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"content": "\u003cp>The films of Ryusuke Hamaguchi unspool with elegant everyday ease and yet anything can happen.\u003c/p>\n\u003cp>Lives take sudden detours. Seemingly minor characters become primary ones. People are brought together by mysterious connections. There are even, as in the case of his \u003cem>Asako I & II\u003c/em>, doppelgangers. Soberly naturalistic as Hamaguchi’s movies are, they’re among the most beguilingly unpredictable.\u003c/p>\n\u003cp>That was true of his Oscar-nominated \u003cem>Drive My Car\u003c/em>, which over the course of three hours took winding narrative turns in route to its moving terminus. But it’s doubly so in Hamaguchi’s \u003cem>Evil Does Not Exist\u003c/em>, a shorter and more enigmatic drama but a no less enchanting one.\u003c/p>\n\u003cp>[aside postid='arts_13957217']The first images of \u003cem>Evil Does Not Exist\u003c/em> are looking upward at tree branches against the sky while we move slowly through the forest. It’s a sign of what’s to come in a movie that asks plenty of questions about how we interact with nature, and Hamaguchi holds the shot several times longer than most filmmakers would.\u003c/p>\n\u003cp>The gaze, if it’s anyone’s, is of Hana (Ryo Nishikawa), the 8-year-old daughter of Takumi (Hitoshi Omika), a self-described jack-of-all-trades (though he does little self-describing) who lives with Hana in a rustic cabin in rural Japan. The area is pristine, with fresh spring water running down mountain streams. And Takumi, like most of the local residents, is alert to its splendor. While he and Hana walk through lightly snow-covered woods, he quizzes her on the plant life.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But something ominous is tugging at \u003cem>Evil Does Not Exist\u003c/em> despite the assertive certainty of that title. The score, by Eiko Ishibashi, is mournful. The father and daughter come across a dead fawn in the forest. A gunshot is heard from nearby hunters. Later, blood drips from a small branch. It’s maybe not a coincidence that the film’s opening images of trees are followed by a lengthy scene of wood chopping.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zVY4lWfrbME\u003c/p>\n\u003cp>Just what is fragile and wounded in \u003cem>Evil Does Not Exist\u003c/em>, though, isn’t always clear. The serenity is snapped when a company named Playmode comes to town to open a glamping camp for tourists. In a town gathering, a pair of company representatives from Tokyo pitch their plans. During the scene, easily the longest in the film, our attention is mainly on Takumi and other townspeople who quickly and perceptively poke holes in the designs and the ecological impact it will have. “Water always flows downhill,” the village chief says.\u003c/p>\n\u003cp>[aside postid='arts_13957183']From here, \u003cem>Evil Does Not Exist\u003c/em> sticks closer to those two representatives: Takahashi (Ryuji Kosaka) and Mayuzumi (Ayaka Shibutani). In another film, they might be extras or villains, but for Hamaguchi, they’re people, like any others, with their own hopes and regrets. When they, after being pressured by their boss in a meeting over Zoom, return to spend time with Takumi and convince him to be the camp’s caretaker, it’s not clear until the film’s last bewildering and unforgettable moments if they’re becoming friends or if one side will dominate the other.\u003c/p>\n\u003cp>“Balance is key,” one character says of nature in the film. \u003cem>Evil Does Not Exist\u003c/em>, though, is boldly uneven. Its final, harrowing scenes, bathed in an intoxicating mist, pass in a comparative rush. In interviews, Hamaguchi has suggested his movie remains mysterious even to him. It’s a jarring finale but also a devastatingly haunting one that blends a child’s fate with a fawn’s — another doppelganger, maybe — leaving us to ponder an earlier exchange between Takumi and Takahashi about deer the glamping site would displace.\u003c/p>\n\u003cp>“Where would they go?” Takumi asks. “Somewhere else, I guess,” Takashi shrugs.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Evil Does Not Exist’ is released nationwide on May 3, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>From here, \u003cem>Evil Does Not Exist\u003c/em> sticks closer to those two representatives: Takahashi (Ryuji Kosaka) and Mayuzumi (Ayaka Shibutani). In another film, they might be extras or villains, but for Hamaguchi, they’re people, like any others, with their own hopes and regrets. When they, after being pressured by their boss in a meeting over Zoom, return to spend time with Takumi and convince him to be the camp’s caretaker, it’s not clear until the film’s last bewildering and unforgettable moments if they’re becoming friends or if one side will dominate the other.\u003c/p>\n\u003cp>“Balance is key,” one character says of nature in the film. \u003cem>Evil Does Not Exist\u003c/em>, though, is boldly uneven. Its final, harrowing scenes, bathed in an intoxicating mist, pass in a comparative rush. In interviews, Hamaguchi has suggested his movie remains mysterious even to him. It’s a jarring finale but also a devastatingly haunting one that blends a child’s fate with a fawn’s — another doppelganger, maybe — leaving us to ponder an earlier exchange between Takumi and Takahashi about deer the glamping site would displace.\u003c/p>\n\u003cp>“Where would they go?” Takumi asks. “Somewhere else, I guess,” Takashi shrugs.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Evil Does Not Exist’ is released nationwide on May 3, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The school gym. The football field bleachers. The multiplex, the fast food drive-thru, the quiet leaf-covered street where your friend lives.\u003c/p>\n\u003cp>Something about the detail and clarity with which Jane Schoenbrun evokes ’90s suburbia in \u003cem>I Saw the TV Glow\u003c/em> makes you remember growing up there — even if you didn’t.\u003c/p>\n\u003cp>But that’s the thing about memory, isn’t it? It can be distorting.\u003c/p>\n\u003cp>[aside postid='arts_13956892']And that’s what Schoenbrun, an exciting filmmaker on only their second project, is driving home in this tale centered on those angsty school years when you’re trying to fit in, or merely realizing you don’t — particularly, and more intensely, if you are queer or trans and don’t quite know it yet.\u003c/p>\n\u003cp>Schoenbrun has spoken about their own suburban youth in the ‘90s, feeling different but not fully understanding why until years later when they began their own transition. The backstory of Schoenbrun’s own experience is not essential to appreciating their movie, but certainly adds poignancy to some scenes — especially one in which the main character, Owen (Justice Smith, superb), describes the confusion he’s been feeling about himself. Something is wrong with him, he knows, even though his parents won’t say it. He feels like someone has dug out his insides.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Similarly, one need not be an aficionado of ’90s cable TV — particularly \u003cem>Buffy the Vampire Slayer\u003c/em>, which Schoenbrun grew up loving — to understand the huge role that fandom plays in the emotional life of Owen and his new friend, Maddy (Brigette Lundy-Paine). If you were a big fan of any show that aired before the streaming era, you’ll understand instinctively how that intense connection can lead to distorted memories: Watch it today, and what felt scary is now silly. What seemed like art is a cheesy mess.\u003c/p>\n\u003cp>But we remember what we remember for a reason, Schoenbrun is saying, in a film that succeeds most clearly on an emotional level, if the plot eventually feels a bit muddled. (But is that purposeful, another meditation on the selectiveness of memory, or a reflection of the jumbled way we think in youth? Yes, in all likelihood.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kymDzCgPwj0&t=11s\u003c/p>\n\u003cp>We first meet middle-school aged Owen (a wonderfully empathetic Ian Foreman plays this younger version) on Election Day 1996. Owen’s mom (Danielle Deadwyler) takes him into the voting booth at the high school. But Owen’s interested in something else: older student Maddy, who exudes a Goth toughness, reading a book of episodes of \u003cem>The Pink Opaque\u003c/em>, a horror-esque series on cable. Owen has seen the ads, but the show airs past his bedtime: at 10:30 on Saturday nights, just before the Young Adult Network switches to reruns.\u003c/p>\n\u003cp>[aside postid='arts_13957078']Maddy’s in 9th grade; the two-year gap feels enormous. But she is eager to bond over the show. The next Saturday Owen asks his mother if he can sleep at a male friend’s house, but makes his way instead to Maddy’s basement. Thus begins a deep connection to the show which follows two girls who meet at sleepaway camp and learn they connect on an ancient psychic plane. They unite to destroy a new monster each week, monsters ruled by an evil Man in the Moon named Mr. Melancholy.\u003c/p>\n\u003cp>Mr. Melancholy wants to trap Isabel (Helena Howard) and Tara (Lindsey Jordan, aka the musician Snail Mail) in the Midnight Realm, and that one factoid leads to some comic relief: “This isn’t the Midnight Realm,” Owen exclaims to Maddy at one point. “It’s just the suburbs!”