first \u003cem>A Star is Born\u003c/em> (1937). But no movie star-studded roman á clef can match the intensity of Amy Winehouse’s real-life drive to rise on her terms. Marisa Abela (from BBC-HBO’s \u003cem>Industry\u003c/em> and a bit part in \u003ci>Barbie\u003c/i>) belts the blues and rings the changes in director Sam Taylor-Johnson’s biopic, which reaches its crescendo with the titular 2006 album. The Amy Winehouse Estate is onboard, a tipoff that the spotlight stays on Amy’s art (with a dash of melodrama).\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/B-IHq2dROsc'\n title='//www.youtube.com/embed/B-IHq2dROsc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://sanfranciscoparksalliance.org/projects/sundown-cinema/\">Sundown Cinema\u003c/a>\u003c/h2>\n\u003cp>\u003ci>May 17–Oct. 18, 2024\u003cbr>\nVarious locations, San Francisco\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Free outdoor screening series have become a summer tradition, even in nippy nighttime San Francisco. A clever entrepreneur could make out all right with Croix de Dolores buttons (ask an older friend) at the sing-along season opener at Dolores Park, \u003cem>Selena\u003c/em>. An eagle-eyed viewer, meanwhile, could spot Marisa Abela on Aug. 2 (\u003cem>Barbie\u003c/em> at the Ferry Building). The emblematic local film in the ’24 lineup, though, is Peter Yates’ breathless \u003cem>Bullitt\u003c/em> (June 14 at the Presidio), starring the eternally cool Steve McQueen as a taciturn detective dueling with hit men and a slick DA (Robert Vaughn). Laughing at the impossible route of the still-great chase scene is a San Francisco ritual, while the wonderful Rick Prelinger compilation \u003cem>SF’s Lost Landscapes: Found Home Movies\u003c/em> (Sept. 6 at Duboce Park) offers a modern counterpoint (yelling out the locations of various 20th-century businesses and landmarks). \u003c/p>\n\u003cfigure id=\"attachment_13957432\" class=\"wp-caption aligncenter\" style=\"max-width: 1196px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Blank_Garlic-Is-as-Good-as-Ten-Mothers_005.png\" alt=\"Man in big white hat wears garland of garlic around shoulders\" width=\"1196\" height=\"895\" class=\"size-full wp-image-13957432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Blank_Garlic-Is-as-Good-as-Ten-Mothers_005.png 1196w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Blank_Garlic-Is-as-Good-as-Ten-Mothers_005-800x599.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Blank_Garlic-Is-as-Good-as-Ten-Mothers_005-1020x763.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Blank_Garlic-Is-as-Good-as-Ten-Mothers_005-160x120.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Blank_Garlic-Is-as-Good-as-Ten-Mothers_005-768x575.png 768w\" sizes=\"(max-width: 1196px) 100vw, 1196px\">\u003cfigcaption class=\"wp-caption-text\">Still from Les Blank’s ‘Garlic Is as Good as Ten Mothers.’ \u003ccite>(Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://bampfa.org/program/les-blank-life-well-spent\">Les Blank: A Life Well Spent\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>June 7–July 27, 2024\u003cbr>\nBerkeley Art Museum and Pacific Film Archive\u003c/i>\u003c/p>\n\u003cp>The one-of-a-kind East Bay documentary maker Les Blank (1935–2013), who typically also shot his films, was one of the world’s great observers. Works like 1976’s \u003cem>Chulas Fronteras\u003c/em> (on Tejano music), 1978’s \u003cem>Always for Pleasure\u003c/em> (on New Orleans) and 1980’s \u003cem>Garlic is as Good as Ten Mothers\u003c/em> certainly have anthropological and sociological value embedded within their musical and culinary explorations. But Blank’s great talent was that he saw, and connected with, individuals. That’s how he (and his omnipresent camera) got so close to his subjects, and why the viewer always feels like an invited guest. The irresistible films in BAMPFA’s retrospective are crammed with life, not symbols or theses. \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>\u003ch2>‘Inside Out 2’\u003c/h2>\n\u003cp>\u003ci>Opens June 14, 2024\u003c/i>\u003c/p>\n\u003cp>Pixar’s latest phantasmagoria is a sequel, obviously. Sequels have been a significant chunk of the East Bay animation company’s output since Disney bought it in 2006. But it’s been nine years since little Riley was transplanted to San Francisco in \u003cem>Inside Out\u003c/em> — where does the time go? — and aren’t you curious to see how teenage Riley handles her emotions? Uh, I mean aren’t your kids, who were Riley’s age the first time around, eager to dive vicariously into a kaleidoscopic, big-screen, computer-generated teenage wasteland? (I mean, again, after last year’s manic \u003ci>Spider-Man: Across the Spider-Verse\u003c/i>.) They can expect a certain comfort level with returning voice actors Amy Poehler (Joy), Phyllis Smith (Sadness), Lewis Black (Anger), Diane Lane (Mrs. Andersen) and Paula Poundstone (Forgetter Paula).\u003c/p>\n\u003cfigure id=\"attachment_13957434\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SallyGearhart-NoOn6.jpg\" alt=\"photo of a woman at a mic with 'No on 6' banner behind her\" width=\"2000\" height=\"1403\" class=\"size-full wp-image-13957434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SallyGearhart-NoOn6.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SallyGearhart-NoOn6-800x561.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SallyGearhart-NoOn6-1020x716.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SallyGearhart-NoOn6-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SallyGearhart-NoOn6-768x539.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SallyGearhart-NoOn6-1536x1078.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SallyGearhart-NoOn6-1920x1347.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from Deborah Craig’s ‘SALLY!’ \u003ccite>(Steve Savage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.frameline.org/\">Frameline48\u003c/a>, San Francisco International LGBTQ+ Film Festival\u003c/h2>\n\u003cp>\u003ci>June 19–29, 2024\u003cbr>\nVarious locations\u003c/i>\u003c/p>\n\u003cp>Frameline’s response to the closure of the Castro Theater for renovation? A Juneteenth block party on opening night. Dancing in the streets, indeed, to the sounds and sights of the behind-the-strobe-lights tour diary \u003cem>Lil Nas X: Long Live Montero\u003c/em>. Celebration is also on the bill at the world premiere of \u003cem>Sally!