\u003c/p>\n\u003cp>But we’re getting ahead of ourselves. Two years go by and Maddy has been leaving Owen VHS tapes of \u003cem>The Pink Opaque\u003c/em> in the school darkroom, annotated with observations. But he still hasn’t been able to see it at 10:30 on a Saturday. Asks his stern father: “Isn’t that a show for girls?” His parents decline his request to stay up late. (Dad, by the way, is played by Fred Durst of Limp Bizkit; also appearing in a cameo is Phoebe Bridgers.)\u003c/p>\n\u003cp>So Owen (Smith, in a lovely and nuanced performance) plans another stealth sleepover. They watch together, and Maddy weeps. She then tells Owen she is leaving town. He is torn about whether to join her. Years go by, and eventually \u003cem>The Pink Opaque\u003c/em> is canceled.\u003c/p>\n\u003cp>Remember when you could touch and collect tapes, albums, that sort of thing? Somehow that seemed more of a concrete relationship with the culture we consume than the equivalent today. You don’t have to worry nowadays about remembering a show wrong: you can always find it somewhere. But you don’t feel you “own” it anymore than you “own” a song on Spotify.\u003c/p>\n\u003cp>Schoenbrun acknowledges this when they show an adult Owen later re-watching his beloved show on streaming and realizing, with sadness and even embarrassment, that nothing’s what it seemed.\u003c/p>\n\u003cp>[aside postid='arts_13955781']But the show’s significance has much deeper meaning. We all love a good escape-to-another-world tale — it’s something we treasure from childhood. But here, in ’90s suburbia, the TV screen becomes a portal not only into an escapist world but also, on another level, to the opposite: a new reality that is not fake at all, a world in which Owen can be himself. The self he may not yet really know.\u003c/p>\n\u003cp>Schoenbrun made their first film, \u003cem>We’re All Going to the World’s Fair\u003c/em>, with, in their own words, “12 people in the woods.” Now, their film is being produced by Emma Stone and released by boutique indie studio A24. It’s a whole different world for them — and a vital new filmmaking voice for us all to follow.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘I Saw the TV Glow’ begins showing in the Bay Area on May 8, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The school gym. The football field bleachers. The multiplex, the fast food drive-thru, the quiet leaf-covered street where your friend lives.\u003c/p>\n\u003cp>Something about the detail and clarity with which Jane Schoenbrun evokes ’90s suburbia in \u003cem>I Saw the TV Glow\u003c/em> makes you remember growing up there — even if you didn’t.\u003c/p>\n\u003cp>But that’s the thing about memory, isn’t it? It can be distorting.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And that’s what Schoenbrun, an exciting filmmaker on only their second project, is driving home in this tale centered on those angsty school years when you’re trying to fit in, or merely realizing you don’t — particularly, and more intensely, if you are queer or trans and don’t quite know it yet.\u003c/p>\n\u003cp>Schoenbrun has spoken about their own suburban youth in the ‘90s, feeling different but not fully understanding why until years later when they began their own transition. The backstory of Schoenbrun’s own experience is not essential to appreciating their movie, but certainly adds poignancy to some scenes — especially one in which the main character, Owen (Justice Smith, superb), describes the confusion he’s been feeling about himself. Something is wrong with him, he knows, even though his parents won’t say it. He feels like someone has dug out his insides.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Similarly, one need not be an aficionado of ’90s cable TV — particularly \u003cem>Buffy the Vampire Slayer\u003c/em>, which Schoenbrun grew up loving — to understand the huge role that fandom plays in the emotional life of Owen and his new friend, Maddy (Brigette Lundy-Paine). If you were a big fan of any show that aired before the streaming era, you’ll understand instinctively how that intense connection can lead to distorted memories: Watch it today, and what felt scary is now silly. What seemed like art is a cheesy mess.\u003c/p>\n\u003cp>But we remember what we remember for a reason, Schoenbrun is saying, in a film that succeeds most clearly on an emotional level, if the plot eventually feels a bit muddled. (But is that purposeful, another meditation on the selectiveness of memory, or a reflection of the jumbled way we think in youth? Yes, in all likelihood.)\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/kymDzCgPwj0'\n title='//www.youtube.com/embed/kymDzCgPwj0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We first meet middle-school aged Owen (a wonderfully empathetic Ian Foreman plays this younger version) on Election Day 1996. Owen’s mom (Danielle Deadwyler) takes him into the voting booth at the high school. But Owen’s interested in something else: older student Maddy, who exudes a Goth toughness, reading a book of episodes of \u003cem>The Pink Opaque\u003c/em>, a horror-esque series on cable. Owen has seen the ads, but the show airs past his bedtime: at 10:30 on Saturday nights, just before the Young Adult Network switches to reruns.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Maddy’s in 9th grade; the two-year gap feels enormous. But she is eager to bond over the show. The next Saturday Owen asks his mother if he can sleep at a male friend’s house, but makes his way instead to Maddy’s basement. Thus begins a deep connection to the show which follows two girls who meet at sleepaway camp and learn they connect on an ancient psychic plane. They unite to destroy a new monster each week, monsters ruled by an evil Man in the Moon named Mr. Melancholy.\u003c/p>\n\u003cp>Mr. Melancholy wants to trap Isabel (Helena Howard) and Tara (Lindsey Jordan, aka the musician Snail Mail) in the Midnight Realm, and that one factoid leads to some comic relief: “This isn’t the Midnight Realm,” Owen exclaims to Maddy at one point. “It’s just the suburbs!”\u003c/p>\n\u003cp>But we’re getting ahead of ourselves. Two years go by and Maddy has been leaving Owen VHS tapes of \u003cem>The Pink Opaque\u003c/em> in the school darkroom, annotated with observations. But he still hasn’t been able to see it at 10:30 on a Saturday. Asks his stern father: “Isn’t that a show for girls?” His parents decline his request to stay up late. (Dad, by the way, is played by Fred Durst of Limp Bizkit; also appearing in a cameo is Phoebe Bridgers.)\u003c/p>\n\u003cp>So Owen (Smith, in a lovely and nuanced performance) plans another stealth sleepover. They watch together, and Maddy weeps. She then tells Owen she is leaving town. He is torn about whether to join her. Years go by, and eventually \u003cem>The Pink Opaque\u003c/em> is canceled.\u003c/p>\n\u003cp>Remember when you could touch and collect tapes, albums, that sort of thing? Somehow that seemed more of a concrete relationship with the culture we consume than the equivalent today. You don’t have to worry nowadays about remembering a show wrong: you can always find it somewhere. But you don’t feel you “own” it anymore than you “own” a song on Spotify.\u003c/p>\n\u003cp>Schoenbrun acknowledges this when they show an adult Owen later re-watching his beloved show on streaming and realizing, with sadness and even embarrassment, that nothing’s what it seemed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But the show’s significance has much deeper meaning. We all love a good escape-to-another-world tale — it’s something we treasure from childhood. But here, in ’90s suburbia, the TV screen becomes a portal not only into an escapist world but also, on another level, to the opposite: a new reality that is not fake at all, a world in which Owen can be himself. The self he may not yet really know.\u003c/p>\n\u003cp>Schoenbrun made their first film, \u003cem>We’re All Going to the World’s Fair\u003c/em>, with, in their own words, “12 people in the woods.” Now, their film is being produced by Emma Stone and released by boutique indie studio A24. It’s a whole different world for them — and a vital new filmmaking voice for us all to follow.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘I Saw the TV Glow’ begins showing in the Bay Area on May 8, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When \u003ca href=\"https://www.mercurynews.com/2024/04/30/cinco-de-mayo-celebrations-in-san-jose-include-parades-lowrider-shows/\">San José celebrates Cinco de Mayo\u003c/a> this weekend, there will be parades, live cumbia music and lucha libre wrestling spread across two days of revelry. But for those craving a slightly more subdued scene, a darkened screening room at \u003ca href=\"https://maclaarte.org/\">MACLA (Movimiento de Arte y Cultura Latino Americana)\u003c/a> might be your dream destination.\u003c/p>\n\u003cp>On May 4, at 12 p.m. and 2:30 p.m., Ricardo Cortez will be screening the first annual \u003ca href=\"https://partiful.com/e/IeGzltW6WC1jNCw8mRUj\">Firme Films Lowrider Showcase\u003c/a>, a free two-hour program of historic lowrider documentaries. \u003c/p>\n\u003cp>“I’ve been into lowrider culture since I was 13 years old,” says Cortez, a creative director, artist and author of \u003ci>\u003ca href=\"https://lowriderabc.com/\">The ABCs of Lowriding\u003c/a>\u003c/i>. When his daughter was born in 2017, he couldn’t find any children’s books that would introduce kids to the culture he loved so much. So he wrote and illustrated one himself.\u003c/p>\n\u003cfigure id=\"attachment_13957185\" class=\"wp-caption aligncenter\" style=\"max-width: 913px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/crusin-low.png\" alt=\"white text over image of shiny cars\" width=\"913\" height=\"621\" class=\"size-full wp-image-13957185\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/crusin-low.png 913w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/crusin-low-800x544.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/crusin-low-160x109.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/crusin-low-768x522.png 768w\" sizes=\"(max-width: 913px) 100vw, 913px\">\u003cfigcaption class=\"wp-caption-text\">A still from 1981’s ‘Crusin’ Low’ documentary, screening at MACLA on May 4. \u003ccite>(Courtesy of Ricardo Cortez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cortez is also a collector, an amateur historian of all the ephemera that circulates around these sleek custom cars and the sense of community they create. Magazines and car show fliers led him to lowrider documentaries, many of which were made for television and now exist only in archival collections. \u003c/p>\n\u003cp>Working with libraries and directors, Cortez has digitized VHS copies of films specifically for this festival. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He’ll be showing a program of documentaries — \u003ci>Cruisin’ Low\u003c/i> from 1981, \u003ci>Low ’n Slow: The Art of Lowriding\u003c/i> from 1983, and 2005’s \u003ci>Lowriding in Aztlan\u003c/i> — along with a trailer for the forthcoming film \u003ci>La Vida Low: San Jose\u003c/i> and bonus TV coverage of lowriders.\u003c/p>\n\u003cp>Word of the screening has even spread to some of the people originally featured in the ’80s documentaries. “Back then they were like 17 years old, and now they’re in their 60s,” Cortez says. “They’re like, ‘Hey this is totally cool that we’re being featured, put on the big screen.’ And so they’re coming down from Sonoma to be able to be a part of this event.”\u003c/p>\n\u003cp>For Cortez, preserving and presenting these documentaries on a much larger scale (a large-scale projection as opposed to a home television screen) is part of honoring the material and its subject matter. “I think that there’s going to be a sense of pride,” he says, “knowing that we’re really putting our culture on a pedestal during this event.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Firme Films Lowrider Showcase screens for free Saturday, May 4, 12–2 p.m. and 2:30–4:30 p.m. at MACLA (510 S. 1st St., San José). \u003ca href=\"https://partiful.com/e/IeGzltW6WC1jNCw8mRUj\">Registration is encouraged\u003c/a>, but does not guarantee a seat. Seating is first come, first served.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When \u003ca href=\"https://www.mercurynews.com/2024/04/30/cinco-de-mayo-celebrations-in-san-jose-include-parades-lowrider-shows/\">San José celebrates Cinco de Mayo\u003c/a> this weekend, there will be parades, live cumbia music and lucha libre wrestling spread across two days of revelry. But for those craving a slightly more subdued scene, a darkened screening room at \u003ca href=\"https://maclaarte.org/\">MACLA (Movimiento de Arte y Cultura Latino Americana)\u003c/a> might be your dream destination.\u003c/p>\n\u003cp>On May 4, at 12 p.m. and 2:30 p.m., Ricardo Cortez will be screening the first annual \u003ca href=\"https://partiful.com/e/IeGzltW6WC1jNCw8mRUj\">Firme Films Lowrider Showcase\u003c/a>, a free two-hour program of historic lowrider documentaries. \u003c/p>\n\u003cp>“I’ve been into lowrider culture since I was 13 years old,” says Cortez, a creative director, artist and author of \u003ci>\u003ca href=\"https://lowriderabc.com/\">The ABCs of Lowriding\u003c/a>\u003c/i>. When his daughter was born in 2017, he couldn’t find any children’s books that would introduce kids to the culture he loved so much. So he wrote and illustrated one himself.\u003c/p>\n\u003cfigure id=\"attachment_13957185\" class=\"wp-caption aligncenter\" style=\"max-width: 913px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/crusin-low.png\" alt=\"white text over image of shiny cars\" width=\"913\" height=\"621\" class=\"size-full wp-image-13957185\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/crusin-low.png 913w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/crusin-low-800x544.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/crusin-low-160x109.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/crusin-low-768x522.png 768w\" sizes=\"(max-width: 913px) 100vw, 913px\">\u003cfigcaption class=\"wp-caption-text\">A still from 1981’s ‘Crusin’ Low’ documentary, screening at MACLA on May 4. \u003ccite>(Courtesy of Ricardo Cortez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cortez is also a collector, an amateur historian of all the ephemera that circulates around these sleek custom cars and the sense of community they create. Magazines and car show fliers led him to lowrider documentaries, many of which were made for television and now exist only in archival collections. \u003c/p>\n\u003cp>Working with libraries and directors, Cortez has digitized VHS copies of films specifically for this festival. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He’ll be showing a program of documentaries — \u003ci>Cruisin’ Low\u003c/i> from 1981, \u003ci>Low ’n Slow: The Art of Lowriding\u003c/i> from 1983, and 2005’s \u003ci>Lowriding in Aztlan\u003c/i> — along with a trailer for the forthcoming film \u003ci>La Vida Low: San Jose\u003c/i> and bonus TV coverage of lowriders.\u003c/p>\n\u003cp>Word of the screening has even spread to some of the people originally featured in the ’80s documentaries. “Back then they were like 17 years old, and now they’re in their 60s,” Cortez says. “They’re like, ‘Hey this is totally cool that we’re being featured, put on the big screen.’ And so they’re coming down from Sonoma to be able to be a part of this event.”\u003c/p>\n\u003cp>For Cortez, preserving and presenting these documentaries on a much larger scale (a large-scale projection as opposed to a home television screen) is part of honoring the material and its subject matter. “I think that there’s going to be a sense of pride,” he says, “knowing that we’re really putting our culture on a pedestal during this event.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Firme Films Lowrider Showcase screens for free Saturday, May 4, 12–2 p.m. and 2:30–4:30 p.m. at MACLA (510 S. 1st St., San José). \u003ca href=\"https://partiful.com/e/IeGzltW6WC1jNCw8mRUj\">Registration is encouraged\u003c/a>, but does not guarantee a seat. Seating is first come, first served.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Make a Circle’ Places Child Care Providers at the Head of the Class",
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"content": "\u003cp>Documentary filmmakers get ideas from \u003cem>New York Times\u003c/em> headlines, naturally, but also from their daily lives. Jen Bradwell and Todd Boekelheide’s \u003cem>Make a Circle\u003c/em> had its genesis in their children.\u003c/p>\n\u003cp>“In about 2019,” Bradwell recalls, “we had a group of preschool teachers come to us and say, ‘We have watched every documentary we can get our hands on about early childhood education, and there’s great stuff about brain development and policy issues, but there’s no actual teachers, or teaching, in any of these films. Can we do some kind of media project that would raise the visibility of our work?’”\u003c/p>\n\u003cp>[aside postID='arts_13956733']The Berkeley filmmakers saw these teachers every day at their three-and-a-half-year-old-daughter’s preschool, which their older daughter had also attended. Yet Boekelheide and Bradwell didn’t fully grasp what the teaching day consisted of, or the ongoing crisis for underpaid professionals often seen as babysitters. They were both shocked and inspired by what they discovered, and crafted a film intended to provoke the same response from audiences.\u003c/p>\n\u003cp>\u003cem>Make A Circle\u003c/em>, Boekelheide and Bradwell’s ambitious nonfiction directing debut after years of composing music for films and editing, respectively, has its world premiere Sunday, May 5 in the California Film Institute’s \u003ca href=\"https://www.doclands.com/\">DocLands Documentary Film Festival\u003c/a> (May 2-5) at the Smith Rafael Film Center in San Rafael.\u003c/p>\n\u003cp>The husband-and-wife team filmed at three Bay Area child care centers: All People’s School in West Berkeley, led by Susan Stevenson and Anne Bauer; Rose’s Daycare in downtown Oakland, led by Charlotte Guinn; and Creative Learning Center in San José, led by Patricia Moran. Guinn and Moran took on roles in Child Care Providers United, a comparatively new movement that’s already made waves in Sacramento.\u003c/p>\n\u003cfigure id=\"attachment_13957156\" 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/Make-a-Circle-still-1-Patricia-at-protest_2000.jpg\" alt=\"Woman in yellow logo shirt raises arm in a crowd other protesters\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13957156\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Make-a-Circle-still-1-Patricia-at-protest_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Make-a-Circle-still-1-Patricia-at-protest_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Make-a-Circle-still-1-Patricia-at-protest_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Make-a-Circle-still-1-Patricia-at-protest_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Make-a-Circle-still-1-Patricia-at-protest_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Make-a-Circle-still-1-Patricia-at-protest_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Make-a-Circle-still-1-Patricia-at-protest_2000-1920x1080.