\u003c/em>, Deborah Craig’s long-gestating documentary about the life and times of the remarkable San Francisco lesbian activist, professor and fantasy author Sally Gearhart. Opening weekend dramas include Dutch filmmaker Anthony Schatteman’s Berlin prize-winning slice of adolescent first love, \u003cem>Young Hearts\u003c/em>, and Fawzia Mirza’s Pakistani mother-Canadian-born daughter saga \u003cem>The Queen of My Dreams\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13957433\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Fly_Me_To_The_Moon_Photo_0101_2000.jpg\" alt=\"Woman and man in 50s attire stand next to each other against blue sky\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13957433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Fly_Me_To_The_Moon_Photo_0101_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Fly_Me_To_The_Moon_Photo_0101_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Fly_Me_To_The_Moon_Photo_0101_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Fly_Me_To_The_Moon_Photo_0101_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Fly_Me_To_The_Moon_Photo_0101_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Fly_Me_To_The_Moon_Photo_0101_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Fly_Me_To_The_Moon_Photo_0101_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Scarlett Johansson and Channing Tatum in ‘Fly Me to the Moon.’ \u003ccite>(Apple)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Fly Me to the Moon’\u003c/h2>\n\u003cp>\u003ci>July 12, 2024\u003c/i>\u003c/p>\n\u003cp>Originally titled \u003cem>Project Artemis\u003c/em>, Apple Studio’s mega-million-dollar romantic comedy unfolds in the run-up to the Apollo 11 mission. You may recall that 1969 expedition landed the first humans on the moon, and that NASA’s endeavors were an offshoot of the Cold War — racing the Soviet Union into space — as well as a scientific foray into the future. High stakes, and high pressure on NASA honcho Cole Davis (Channing Tatum). The last thing he needs is a marketing pro (Scarlett Johansson) brought in to mount a fake landing in case the real one doesn’t come off. (The credits do not include an actor playing Stanley Kubrick, in a blatant putdown of well-meaning conspiracy theorists everywhere.) Someone deserves applause for taking a chance on this script; we’ll see if they still have a job in September.\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>\u003ch2>‘Twisters’\u003c/h2>\n\u003cp>\u003ci>July 19, 2024\u003c/i>\u003c/p>\n\u003cp>Michael Crichton, the prince of pulp science-gone-wrong nightmares (\u003cem>The Andromeda Strain\u003c/em>, \u003cem>Jurassic Park\u003c/em>), wrote a movie about Midwestern storm chasers (\u003cem>Twister\u003c/em>) that grossed half a billion dollars worldwide in 1996. All these years later, screenwriter Mark L. Brown (\u003cem>The Revenant\u003c/em>) and director Lee Isaac Chung (\u003cem>Minari\u003c/em>) sensitively and thoughtfully update Crichton’s handiwork with TV actors Daisy Edgar-Jones and Glen Powell riding the whirlwind. Call it a reboot, a remake, a sequel, a riff on climate \u003cem>changed\u003c/em> (we are already in the throes), a CGI money machine. All I ask for is The Association’s \u003ca href=\"https://youtu.be/Qa9mGMdwv0g?feature=shared\">breezy 1967 hit\u003c/a> under the closing credits.\u003c/p>\n\u003cfigure id=\"attachment_13957518\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jews-by-Choice-Web-2023JFI.jpg\" alt=\"\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13957518\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jews-by-Choice-Web-2023JFI.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jews-by-Choice-Web-2023JFI-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jews-by-Choice-Web-2023JFI-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jews-by-Choice-Web-2023JFI-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jews-by-Choice-Web-2023JFI-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jews-by-Choice-Web-2023JFI-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Jews By Choice,’ screening at this year’s San Francisco Jewish Film Festival. \u003ccite>(Courtesy SFJFF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>SF Jewish Film Festival\u003c/h2>\n\u003cp>\u003ci>July 18–Aug. 4, 2024\u003cbr>\nVarious locations\u003c/i>\u003c/p>\n\u003cp>For 44 years, the SFJFF has proffered a left-of-center perspective on the Jewish experience that has mostly thrilled its Left Coast audience while occasionally irking the Establishment. Alongside poignant Holocaust documentaries and comedies about American Jewish life and history, the festival has presented countless dramas and documentaries critical of Israeli policies toward, and treatment of, the Palestinians — the vast majority made by Israeli filmmakers (and funded, at least in part, by the government). The challenge of compiling a program that creates spaces for dialogue and debate is especially daunting this year, especially as the festival could be a flashpoint for demonstrations. When cinema collides with the real world, opportunity knocks.\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/WojIv-PVYm8'\n title='//www.youtube.com/embed/WojIv-PVYm8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘Harold and the Purple Crayon’\u003c/h2>\n\u003cp>\u003ci>Aug. 2, 2024\u003c/i>\u003c/p>\n\u003cp>In 1955, the cartoonist and painter Crockett Johnson published the first of seven children’s books starring little Harold. It was made into an animated short a couple years later, and joined by two subsequent shorts in the ’70s. HBO aired a 13-episode series in 2001 narrated by Sharon Stone (with music by Van Dyke Parks). Harold’s all grown up now (and played by Zachary Levi) in this feature written by \u003cem>Night at the Museum: Secret of the Tomb\u003c/em> and \u003cem>Slumberland\u003c/em> scribes David Guion and Michael Handelman, providing the hook for dads to take their kids to the multiplex. Hollywood’s M.O., may I remind you, is wowing wee ones with whiz-bang special effects and boom-bang soundtracks. Johnson’s books adeptly express the enchantment of imagination and creativity with just a few purple lines.\u003c/p>\n\u003cfigure id=\"attachment_13957435\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/borderlands-feature-still005rc-c2-crop_2000.jpg\" alt=\"Group of people seen from within a tube, looking up at sky\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13957435\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/borderlands-feature-still005rc-c2-crop_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/borderlands-feature-still005rc-c2-crop_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/borderlands-feature-still005rc-c2-crop_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/borderlands-feature-still005rc-c2-crop_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/borderlands-feature-still005rc-c2-crop_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/borderlands-feature-still005rc-c2-crop_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/borderlands-feature-still005rc-c2-crop_2000-1920x1080.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cate Blanchett, Ariana Greenblatt, Kevin Hart, Florian Munteanu and Jamie Lee Curtis in ‘Borderlands.’ \u003ccite>(Courtesy of Lionsgate)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Borderlands’\u003c/h2>\n\u003cp>\u003ci>Aug. 9, 2024\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I never imagined I would put Greatest Living Screen Actress Cate Blanchett (\u003cem>Elizabeth\u003c/em>, \u003cem>Tár\u003c/em>) and garage-band horrormeister Eli Roth (\u003cem>Cabin Fever\u003c/em>, \u003cem>Thanksgiving\u003c/em>) in the same paragraph, let alone the same sentence. Such is the demonic power of (massively successful) video games. Perhaps we could simply file Cate’s curious career move under Girls Just Want to Have Fun. (The cast also includes Gina Gershon and Jamie Lee Curtis.) Improbably, this action-comedy space oddity clocks in under two hours, which may indicate a) last-minute editing to streamline a ridiculously confusing plot or b) a directive from the United Nations Office for the Coordination of Humanitarian Affairs. When it comes to August releases, it’s best to set one’s expectations to Matinee Prices.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "America Ferrera to Star in New Movie About the Deadly Paradise Wildfire",
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"content": "\u003cp>New Mexico is standing in for California in a new film as Jamie Lee Curtis’ production company and others tell the story of a bus driver and a school teacher who rescued students during the deadliest and most destructive wildfire in California’s history.\u003c/p>\n\u003cp>The 2018 blaze killed 85 people and nearly erased the community of Paradise in the Sierra Nevada foothills. Some residents have returned to help make something new, while others are still haunted by their memories.\u003c/p>\n\u003cp>Curtis was among those marking the five-year anniversary in November when she posted on social media about the people of Paradise having suffered an unimaginable inferno and talked about the bravery of residents and the heroes who suited up and responded.\u003c/p>\n\u003cp>[aside postid='arts_13957540']She said at the time she was proud to be producing a film based on the stories in Lizzie Johnson’s novel: \u003cem>Paradise: One Town’s Struggle to Survive an American Wildfire\u003c/em>.\u003c/p>\n\u003cp>\u003cem>The Lost Bus\u003c/em> was a project that started in 2022. Now, filming is underway in and around Santa Fe and Española and in Ruidoso, a mountainous area of southern New Mexico that also has seen its share of wildfires — including a deadly fire in 2022 that was sparked by a downed power line.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>From California to New Mexico and other parts of the West, wildfires have become more volatile amid drier and hotter conditions that have been exacerbated by the effects of climate change. So far this year, more than 2,812 square miles (7,283 square kilometers) have burned — more than double the 10-year average, according to the National Interagency Fire Center.\u003c/p>\n\u003cfigure id=\"attachment_13957739\" class=\"wp-caption aligncenter\" style=\"max-width: 1586px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957739\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-13-at-3.54.18-PM.png\" alt=\"A blue house in a rural environments is surrounded by plumes of Grey and black smoke.\" width=\"1586\" height=\"922\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-13-at-3.54.18-PM.png 1586w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-13-at-3.54.18-PM-800x465.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-13-at-3.54.18-PM-1020x593.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-13-at-3.54.18-PM-160x93.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-13-at-3.54.18-PM-768x446.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-13-at-3.54.18-PM-1536x893.png 1536w\" sizes=\"(max-width: 1586px) 100vw, 1586px\">\u003cfigcaption class=\"wp-caption-text\">Towering smoke plumes overshadowed Paradise as the Camp Fire raced through in 2018. More than 18,000 acres burned in a matter of hours. \u003ccite>(Josh Edelson/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The film will star Matthew McConaughey and America Ferrera under the direction of Paul Greengrass. Emmy Award winner Brad Ingelsby, Greg Goodman and Jason Blum’s production company Blumhouse will join Curtis’ Comet Pictures in producing the film.\u003c/p>\n\u003cp>\u003cem>The Lost Bus\u003c/em> will focus on bus driver Kevin McKay and teacher Mary Ludwig, who helped navigate a bus full of children through the deadly wildfire.\u003c/p>\n\u003cp>In an interview in 2018, Marc Kessler, a science teacher at a Paradise Unified School District middle school, told The Associated Press he arrived at work early that Thursday morning and saw smoke plumes that soon grew uncomfortably near.\u003c/p>\n\u003cp>[aside postid='news_11793155']Teachers, aides and bus drivers loaded more than 100 students into cars and school buses as the fast-moving wildfire approached, Kessler said. They drove hours through smoke and flames to safely reunite the children with their families.\u003c/p>\n\u003cp>In McKay’s case, he responded to an emergency call and picked up 22 students from Ponderosa Elementary School as the flames approached. Ludwig and fellow teacher Abbie Davis helped to comfort the children.\u003c/p>\n\u003cp>Curtis in a 2022 interview with Deadline said as a lifelong California resident, she watched with profound sadness as the ferocious fire consumed Paradise. She had said she wanted to be able to turn the stories in Johnson’s novel into a film that would explore the human elements, tragedies and bravery that stemmed from the wildfire.