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Patricia Moran at a protest, a scene from ‘Make a Circle.’ \u003ccite>(Courtesy DocLands)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We knew we wanted to have a bigger policy lens,” Bradwell says, “so the question became who can we talk to who’s both doing the work and doing advocacy around it? We follow educators that have one foot in the teaching world and – in all their spare time after their 60-to-80-hour workweeks — are trying to do something to make the work better for the people who do it and the parents who need it.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The husband-and-wife team started filming a month before COVID, and had a front-row seat for the pandemic’s impact on the fragile child care system. Plenty of parents, caring for and teaching their young children while working full time from home, had a new appreciation for their child care providers. More respect is terrific, of course, but wasn’t a substitute for the lost revenue.\u003c/p>\n\u003cp>“Any place that shut down for a month or two, or a couple families pulled out because they were worried about exposure, there goes the whole business model,” Bradwell explains. “Ninety percent is private payment, so it’s on parents trying to make it work. Most parents are paying college-tuition-level rates for child care and they feel lucky to get it if they do, [although] some people are lucky enough to qualify for a subsidy. Two hundred thousand educators left the field, though that number is [getting better]. Without serious public investment it’s always going to be a house of cards.”\u003c/p>\n\u003cfigure id=\"attachment_13957155\" 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/MAKE-A-CIRCLE_Directors_2000.jpg\" alt=\"Two headshots of a woman and man\" width=\"2000\" height=\"985\" class=\"size-full wp-image-13957155\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MAKE-A-CIRCLE_Directors_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MAKE-A-CIRCLE_Directors_2000-800x394.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MAKE-A-CIRCLE_Directors_2000-1020x502.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MAKE-A-CIRCLE_Directors_2000-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MAKE-A-CIRCLE_Directors_2000-768x378.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MAKE-A-CIRCLE_Directors_2000-1536x756.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MAKE-A-CIRCLE_Directors_2000-1920x946.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Make a Circle’ co-directors Jen Bradwell and Todd Boekelheide. \u003ccite>(Courtesy DocLands)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Make a Circle\u003c/em> includes enough of the COVID period to convey the providers’ skinny tightrope while reminding us of the essential workers whose jobs outside the house made child care providers essential as well. Its steady forward momentum, though, swiftly leaves the pandemic in its wake. “We didn’t want to sit in that eddy,” Boekelheide says, “we wanted to go down the river.”\u003c/p>\n\u003cp>After all, the conditions and challenges that plague child care providers and early educators — low hourly wages, no health or retirements benefits — still exist.\u003c/p>\n\u003cp>“There is a myth about this work that women are naturally more suited to this work, and it is unskilled work, and therefore it should more fall on women of color to do it and we don’t have to pay them accordingly,” Bradwell says. “The lack of regard and support for the work, all those roads lead back to racism and misogyny. And how do you disrupt that stuff? It’s through storytelling.”\u003c/p>\n\u003cp>\u003cem>Make a Circle\u003c/em>, which marks Boekelheide’s first film as a cinematographer after decades of music composing and mixing, tells that narrative through a multitude of sequences in the child care centers themselves.\u003c/p>\n\u003cp>“One of our goals,” Bradwell says, “was to take seriously the experience of young kids and to not infantilize and distance them and treat them as cute or annoying, but try to get into their experience. What are they learning, even in their earliest days, how are they making sense of the world and relationships and all that.”\u003c/p>\n\u003cp>“Every time I went into a classroom to film,” Boekelheide says, “my life became beautiful. The learning is constant; they’re learning all the time.”\u003c/p>\n\u003cfigure id=\"attachment_13957163\" 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/Make-a-Circle-still-2-kids-and-collander_2000.jpg\" alt=\"\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13957163\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Make-a-Circle-still-2-kids-and-collander_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Make-a-Circle-still-2-kids-and-collander_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Make-a-Circle-still-2-kids-and-collander_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Make-a-Circle-still-2-kids-and-collander_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Make-a-Circle-still-2-kids-and-collander_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Make-a-Circle-still-2-kids-and-collander_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Make-a-Circle-still-2-kids-and-collander_2000-1920x1080.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Children play with a toy colander in a scene from ‘Make a Circle.’ \u003ccite>(Courtesy DocLands)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Todd spent a lot of very patient time literally down on their level, just watching stuff unfold,” Bradwell adds. “Kids this age don’t see the camera within a minute of you being there, and they go through a rainbow of cinematic emotions every 10 minutes.”\u003c/p>\n\u003cp>“The kids have incredible BS detectors,” Boekelheide says. “If you’re lying to them, if you’re not fully present, they dismiss you or they destroy you. So these teachers are really present. What is cinema but being present?”\u003c/p>\n\u003cp>Ultimately, \u003cem>Make a Circle\u003c/em> successfully juggles an inside-outside perspective. It showcases the skills and struggles of providers and educators, from one-on-ones in a center to demonstrations at the state capitol. However, the audience that will have the most visceral reaction to the film, in-state and nationally, is parents. \u003c/p>\n\u003cp>“There are 25 million parents in the country who are lucky enough to have access to child care,” Bradwell notes. “That’s a pretty big demographic, and it’s not really a voting issue for people. It’s a private struggle. The film is meant to be an education for parents and hopefully activate them as to what structurally can be done to improve this broken system.”\u003c/p>\n\u003cp>The filmmakers have a strategy to maximize the reach and influence of \u003cem>Make a Circle\u003c/em> during this election year, with a festival run as well as impact screenings at conferences and on Capitol Hill.\u003c/p>\n\u003cp>As for the grand experimenting of co-directing a documentary after numerous jobs working for and with other filmmakers, Boekelheide and Bradwell say they would definitely make another film together.\u003c/p>\n\u003cp>“In some ways,” Bradwell offers, “I would say it’s easier making a film together than parenting together.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘Make a Circle’ screens May 5, 2024 at 3:30 p.m. at the Smith Rafael Film Center (1118 4th St., San Rafael) as part of DocLands. \u003ca href=\"https://www.doclands.com/make-a-circle/\">Find tickets and more information here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Documentary filmmakers get ideas from \u003cem>New York Times\u003c/em> headlines, naturally, but also from their daily lives. Jen Bradwell and Todd Boekelheide’s \u003cem>Make a Circle\u003c/em> had its genesis in their children.\u003c/p>\n\u003cp>“In about 2019,” Bradwell recalls, “we had a group of preschool teachers come to us and say, ‘We have watched every documentary we can get our hands on about early childhood education, and there’s great stuff about brain development and policy issues, but there’s no actual teachers, or teaching, in any of these films. Can we do some kind of media project that would raise the visibility of our work?’”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The Berkeley filmmakers saw these teachers every day at their three-and-a-half-year-old-daughter’s preschool, which their older daughter had also attended. Yet Boekelheide and Bradwell didn’t fully grasp what the teaching day consisted of, or the ongoing crisis for underpaid professionals often seen as babysitters. They were both shocked and inspired by what they discovered, and crafted a film intended to provoke the same response from audiences.\u003c/p>\n\u003cp>\u003cem>Make A Circle\u003c/em>, Boekelheide and Bradwell’s ambitious nonfiction directing debut after years of composing music for films and editing, respectively, has its world premiere Sunday, May 5 in the California Film Institute’s \u003ca href=\"https://www.doclands.com/\">DocLands Documentary Film Festival\u003c/a> (May 2-5) at the Smith Rafael Film Center in San Rafael.