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The production will employ 480 New Mexico crew members and 2,100 extras, according to the New Mexico Film Office.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>From California to New Mexico and other parts of the West, wildfires have become more volatile amid drier and hotter conditions that have been exacerbated by the effects of climate change. So far this year, more than 2,812 square miles (7,283 square kilometers) have burned — more than double the 10-year average, according to the National Interagency Fire Center.\u003c/p>\n\u003cfigure id=\"attachment_13957739\" class=\"wp-caption aligncenter\" style=\"max-width: 1586px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957739\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-13-at-3.54.18-PM.png\" alt=\"A blue house in a rural environments is surrounded by plumes of Grey and black smoke.\" width=\"1586\" height=\"922\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-13-at-3.54.18-PM.png 1586w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-13-at-3.54.18-PM-800x465.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-13-at-3.54.18-PM-1020x593.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-13-at-3.54.18-PM-160x93.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-13-at-3.54.18-PM-768x446.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-13-at-3.54.18-PM-1536x893.png 1536w\" sizes=\"(max-width: 1586px) 100vw, 1586px\">\u003cfigcaption class=\"wp-caption-text\">Towering smoke plumes overshadowed Paradise as the Camp Fire raced through in 2018. More than 18,000 acres burned in a matter of hours. \u003ccite>(Josh Edelson/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The film will star Matthew McConaughey and America Ferrera under the direction of Paul Greengrass. Emmy Award winner Brad Ingelsby, Greg Goodman and Jason Blum’s production company Blumhouse will join Curtis’ Comet Pictures in producing the film.\u003c/p>\n\u003cp>\u003cem>The Lost Bus\u003c/em> will focus on bus driver Kevin McKay and teacher Mary Ludwig, who helped navigate a bus full of children through the deadly wildfire.\u003c/p>\n\u003cp>In an interview in 2018, Marc Kessler, a science teacher at a Paradise Unified School District middle school, told The Associated Press he arrived at work early that Thursday morning and saw smoke plumes that soon grew uncomfortably near.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Teachers, aides and bus drivers loaded more than 100 students into cars and school buses as the fast-moving wildfire approached, Kessler said. They drove hours through smoke and flames to safely reunite the children with their families.\u003c/p>\n\u003cp>In McKay’s case, he responded to an emergency call and picked up 22 students from Ponderosa Elementary School as the flames approached. Ludwig and fellow teacher Abbie Davis helped to comfort the children.\u003c/p>\n\u003cp>Curtis in a 2022 interview with Deadline said as a lifelong California resident, she watched with profound sadness as the ferocious fire consumed Paradise. She had said she wanted to be able to turn the stories in Johnson’s novel into a film that would explore the human elements, tragedies and bravery that stemmed from the wildfire.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The production will employ 480 New Mexico crew members and 2,100 extras, according to the New Mexico Film Office.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Mosquito Lady’ Shows the Horror of Losing Reproductive Freedom",
"headTitle": "‘Mosquito Lady’ Shows the Horror of Losing Reproductive Freedom | KQED",
"content": "\u003cfigure id=\"attachment_13957695\" class=\"wp-caption aligncenter\" style=\"max-width: 3584px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957695\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_01.png\" alt=\"A still from 'Mosquito Lady' showing the main character with a look of terror on her face in a dimly lit room.\" width=\"3584\" height=\"1497\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_01.png 3584w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_01-800x334.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_01-1020x426.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_01-160x67.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_01-768x321.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_01-1536x642.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_01-2048x855.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_01-1920x802.png 1920w\" sizes=\"(max-width: 3584px) 100vw, 3584px\">\u003cfigcaption class=\"wp-caption-text\">Hanna Lorica stars in ‘Mosquito Lady’ as Gemma, a pregnant teenager who turns to a mysterious neighbor for help. \u003ccite>(Kristine Gerolaga)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Imagine being a teenager with a belly bump the size of a basketball, barely hidden underneath a baggy shirt. Google searches for an escape from motherhood feel like dead ends, and no one else your age knows any better.\u003c/p>\n\u003cp>Vallejo-bred actress and filmmaker \u003ca href=\"https://www.kristinegerolaga.com/\">Kristine Gerolaga\u003c/a>’s latest horror film, \u003ca href=\"https://www.kristinegerolaga.com/mosquitolady\">\u003cem>Mosquito Lady\u003c/em>\u003c/a>, follows a pregnant girl named Gemma who, in lieu of parental support, turns to the creepy neighbor they warned her about — even if that means her life’s on the line.\u003c/p>\n\u003cp>This short film is nothing like \u003cem>Juno\u003c/em>. \u003ca href=\"https://caamfest.com/2024/movies/mosquito-lady/\">Screening May 18 at CAAMFest\u003c/a>, \u003cem>Mosquito Lady\u003c/em> dives into topics like bodily autonomy and reproductive rights, and builds a sense of true dread with a twist from Filipino folklore.\u003c/p>\n\u003cp>https://vimeo.com/866459770\u003c/p>\n\u003cp>The film’s mythological element takes the shape of the manananggal, a baby-eating, vampire-esque monster with wings. “Sightings” have been reported in provincial regions of the Philippines. Its kryptonite? Sunlight.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sure, there’s terror in a blood-sucking, flying woman with no legs, but the cryptic fear in \u003cem>Mosquito Lady\u003c/em> lurks between what’s said and what isn’t. In Gemma’s case, that stems from being an overwhelmed kid without guidance or resources — plus the shackles of familial expectations to keep things under wraps and not end up like cousin so-and-so.\u003c/p>\n\u003cfigure id=\"attachment_13957696\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957696\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/KRISTINE_GEROLAGA.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/KRISTINE_GEROLAGA.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/KRISTINE_GEROLAGA-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/KRISTINE_GEROLAGA-768x1152.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Filmmaker Kristine Gerolaga. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Without access to reproductive care, Gemma visits the manananggal’s house and, to no surprise, finds some truth to the eerie stories.\u003c/p>\n\u003cp>Gerolaga’s idea for the short film sparked around 2016, when 18 states adopted new abortion restrictions. In 2022, Roe v. Wade was overturned, ending federal abortion rights altogether. (California, Hawaii and Illinois are \u003ca href=\"https://www.usnews.com/news/best-states/articles/a-guide-to-abortion-laws-by-state\">among the states\u003c/a> that still allow abortions until fetal viability, or until a fetus can live on its own outside of the uterus.)\u003c/p>\n\u003cp>Currently, only 39 states \u003ca href=\"https://www.plannedparenthood.org/learn/for-educators/whats-state-sex-education-us\">mandate some form of sexual education\u003c/a> in the school curriculum. Personally, I couldn’t tell you what we learned in what was probably a one-day workshop when I was in school over a decade ago.\u003c/p>\n\u003cp>For Gerolaga, it was the same story. “The way we were taught about sexual health and our bodies, it was limited to, ‘Don’t have sex,’” Gerolaga says. “‘If you do — if you get pregnant — we’re gonna kick you out.’ You know, like, your life is over.”\u003c/p>\n\u003cp>She continues, “I tried to put into \u003cem>Mosquito Lady\u003c/em>, you know, as loving as my family is and as supportive as they are, it made me realize what it must have been like for them to grow up as well with expectations placed on them by their own parents — and their parents and their parents. And how it’s just been an ongoing cycle.”\u003c/p>\n\u003cp>In the film, Gemma, played by Bay Area local Hanna Lorica, sits across her parents like a child on timeout. The scene cuts between close-up shots of Gemma’s anxious reactions and her point of view. The sound design is so on point that the viewer vividly experiences her fear — holding your breath in hopes that the chaos will die down if you wait long enough.\u003c/p>\n\u003cfigure id=\"attachment_13957697\" class=\"wp-caption aligncenter\" style=\"max-width: 3584px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957697\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_02.png\" alt=\"\" width=\"3584\" height=\"1499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_02.png 3584w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_02-800x335.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_02-1020x427.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_02-160x67.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_02-768x321.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_02-1536x642.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_02-2048x857.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_02-1920x803.png 1920w\" sizes=\"(max-width: 3584px) 100vw, 3584px\">\u003cfigcaption class=\"wp-caption-text\">The manananggal, a blood-sucking creature from Filipino folklore, isn’t the only terrifying thing about ‘Mosquito Lady.’ \u003ccite>(Kristine Gerolaga)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“As an adult now, [I’m] thinking back to those times of just how ashamed and scared I was,” reflects Gerolaga, “of being a girl, being someone who could get pregnant, being someone who could be blamed for getting pregnant… and just having to deal with that at a young age and the consequences of those things.” [aside postid='arts_13957410']\u003c/p>\n\u003cp>Looking towards the future, she continues, “We’re now of the age that we’re having kids, right? Our generation. I hope it does make us think about how we’re going to talk to our own kids about their bodies, their sexual health, their sexuality, their rights. And maybe break that cycle of shame, right?”\u003c/p>\n\u003cp>In addition to Mosquito\u003cem> Lady \u003c/em>— which premiered at Beyond Fest 2023 and won Best Effects at Brooklyn Horror Film Festival — Gerolaga has written and directed a variety of projects, including her short film \u003cem>Concealer\u003c/em> and a micro-series titled \u003ca href=\"https://www.youtube.com/@krimstine8835\">@starringkristine on YouTube\u003c/a>. She’s now developing her debut feature film, \u003cem>LAMOK\u003c/em>, with support from Sundance Institute’s Screenwriters Lab and Horror Fellowship. [aside postid='arts_13957514']\u003c/p>\n\u003cp>Her biggest takeaway from bringing her vision for \u003cem>Mosquito Lady\u003c/em> to life? Gerolaga says, “We deserve to be healthy and happy — and understand our bodies.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>As part of this year’s \u003ca href=\"https://caamfest.com/2024/\">CAAMFest\u003c/a>, ‘Mosquito Lady’ will have its Bay Area premiere on May 18 at San Francisco’s Roxie Theater. \u003ca href=\"https://caamfest.com/2024/movies/mosquito-lady/\">Details and tickets here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13957695\" class=\"wp-caption aligncenter\" style=\"max-width: 3584px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957695\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_01.png\" alt=\"A still from 'Mosquito Lady' showing the main character with a look of terror on her face in a dimly lit room.\" width=\"3584\" height=\"1497\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_01.png 3584w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_01-800x334.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_01-1020x426.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_01-160x67.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_01-768x321.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_01-1536x642.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_01-2048x855.