\u003c/p>\n\u003cp>The husband-and-wife team filmed at three Bay Area child care centers: All People’s School in West Berkeley, led by Susan Stevenson and Anne Bauer; Rose’s Daycare in downtown Oakland, led by Charlotte Guinn; and Creative Learning Center in San José, led by Patricia Moran. Guinn and Moran took on roles in Child Care Providers United, a comparatively new movement that’s already made waves in Sacramento.\u003c/p>\n\u003cfigure id=\"attachment_13957156\" 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/Make-a-Circle-still-1-Patricia-at-protest_2000.jpg\" alt=\"Woman in yellow logo shirt raises arm in a crowd other protesters\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13957156\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Make-a-Circle-still-1-Patricia-at-protest_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Make-a-Circle-still-1-Patricia-at-protest_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Make-a-Circle-still-1-Patricia-at-protest_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Make-a-Circle-still-1-Patricia-at-protest_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Make-a-Circle-still-1-Patricia-at-protest_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Make-a-Circle-still-1-Patricia-at-protest_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Make-a-Circle-still-1-Patricia-at-protest_2000-1920x1080.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Patricia Moran at a protest, a scene from ‘Make a Circle.’ \u003ccite>(Courtesy DocLands)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We knew we wanted to have a bigger policy lens,” Bradwell says, “so the question became who can we talk to who’s both doing the work and doing advocacy around it? We follow educators that have one foot in the teaching world and – in all their spare time after their 60-to-80-hour workweeks — are trying to do something to make the work better for the people who do it and the parents who need it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The husband-and-wife team started filming a month before COVID, and had a front-row seat for the pandemic’s impact on the fragile child care system. Plenty of parents, caring for and teaching their young children while working full time from home, had a new appreciation for their child care providers. More respect is terrific, of course, but wasn’t a substitute for the lost revenue.\u003c/p>\n\u003cp>“Any place that shut down for a month or two, or a couple families pulled out because they were worried about exposure, there goes the whole business model,” Bradwell explains. “Ninety percent is private payment, so it’s on parents trying to make it work. Most parents are paying college-tuition-level rates for child care and they feel lucky to get it if they do, [although] some people are lucky enough to qualify for a subsidy. Two hundred thousand educators left the field, though that number is [getting better]. Without serious public investment it’s always going to be a house of cards.”\u003c/p>\n\u003cfigure id=\"attachment_13957155\" 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/MAKE-A-CIRCLE_Directors_2000.jpg\" alt=\"Two headshots of a woman and man\" width=\"2000\" height=\"985\" class=\"size-full wp-image-13957155\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MAKE-A-CIRCLE_Directors_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MAKE-A-CIRCLE_Directors_2000-800x394.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MAKE-A-CIRCLE_Directors_2000-1020x502.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MAKE-A-CIRCLE_Directors_2000-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MAKE-A-CIRCLE_Directors_2000-768x378.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MAKE-A-CIRCLE_Directors_2000-1536x756.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/MAKE-A-CIRCLE_Directors_2000-1920x946.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Make a Circle’ co-directors Jen Bradwell and Todd Boekelheide. \u003ccite>(Courtesy DocLands)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Make a Circle\u003c/em> includes enough of the COVID period to convey the providers’ skinny tightrope while reminding us of the essential workers whose jobs outside the house made child care providers essential as well. Its steady forward momentum, though, swiftly leaves the pandemic in its wake. “We didn’t want to sit in that eddy,” Boekelheide says, “we wanted to go down the river.”\u003c/p>\n\u003cp>After all, the conditions and challenges that plague child care providers and early educators — low hourly wages, no health or retirements benefits — still exist.\u003c/p>\n\u003cp>“There is a myth about this work that women are naturally more suited to this work, and it is unskilled work, and therefore it should more fall on women of color to do it and we don’t have to pay them accordingly,” Bradwell says. “The lack of regard and support for the work, all those roads lead back to racism and misogyny. And how do you disrupt that stuff? It’s through storytelling.”\u003c/p>\n\u003cp>\u003cem>Make a Circle\u003c/em>, which marks Boekelheide’s first film as a cinematographer after decades of music composing and mixing, tells that narrative through a multitude of sequences in the child care centers themselves.\u003c/p>\n\u003cp>“One of our goals,” Bradwell says, “was to take seriously the experience of young kids and to not infantilize and distance them and treat them as cute or annoying, but try to get into their experience. What are they learning, even in their earliest days, how are they making sense of the world and relationships and all that.”\u003c/p>\n\u003cp>“Every time I went into a classroom to film,” Boekelheide says, “my life became beautiful. The learning is constant; they’re learning all the time.”\u003c/p>\n\u003cfigure id=\"attachment_13957163\" 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/Make-a-Circle-still-2-kids-and-collander_2000.jpg\" alt=\"\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13957163\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Make-a-Circle-still-2-kids-and-collander_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Make-a-Circle-still-2-kids-and-collander_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Make-a-Circle-still-2-kids-and-collander_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Make-a-Circle-still-2-kids-and-collander_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Make-a-Circle-still-2-kids-and-collander_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Make-a-Circle-still-2-kids-and-collander_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Make-a-Circle-still-2-kids-and-collander_2000-1920x1080.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Children play with a toy colander in a scene from ‘Make a Circle.’ \u003ccite>(Courtesy DocLands)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Todd spent a lot of very patient time literally down on their level, just watching stuff unfold,” Bradwell adds. “Kids this age don’t see the camera within a minute of you being there, and they go through a rainbow of cinematic emotions every 10 minutes.”\u003c/p>\n\u003cp>“The kids have incredible BS detectors,” Boekelheide says. “If you’re lying to them, if you’re not fully present, they dismiss you or they destroy you. So these teachers are really present. What is cinema but being present?”\u003c/p>\n\u003cp>Ultimately, \u003cem>Make a Circle\u003c/em> successfully juggles an inside-outside perspective. It showcases the skills and struggles of providers and educators, from one-on-ones in a center to demonstrations at the state capitol. However, the audience that will have the most visceral reaction to the film, in-state and nationally, is parents. \u003c/p>\n\u003cp>“There are 25 million parents in the country who are lucky enough to have access to child care,” Bradwell notes. “That’s a pretty big demographic, and it’s not really a voting issue for people. It’s a private struggle. The film is meant to be an education for parents and hopefully activate them as to what structurally can be done to improve this broken system.”\u003c/p>\n\u003cp>The filmmakers have a strategy to maximize the reach and influence of \u003cem>Make a Circle\u003c/em> during this election year, with a festival run as well as impact screenings at conferences and on Capitol Hill.\u003c/p>\n\u003cp>As for the grand experimenting of co-directing a documentary after numerous jobs working for and with other filmmakers, Boekelheide and Bradwell say they would definitely make another film together.\u003c/p>\n\u003cp>“In some ways,” Bradwell offers, “I would say it’s easier making a film together than parenting together.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Make a Circle’ screens May 5, 2024 at 3:30 p.m. at the Smith Rafael Film Center (1118 4th St., San Rafael) as part of DocLands. \u003ca href=\"https://www.doclands.com/make-a-circle/\">Find tickets and more information here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Challengers’ Has Ignited ‘Throuple’ Discourse — One Polyamorous Couple Weighs In",
"headTitle": "‘Challengers’ Has Ignited ‘Throuple’ Discourse — One Polyamorous Couple Weighs In | KQED",