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_01-1920x802.png 1920w\" sizes=\"(max-width: 3584px) 100vw, 3584px\">\u003cfigcaption class=\"wp-caption-text\">Hanna Lorica stars in ‘Mosquito Lady’ as Gemma, a pregnant teenager who turns to a mysterious neighbor for help. \u003ccite>(Kristine Gerolaga)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Imagine being a teenager with a belly bump the size of a basketball, barely hidden underneath a baggy shirt. Google searches for an escape from motherhood feel like dead ends, and no one else your age knows any better.\u003c/p>\n\u003cp>Vallejo-bred actress and filmmaker \u003ca href=\"https://www.kristinegerolaga.com/\">Kristine Gerolaga\u003c/a>’s latest horror film, \u003ca href=\"https://www.kristinegerolaga.com/mosquitolady\">\u003cem>Mosquito Lady\u003c/em>\u003c/a>, follows a pregnant girl named Gemma who, in lieu of parental support, turns to the creepy neighbor they warned her about — even if that means her life’s on the line.\u003c/p>\n\u003cp>This short film is nothing like \u003cem>Juno\u003c/em>. \u003ca href=\"https://caamfest.com/2024/movies/mosquito-lady/\">Screening May 18 at CAAMFest\u003c/a>, \u003cem>Mosquito Lady\u003c/em> dives into topics like bodily autonomy and reproductive rights, and builds a sense of true dread with a twist from Filipino folklore.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sure, there’s terror in a blood-sucking, flying woman with no legs, but the cryptic fear in \u003cem>Mosquito Lady\u003c/em> lurks between what’s said and what isn’t. In Gemma’s case, that stems from being an overwhelmed kid without guidance or resources — plus the shackles of familial expectations to keep things under wraps and not end up like cousin so-and-so.\u003c/p>\n\u003cfigure id=\"attachment_13957696\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957696\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/KRISTINE_GEROLAGA.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/KRISTINE_GEROLAGA.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/KRISTINE_GEROLAGA-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/KRISTINE_GEROLAGA-768x1152.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Filmmaker Kristine Gerolaga. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Without access to reproductive care, Gemma visits the manananggal’s house and, to no surprise, finds some truth to the eerie stories.\u003c/p>\n\u003cp>Gerolaga’s idea for the short film sparked around 2016, when 18 states adopted new abortion restrictions. In 2022, Roe v. Wade was overturned, ending federal abortion rights altogether. (California, Hawaii and Illinois are \u003ca href=\"https://www.usnews.com/news/best-states/articles/a-guide-to-abortion-laws-by-state\">among the states\u003c/a> that still allow abortions until fetal viability, or until a fetus can live on its own outside of the uterus.)\u003c/p>\n\u003cp>Currently, only 39 states \u003ca href=\"https://www.plannedparenthood.org/learn/for-educators/whats-state-sex-education-us\">mandate some form of sexual education\u003c/a> in the school curriculum. Personally, I couldn’t tell you what we learned in what was probably a one-day workshop when I was in school over a decade ago.\u003c/p>\n\u003cp>For Gerolaga, it was the same story. “The way we were taught about sexual health and our bodies, it was limited to, ‘Don’t have sex,’” Gerolaga says. “‘If you do — if you get pregnant — we’re gonna kick you out.’ You know, like, your life is over.”\u003c/p>\n\u003cp>She continues, “I tried to put into \u003cem>Mosquito Lady\u003c/em>, you know, as loving as my family is and as supportive as they are, it made me realize what it must have been like for them to grow up as well with expectations placed on them by their own parents — and their parents and their parents. And how it’s just been an ongoing cycle.”\u003c/p>\n\u003cp>In the film, Gemma, played by Bay Area local Hanna Lorica, sits across her parents like a child on timeout. The scene cuts between close-up shots of Gemma’s anxious reactions and her point of view. The sound design is so on point that the viewer vividly experiences her fear — holding your breath in hopes that the chaos will die down if you wait long enough.\u003c/p>\n\u003cfigure id=\"attachment_13957697\" class=\"wp-caption aligncenter\" style=\"max-width: 3584px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957697\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_02.png\" alt=\"\" width=\"3584\" height=\"1499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_02.png 3584w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_02-800x335.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_02-1020x427.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_02-160x67.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_02-768x321.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_02-1536x642.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_02-2048x857.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MOSQUITOLADY_02-1920x803.png 1920w\" sizes=\"(max-width: 3584px) 100vw, 3584px\">\u003cfigcaption class=\"wp-caption-text\">The manananggal, a blood-sucking creature from Filipino folklore, isn’t the only terrifying thing about ‘Mosquito Lady.’ \u003ccite>(Kristine Gerolaga)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“As an adult now, [I’m] thinking back to those times of just how ashamed and scared I was,” reflects Gerolaga, “of being a girl, being someone who could get pregnant, being someone who could be blamed for getting pregnant… and just having to deal with that at a young age and the consequences of those things.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Looking towards the future, she continues, “We’re now of the age that we’re having kids, right? Our generation. I hope it does make us think about how we’re going to talk to our own kids about their bodies, their sexual health, their sexuality, their rights. And maybe break that cycle of shame, right?”\u003c/p>\n\u003cp>In addition to Mosquito\u003cem> Lady \u003c/em>— which premiered at Beyond Fest 2023 and won Best Effects at Brooklyn Horror Film Festival — Gerolaga has written and directed a variety of projects, including her short film \u003cem>Concealer\u003c/em> and a micro-series titled \u003ca href=\"https://www.youtube.com/@krimstine8835\">@starringkristine on YouTube\u003c/a>. She’s now developing her debut feature film, \u003cem>LAMOK\u003c/em>, with support from Sundance Institute’s Screenwriters Lab and Horror Fellowship. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Her biggest takeaway from bringing her vision for \u003cem>Mosquito Lady\u003c/em> to life? Gerolaga says, “We deserve to be healthy and happy — and understand our bodies.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>As part of this year’s \u003ca href=\"https://caamfest.com/2024/\">CAAMFest\u003c/a>, ‘Mosquito Lady’ will have its Bay Area premiere on May 18 at San Francisco’s Roxie Theater. \u003ca href=\"https://caamfest.com/2024/movies/mosquito-lady/\">Details and tickets here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In sibling directors Bill and Turner Ross’ latest, \u003cem>Gasoline Rainbow\u003c/em>, five Oregon teens just out of high school make their meandering way some 500 miles to reach the coast for what’s been billed as the “End of the World” party.\u003c/p>\n\u003cp>[aside postid='arts_13957223']They are like countless young protagonists before them: on the road to find out. But while they share much of the same yearnings and anxieties of American road travelers from \u003cem>On the Road\u003c/em> to \u003cem>Easy Rider\u003c/em>, the circumstances of their particular coming of age are uniquely theirs — and what’s on the radio dial is, too. “Dude, I want to listen to some Shakira, bro,” one says from the backseat of their van.\u003c/p>\n\u003cp>This being the Ross brothers — the makers of the Texas-Mexico border portrait \u003cem>Western\u003c/em> and \u003cem>Bloody Nose, Empty Pockets\u003c/em>, in which they brought 22 people to a Las Vegas dive bar and asked them to act as though it was closing the next day — we are in a hybrid film world, part documentary, part fiction. Our characters — Micah, Nathaly, Nichole, Tony, Makai — are nonprofessional actors and their journey is a loosely constructed series of encounters that mostly unfold naturally.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1mJJfAobyd4\u003c/p>\n\u003cp>It’s a filmmaking approach that can, in its weaker moments, result in the worst of both worlds: the rambling narrative of documentary and the manufactured quality of fiction. But on the whole, the Ross brothers’ observational, immersive filmmaking gets close to something bracingly real.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the case of \u003cem>Gasoline Rainbow\u003c/em>, which opens in theaters Friday, much is expressed by the land the teens traverse. Whether by car or on foot, their travels take them under highway overpasses, through sprawling train yards and along long rows of wind turbines. Global warming is mentioned only once, but it hovers over their uncertain future. They make their way across baren, dry lands and industrial blight. The name of that party is no coincidence.\u003c/p>\n\u003cp>[aside postid='arts_13957217']Bleak as that may be, \u003cem>Gasoline Rainbow\u003c/em> — which would fit comfortably alongside films like Alma Har’el’s \u003cem>Bombay Beach\u003c/em> and Andrea Arnold’s \u003cem>American Honey\u003c/em> — is most concerned with the question of: So what now? For these young people, unsure of what to do with their lives, getting out on the road provides plenty of answers. The world they’ve been left by older generations may be damaged. “Do you know what the difference is between kids and adults?” one elder tells them. “Adults aren’t supervised.” But there is beauty to be found, like shimmering pools of gasoline, if you’re willing to hit the road and make some new friends.\u003c/p>\n\u003cp>The answer lies most in community — in daring to leave the house, meet strangers and find like-minded souls. Perhaps more than anything, the Ross brothers — with a keen eye for American eccentrics — are interested in gathering together all the most interesting people they can find. And the spirit of camaraderie that results warms just as much as the bonfires gathered round in \u003cem>Gasoline Rainbow\u003c/em>.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Gasoline Rainbow’ is released nationwide on May 10, 2024. It reaches the Bay Area on May 17, \u003ca href=\"https://roxie.com/film/gasoline-rainbow/\">screening at San Francisco’s Roxie Theater\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Bleak as that may be, \u003cem>Gasoline Rainbow\u003c/em> — which would fit comfortably alongside films like Alma Har’el’s \u003cem>Bombay Beach\u003c/em> and Andrea Arnold’s \u003cem>American Honey\u003c/em> — is most concerned with the question of: So what now? For these young people, unsure of what to do with their lives, getting out on the road provides plenty of answers. The world they’ve been left by older generations may be damaged. “Do you know what the difference is between kids and adults?” one elder tells them. “Adults aren’t supervised.” But there is beauty to be found, like shimmering pools of gasoline, if you’re willing to hit the road and make some new friends.\u003c/p>\n\u003cp>The answer lies most in community — in daring to leave the house, meet strangers and find like-minded souls. Perhaps more than anything, the Ross brothers — with a keen eye for American eccentrics — are interested in gathering together all the most interesting people they can find. And the spirit of camaraderie that results warms just as much as the bonfires gathered round in \u003cem>Gasoline Rainbow\u003c/em>.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Gasoline Rainbow’ is released nationwide on May 10, 2024. It reaches the Bay Area on May 17, \u003ca href=\"https://roxie.com/film/gasoline-rainbow/\">screening at San Francisco’s Roxie Theater\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Kingdom of the Planet of the Apes’ Finds a New Hero and Will Blow Your Mind",
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"content": "\u003cp>Fans of the \u003cem>Planet of the Apes\u003c/em> franchise may still be mourning the 2017 death of Caesar, the first smart chimp and the charismatic ape leader. Not to worry: He haunts the next episode, the thrilling, visually stunning \u003cem>Kingdom of the Planet of the Apes\u003c/em>.\u003c/p>\n\u003cp>We actually start with Caesar’s funeral, his body decorated with flowers and then set alight like a Viking, before fast-forwarding “many generations later.” All apes talk now and most humans don’t, reduced to caveman loin cloths and running wide-eyed and scared, evolution in reverse.\u003c/p>\n\u003cp>[aside postid='arts_13957078']Our new hero is the young ape Noa (Owen Teague ) who is like all young adult chimps — seeking his father’s approval (even chimp dads just don’t understand) and testing his bravery. He is part of a clan that raises pet eagles, smokes fish and lives peacefully.