"content": "\u003cp>Sweat in slow-mo, relentless EDM and staggering chemistry are just a few highlights of \u003cem>Challengers\u003c/em>, the Zendaya-starring film about a trio of tennis players that’s lit up group chats nationwide. All over the internet, fans are posting photos of their favorite love triangles — Roy, Keeley and Jamie from \u003cem>Ted Lasso\u003c/em>; Nora, Hae Sung and Arthur from \u003cem>Past Lives\u003c/em> — with the caption, “Three tickets to \u003cem>Challengers\u003c/em> please.” It’s the film that’s launched a thousand Twitter threads about throuples. \u003c/p>\n\u003cp>I sat down with Izzy and Mary, polyamorous partners in the Bay Area, to get their thoughts on \u003cem>Challengers\u003c/em>. Below, they chat about their favorite scenes, phallic churros, yonic tennis rackets and the dynamics that took them back to being young and intimate with more than one partner.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity. \u003cstrong>Note:\u003c/strong> Spoilers and swearing ahead.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Olivia Cruz Mayeda: What were your first impressions of \u003cem>Challengers\u003c/em>?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Mary:\u003c/strong> It’s not a rule book for how to date, but it’s a very good fantasy. I love that it was a movie that purported to be about a relationship, but really was about winning.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Izzy:\u003c/strong> I was so entertained throughout. Even when it was slower-paced, it was so rich with these tense scenes. And even though it was super sexual, I didn’t feel like it was over the top. It was really contained and just purposeful. It wasn’t like everything would be solved if Patrick and Art fucked or something. It was way more layered.\u003c/p>\n\u003cfigure id=\"attachment_13957101\" 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/Challengers_ArtPatrick_2000.jpg\" alt=\"Two young men in profile talking in front of window\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13957101\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtPatrick_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtPatrick_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtPatrick_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtPatrick_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtPatrick_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtPatrick_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtPatrick_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mike Faist as Art and Josh O’Connor as Patrick in ‘Challengers.’ \u003ccite>(Metro-Goldwyn-Mayer Pictures Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>I was surprised by how layered the characters were. What felt nuanced about their relationship dynamics to y’all?\u003c/strong>\u003c/p>\n\u003cp>[aside postID='arts_13956512']\u003cstrong>Izzy:\u003c/strong> The way in which flirting and jealousy is explored — Patrick doesn’t demonize Art for being jealous, even when he’s low-key sabotaging Patrick’s relationship. He’s turned on by it. He’s like, ‘You little snake, I see what you’re doing.’ They both fulfill each character’s competitive spirit and drive.\u003c/p>\n\u003cp>\u003cstrong>Mary:\u003c/strong> That’s what makes the movie hot. It’s kinky. There’s a certain amount of ambiguity around consent because, of course, cheating and infidelity is bad. But then there’s this question: Is anything fair game if it’s in the service of tennis? \u003c/p>\n\u003cp>\u003cstrong>Izzy:\u003c/strong> Even at the end, where Art and Patrick have this secret language that Tashi is not in on, she’s like, ‘Fuck yeah, come on!’ And she gets what she wants out of it, which is to watch some really good fucking tennis.\u003c/p>\n\u003cp>\u003cstrong>Internet discourse about \u003cem>Challengers\u003c/em> has really honed in on throuples. Would you say Tashi, Art and Patrick are a throuple?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Mary:\u003c/strong> It sells itself as being a film about a throuple. But this is not how throuples work in ethical ways.\u003c/p>\n\u003cfigure id=\"attachment_13957102\" 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/Challengers_ArtTashi_2000.jpg\" alt=\"Man and woman in close-up looking at each other\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13957102\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtTashi_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtTashi_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtTashi_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtTashi_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtTashi_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtTashi_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtTashi_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mike Faist as Art and Zendaya as Tashi in ‘Challengers.’ \u003ccite>(Niko Tavernise/Metro-Goldwyn-Mayer Pictures Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>So … are they an unethical throuple?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Mary:\u003c/strong> Oh, yes! I mean, there’s no communication. So from that perspective, I would want to draw that line. But I think it’s a fantasy, and it’s a really effective fantasy.\u003c/p>\n\u003cp>\u003cstrong>Izzy:\u003c/strong> I feel like the movie is not about a throuple. It’s about three people’s different intersections of relating with one another. Even in that scene where [Tashi] makes all of them kiss, she steps away.\u003c/p>\n\u003cp>\u003cstrong>Speaking of that first intimate scene between all three characters, what stood out to you?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Izzy:\u003c/strong> It is a very realistic threesome that happens between 18-year-olds or young adults, who don’t know those forms of communication. You’ve got two horny guys who are totally simping for her and also for each other. And they have some beer and they’re in the afterglow of flirting. \u003c/p>\n\u003cp>\u003cstrong>Mary:\u003c/strong> When I’ve experienced a situation with more than one person, there are all of these side conversations to check around consent, and what is and isn’t okay. I think that kind of awkward conversation, and allowing for the stumbling and the awkwardness, and not being sure what is going to happen or if everyone is attracted to everyone else — I thought that was really sweet. I felt like I was promised ‘the boys being gay,’ and it was actually just so tender. \u003c/p>\n\u003cfigure id=\"attachment_13957103\" 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/Challengers_PatrickTashi_2000.jpg\" alt=\"Back of man as he faces woman in red-lit dark scene\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13957103\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_PatrickTashi_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_PatrickTashi_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_PatrickTashi_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_PatrickTashi_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_PatrickTashi_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_PatrickTashi_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_PatrickTashi_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Josh O’Connor as Patrick and Zendaya as Tashi in ‘Challengers.’ \u003ccite>(Metro-Goldwyn-Mayer Pictures Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Izzy:\u003c/strong> There’s that scene where Patrick pulls Art’s stool closer to him with his foot. There’s just little things that feel quite tender.\u003c/p>\n\u003cp>\u003cstrong>Mary:\u003c/strong> Yeah, where it’s not coded as ‘gay intimacy,’ but just coded as intimacy.\u003c/p>\n\u003cp>\u003cstrong>You also mentioned before that \u003cem>Challengers\u003c/em> is a fantasy. What feels different about the reality of three people being interested in each other? \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Mary:\u003c/strong> So last summer, there was a situation where the two of us and a friend of ours were talking late at night, and there was this desire. And of course, we’re partnered — and not just doubles partners. There’s this question of, ‘Will anything happen?’ And then it was, like, oh … we actually all just want to go to sleep, which is maybe the being-in-your-30s version.\u003c/p>\n\u003cp>A lot of time, there’s a possibility of a ‘no.’ But that doesn’t make for good cinema.\u003c/p>\n\u003cp>\u003cstrong>Izzy:\u003c/strong> This movie just reminds me of also being young and inexperienced. I’ve experienced that kind of threesome dynamic, where all of a sudden you find yourself in it, and you’re like, ‘I’ve never done this before, I’m young, I’m on the ride.’ And then in retrospect, you realize how much care is involved in sexual intimacy, especially when there’s multiple parties involved. \u003c/p>\n\u003cp>\u003cstrong>So, all in all?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Izzy:\u003c/strong> Great movie. Ten out of ten.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sweat in slow-mo, relentless EDM and staggering chemistry are just a few highlights of \u003cem>Challengers\u003c/em>, the Zendaya-starring film about a trio of tennis players that’s lit up group chats nationwide. All over the internet, fans are posting photos of their favorite love triangles — Roy, Keeley and Jamie from \u003cem>Ted Lasso\u003c/em>; Nora, Hae Sung and Arthur from \u003cem>Past Lives\u003c/em> — with the caption, “Three tickets to \u003cem>Challengers\u003c/em> please.” It’s the film that’s launched a thousand Twitter threads about throuples. \u003c/p>\n\u003cp>I sat down with Izzy and Mary, polyamorous partners in the Bay Area, to get their thoughts on \u003cem>Challengers\u003c/em>. Below, they chat about their favorite scenes, phallic churros, yonic tennis rackets and the dynamics that took them back to being young and intimate with more than one partner.