\u003c/p>\n\u003cp>That all changes when his village is attacked not by humans but by fellow apes — masked soldiers from a nasty kingdom led by the crown-wearing Proximus Caesar (Kevin Durand, playing it to the hilt). He has taken Caesar’s name but twisted his words to become a tyrannical strongman — sorry, strongape.\u003c/p>\n\u003cp>Unlike the last movie which dealt with man’s inhumanity to animals — concentration camps included — ape-on-ape violence is in the cards for this one, including capturing an entire clan as prisoners. Proximus Caesar’s goons use makeshift cattle prods on fellow apes and force them to work while declaring “For Caesar!”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Kdr5oedn7q8\u003c/p>\n\u003cp>Screenwriter Josh Friedman has cleverly created a movie that examines how ancient stories can be hijacked and manipulated, like how Caesar’s non-violent message gets twisted by bad actors. There’s also a lot of \u003cem>Avatar\u003c/em> primitive naivete, and that makes sense since the reboot was shaped by several of that blue alien movie’s makers.\u003c/p>\n\u003cp>The movie poses some uncomfortable questions about collaborationists. William H. Macy plays a human who has become a sort of teacher-prisoner to Proximus Caesar — reading Kurt Vonnegut to him — and won’t fight back. “It is already their world,” he rationalizes.\u003c/p>\n\u003cp>Along for the heroic ride is a human young woman (Freya Allan, a budding star) who is hiding an agenda but offers Noa help along the way. Peter Macon plays a kindly, book-loving orangutan who adds a jolt of gleeful electricity to the movie and is missed when he goes.\u003c/p>\n\u003cp>[aside postid='arts_13956892']The effects are just jaw-dropping, from the ability to see individual hairs on the back of a monkey to the way leaves fall and the crack of tree limbs echoing in the forest. The sight of apes on horseback, which seemed glitchy just seven years ago, are now seamless. There are also inside jokes, like the use of the name Nova again this time.\u003c/p>\n\u003cp>Director Wes Ball nicely handles all the thrilling sequences — though the two-and-a-half hour runtime is somewhat taxing — and some really cool ones, like the sight of apes on horseback on a beach, a nod to the original 1968 movie. And like when the apes look through some old illustrated kids’ books and see themselves depicted in zoo cages. That makes for some awkward human-ape interaction. “What is next for apes? Should we go back to silence?” our hero asks.\u003c/p>\n\u003cp>The movie races to a complex face-off between good and bad apes and good and bad humans outside a hulking silo that holds promise to each group. Can apes and humans live in peace, as Caesar hoped? \u003cem>Kingdom of the Planet of the Apes\u003c/em> doesn’t answer that but it does open up plenty more to ponder. Starting with the potentially crippling proposition of a key death, this franchise has somehow found new vibrancy.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Kingdom of the Planet of the Apes’ is released nationwide on May 10, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fans of the \u003cem>Planet of the Apes\u003c/em> franchise may still be mourning the 2017 death of Caesar, the first smart chimp and the charismatic ape leader. Not to worry: He haunts the next episode, the thrilling, visually stunning \u003cem>Kingdom of the Planet of the Apes\u003c/em>.\u003c/p>\n\u003cp>We actually start with Caesar’s funeral, his body decorated with flowers and then set alight like a Viking, before fast-forwarding “many generations later.” All apes talk now and most humans don’t, reduced to caveman loin cloths and running wide-eyed and scared, evolution in reverse.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Our new hero is the young ape Noa (Owen Teague ) who is like all young adult chimps — seeking his father’s approval (even chimp dads just don’t understand) and testing his bravery. He is part of a clan that raises pet eagles, smokes fish and lives peacefully.\u003c/p>\n\u003cp>That all changes when his village is attacked not by humans but by fellow apes — masked soldiers from a nasty kingdom led by the crown-wearing Proximus Caesar (Kevin Durand, playing it to the hilt). He has taken Caesar’s name but twisted his words to become a tyrannical strongman — sorry, strongape.\u003c/p>\n\u003cp>Unlike the last movie which dealt with man’s inhumanity to animals — concentration camps included — ape-on-ape violence is in the cards for this one, including capturing an entire clan as prisoners. Proximus Caesar’s goons use makeshift cattle prods on fellow apes and force them to work while declaring “For Caesar!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The effects are just jaw-dropping, from the ability to see individual hairs on the back of a monkey to the way leaves fall and the crack of tree limbs echoing in the forest. The sight of apes on horseback, which seemed glitchy just seven years ago, are now seamless. There are also inside jokes, like the use of the name Nova again this time.\u003c/p>\n\u003cp>Director Wes Ball nicely handles all the thrilling sequences — though the two-and-a-half hour runtime is somewhat taxing — and some really cool ones, like the sight of apes on horseback on a beach, a nod to the original 1968 movie. And like when the apes look through some old illustrated kids’ books and see themselves depicted in zoo cages. That makes for some awkward human-ape interaction. “What is next for apes? Should we go back to silence?” our hero asks.\u003c/p>\n\u003cp>The movie races to a complex face-off between good and bad apes and good and bad humans outside a hulking silo that holds promise to each group. Can apes and humans live in peace, as Caesar hoped? \u003cem>Kingdom of the Planet of the Apes\u003c/em> doesn’t answer that but it does open up plenty more to ponder. Starting with the potentially crippling proposition of a key death, this franchise has somehow found new vibrancy.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Kingdom of the Planet of the Apes’ is released nationwide on May 10, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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},
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"tagline": "Art is where you find it",
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"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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