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity. \u003cstrong>Note:\u003c/strong> Spoilers and swearing ahead.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Olivia Cruz Mayeda: What were your first impressions of \u003cem>Challengers\u003c/em>?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Mary:\u003c/strong> It’s not a rule book for how to date, but it’s a very good fantasy. I love that it was a movie that purported to be about a relationship, but really was about winning.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Izzy:\u003c/strong> I was so entertained throughout. Even when it was slower-paced, it was so rich with these tense scenes. And even though it was super sexual, I didn’t feel like it was over the top. It was really contained and just purposeful. It wasn’t like everything would be solved if Patrick and Art fucked or something. It was way more layered.\u003c/p>\n\u003cfigure id=\"attachment_13957101\" 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/Challengers_ArtPatrick_2000.jpg\" alt=\"Two young men in profile talking in front of window\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13957101\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtPatrick_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtPatrick_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtPatrick_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtPatrick_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtPatrick_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtPatrick_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtPatrick_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mike Faist as Art and Josh O’Connor as Patrick in ‘Challengers.’ \u003ccite>(Metro-Goldwyn-Mayer Pictures Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>I was surprised by how layered the characters were. What felt nuanced about their relationship dynamics to y’all?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cstrong>Izzy:\u003c/strong> The way in which flirting and jealousy is explored — Patrick doesn’t demonize Art for being jealous, even when he’s low-key sabotaging Patrick’s relationship. He’s turned on by it. He’s like, ‘You little snake, I see what you’re doing.’ They both fulfill each character’s competitive spirit and drive.\u003c/p>\n\u003cp>\u003cstrong>Mary:\u003c/strong> That’s what makes the movie hot. It’s kinky. There’s a certain amount of ambiguity around consent because, of course, cheating and infidelity is bad. But then there’s this question: Is anything fair game if it’s in the service of tennis? \u003c/p>\n\u003cp>\u003cstrong>Izzy:\u003c/strong> Even at the end, where Art and Patrick have this secret language that Tashi is not in on, she’s like, ‘Fuck yeah, come on!’ And she gets what she wants out of it, which is to watch some really good fucking tennis.\u003c/p>\n\u003cp>\u003cstrong>Internet discourse about \u003cem>Challengers\u003c/em> has really honed in on throuples. Would you say Tashi, Art and Patrick are a throuple?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Mary:\u003c/strong> It sells itself as being a film about a throuple. But this is not how throuples work in ethical ways.\u003c/p>\n\u003cfigure id=\"attachment_13957102\" 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/Challengers_ArtTashi_2000.jpg\" alt=\"Man and woman in close-up looking at each other\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13957102\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtTashi_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtTashi_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtTashi_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtTashi_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtTashi_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtTashi_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_ArtTashi_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mike Faist as Art and Zendaya as Tashi in ‘Challengers.’ \u003ccite>(Niko Tavernise/Metro-Goldwyn-Mayer Pictures Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>So … are they an unethical throuple?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Mary:\u003c/strong> Oh, yes! I mean, there’s no communication. So from that perspective, I would want to draw that line. But I think it’s a fantasy, and it’s a really effective fantasy.\u003c/p>\n\u003cp>\u003cstrong>Izzy:\u003c/strong> I feel like the movie is not about a throuple. It’s about three people’s different intersections of relating with one another. Even in that scene where [Tashi] makes all of them kiss, she steps away.\u003c/p>\n\u003cp>\u003cstrong>Speaking of that first intimate scene between all three characters, what stood out to you?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Izzy:\u003c/strong> It is a very realistic threesome that happens between 18-year-olds or young adults, who don’t know those forms of communication. You’ve got two horny guys who are totally simping for her and also for each other. And they have some beer and they’re in the afterglow of flirting. \u003c/p>\n\u003cp>\u003cstrong>Mary:\u003c/strong> When I’ve experienced a situation with more than one person, there are all of these side conversations to check around consent, and what is and isn’t okay. I think that kind of awkward conversation, and allowing for the stumbling and the awkwardness, and not being sure what is going to happen or if everyone is attracted to everyone else — I thought that was really sweet. I felt like I was promised ‘the boys being gay,’ and it was actually just so tender. \u003c/p>\n\u003cfigure id=\"attachment_13957103\" 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/Challengers_PatrickTashi_2000.jpg\" alt=\"Back of man as he faces woman in red-lit dark scene\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13957103\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_PatrickTashi_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_PatrickTashi_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_PatrickTashi_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_PatrickTashi_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_PatrickTashi_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_PatrickTashi_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Challengers_PatrickTashi_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Josh O’Connor as Patrick and Zendaya as Tashi in ‘Challengers.’ \u003ccite>(Metro-Goldwyn-Mayer Pictures Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Izzy:\u003c/strong> There’s that scene where Patrick pulls Art’s stool closer to him with his foot. There’s just little things that feel quite tender.\u003c/p>\n\u003cp>\u003cstrong>Mary:\u003c/strong> Yeah, where it’s not coded as ‘gay intimacy,’ but just coded as intimacy.\u003c/p>\n\u003cp>\u003cstrong>You also mentioned before that \u003cem>Challengers\u003c/em> is a fantasy. What feels different about the reality of three people being interested in each other? \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Mary:\u003c/strong> So last summer, there was a situation where the two of us and a friend of ours were talking late at night, and there was this desire. And of course, we’re partnered — and not just doubles partners. There’s this question of, ‘Will anything happen?’ And then it was, like, oh … we actually all just want to go to sleep, which is maybe the being-in-your-30s version.\u003c/p>\n\u003cp>A lot of time, there’s a possibility of a ‘no.’ But that doesn’t make for good cinema.\u003c/p>\n\u003cp>\u003cstrong>Izzy:\u003c/strong> This movie just reminds me of also being young and inexperienced. I’ve experienced that kind of threesome dynamic, where all of a sudden you find yourself in it, and you’re like, ‘I’ve never done this before, I’m young, I’m on the ride.’ And then in retrospect, you realize how much care is involved in sexual intimacy, especially when there’s multiple parties involved. \u003c/p>\n\u003cp>\u003cstrong>So, all in all?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Izzy:\u003c/strong> Great movie. Ten out of ten.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the warmly charming rom-com \u003cem>The Idea of You\u003c/em>, Anne Hathaway plays a 40-year-old divorcee and Silver Lake art gallery owner who, after taking her teenage daughter to Coachella, becomes romantically involved with a 24-year-old heartthrob in the boy band August Moon. They first meet after she mistakes his trailer for the bathroom.\u003c/p>\n\u003cp>There are a few hundred things about this premise that might be farfetched, including the odds of finding love anywhere near the porta johns of a music festival. But one of them is not that a young star like Hayes Campbell (Nicholas Galitzine) would fall for a single mom like Solène (Hathaway).\u003c/p>\n\u003cp>[aside postid='arts_13956724']Solène is stylish, unimpressed by Hayes’ celebrity and has bangs so perfect they look genetically modified. And, most importantly, she’s Anne Hathaway. In the power dynamics of \u003cem>The Idea of You\u003c/em>, Hayes may be a fictional pop star but Hathaway is a very real movie star. And you don’t forget it for a moment in Michael Showalter’s lightly appealing showcase of the actor at her resplendent best.\u003c/p>\n\u003cp>\u003cem>The Idea of You\u003c/em>, which debuts Thursday on Prime Video, is full of all the kinds of contradictions that can make a rom-com work. The highly glamorous, megawatt-smiling Hathaway is playing a down-to-earth nobody. The showbiz veteran in the movie is played by Galitzine, a less well-known but up-and-coming British actor whose performance in the movie is quite authentic. And even though the whole scenario is undeniably a glossy high-concept Hollywood fairy tale, Showalter gives it enough texture that \u003cem>The Idea of You\u003c/em> comes off more natural and sincere than you’d expect.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=V8i6PB0gGOA\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The only thing that really needs to make perfect sense in a movie like \u003cem>The Idea of You\u003c/em> is the chemistry. The film, penned by Showalter and Jennifer Westfeldt from Robinne Lee’s bestseller, takes its time in the early scenes between Solène and Hayes — first at Coachella, then when he stops by her gallery — allowing their rapport to build convincingly, and giving each actor plenty of time to smolder.\u003c/p>\n\u003cp>[aside postid='arts_13956512']Once the steamy hotel-room encounters come in \u003cem>The Idea of You\u003c/em>, the movie has, if not swept you away, then at least ushered you along on a European trip of sex and room service. At the same time, it stays faithful to its central mission of celebrating middle-aged womanhood. The relationship will eventually cause a social media firestorm, but its main pressure point is whether Solène can stick with Hayes after her ex-husband (Reid Scott) cheated on her. This is a fairy tale she deserves.\u003c/p>\n\u003cp>While Showalter (\u003cem>The Big Sick\u003c/em>) has long showed a great gift for juggling comedy and drama at once, \u003cem>The Idea of You\u003c/em> leans more fully into wish-fulfillment romance. That can leave less to sustain the film, which has notably neutered some of the things that distinguished the book.\u003c/p>\n\u003cp>The May-December romance has been shrunk a little. In the book, the singer is 20. Given that Galitzine is 29 and the 41-year-old Hathaway is no one’s idea of old, this is more like a July-September relationship. In the book, the daughter (Ella Rubin) is a huge admirer of the pop singer, adding to the awkwardness, but in the movie, August Moon is “so 7th grade” to her.\u003c/p>\n\u003cp>There are surely more interesting and funnier places \u003cem>The Idea of You\u003c/em> could have gone. But Hathaway and Galitzine are a good enough match that, for a couple hours, it’s easy to forget.\u003c/p>\n\u003cp>[aside postid='arts_13956892']But the most convincing thing about\u003cem> The Idea of You\u003c/em>? August Moon. The movie nails the look and sound of boy bands so well because it went straight to the source. The original songs in the film are by Savan Kotecha and Carl Falk, the producer-songwriters of, among other pop hits, “What Makes You Beautiful,” One Direction’s debut single.\u003c/p>\n\u003cp>That connection will probably only further the sense that \u003cem>The Idea of You\u003c/em> is very nearly \u003cem>The Idea of Harry Styles\u003c/em>. The filmmakers have distanced the movie from any real-life resemblances. But one thing is for sure: With August Moon following 4(asterisk)Town of \u003cem>Turning Red\u003c/em> (whose songs were penned by Billie Eilish and Finneas O’Connell), we are living in the golden age of the fictional boy band.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Idea of You’ begins streaming on Prime Video on May 2, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Once the steamy hotel-room encounters come in \u003cem>The Idea of You\u003c/em>, the movie has, if not swept you away, then at least ushered you along on a European trip of sex and room service. At the same time, it stays faithful to its central mission of celebrating middle-aged womanhood. The relationship will eventually cause a social media firestorm, but its main pressure point is whether Solène can stick with Hayes after her ex-husband (Reid Scott) cheated on her. This is a fairy tale she deserves.\u003c/p>\n\u003cp>While Showalter (\u003cem>The Big Sick\u003c/em>) has long showed a great gift for juggling comedy and drama at once, \u003cem>The Idea of You\u003c/em> leans more fully into wish-fulfillment romance. That can leave less to sustain the film, which has notably neutered some of the things that distinguished the book.\u003c/p>\n\u003cp>The May-December romance has been shrunk a little. In the book, the singer is 20. Given that Galitzine is 29 and the 41-year-old Hathaway is no one’s idea of old, this is more like a July-September relationship. In the book, the daughter (Ella Rubin) is a huge admirer of the pop singer, adding to the awkwardness, but in the movie, August Moon is “so 7th grade” to her.\u003c/p>\n\u003cp>There are surely more interesting and funnier places \u003cem>The Idea of You\u003c/em> could have gone. But Hathaway and Galitzine are a good enough match that, for a couple hours, it’s easy to forget.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But the most convincing thing about\u003cem> The Idea of You\u003c/em>? August Moon. The movie nails the look and sound of boy bands so well because it went straight to the source. The original songs in the film are by Savan Kotecha and Carl Falk, the producer-songwriters of, among other pop hits, “What Makes You Beautiful,” One Direction’s debut single.\u003c/p>\n\u003cp>That connection will probably only further the sense that \u003cem>The Idea of You\u003c/em> is very nearly \u003cem>The Idea of Harry Styles\u003c/em>. The filmmakers have distanced the movie from any real-life resemblances. But one thing is for sure: With August Moon following 4(asterisk)Town of \u003cem>Turning Red\u003c/em> (whose songs were penned by Billie Eilish and Finneas O’Connell), we are living in the golden age of the fictional boy band.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Idea of You’ begins streaming on Prime Video on May 2, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>One of the worst movie sins is when a comedy fails to at least match the natural charisma of its stars. Not all actors are capable of being effortlessly witty without a tightly crafted script and some excellent direction and editing. But Ryan Gosling and Emily Blunt seem, at least from afar, adept at that game. Just look at their charming press tour for \u003cem>The Fall Guy\u003c/em>. Theirs is the kind of fun banter that can be a little worrisome — what if their riffing is better than the movie?\u003c/p>\n\u003cp>[aside postid='arts_13955729']It comes as a great relief, then, that \u003cem>The Fall Guy\u003c/em> lives up to its promise. Here is a delightful blend of action, comedy and romance that will make the audience feel like a Hollywood insider for a few hours (although there are perhaps one too many jokes about Comic-Con and Hall H).\u003c/p>\n\u003cp>Loosely based on the 1980s Lee Majors television series about a stuntman who made some extra cash on the side bounty hunting, Gosling takes up the mantle of said stunt guy, Colt Seavers.\u003c/p>\n\u003cp>Colt is a workaday stunt performer and longtime go-to for a major movie star, Tom Ryder (Aaron Taylor-Johnson). Tom is the kind of deeply egotistical and self-conscious A-lister who tells everyone he does his own stunts and worries out loud about Colt’s jawline being distractingly softer than his. I think the word “potato” is thrown around as a descriptor. Taylor-Johnson has quite a bit of fun playing up all his eccentricities that you hope, and fear, are at least somewhat inspired by real horror stories of stars behaving badly.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=j7jPnwVGdZ8\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The film comes from director David Leitch, the Brad Pitt stuntman and stunt coordinator who helped bring \u003cem>John Wick\u003c/em> to the world and directed \u003cem>Atomic Blonde\u003c/em> and \u003cem>Bullet Train\u003c/em>. He’s a guy who not only has the vision and know-how to bring the best in stunts to films and make them pop, but also has a vested interest in putting them in the spotlight. Forget the Oscar, how about just any acknowledgement? Perhaps \u003cem>The Fall Guy\u003c/em> is just one tiny step on the path to making audiences more aware of some of the behind-the-scenes people who really make movies better and risk it all to do so.\u003c/p>\n\u003cp>It’s revealing that the movie starts with Colt suffering a terrible injury on a set. The stunt that goes wrong is one he’s just done and doesn’t seem remotely nervous about. The film cuts to his recovery and semi-reclusive retirement until he gets a call from Tom’s producer Gail (a delightfully over-the-top Hannah Waddingham) begging Colt to come back for a new film. They need him, she pleads, as does his longtime crush Jody (Blunt), who is making her directorial debut. She waits to inform him that Tom is missing and he’s the one who has to find him.\u003c/p>\n\u003cp>On the quest, Colt encounters tough-guy goons, enablers, a sword-wielding actress, and a dead body on ice that all lead up to something big and rotten. And like a selfless stunt guy, he does it all out of sight of Jody — trying his best to save her movie without giving her something extra to worry about. Nothing about it is particularly plausible, but it’s not hard to get on board for the ride, and much of that is because of Gosling.\u003c/p>\n\u003cp>[aside postid='arts_13956512']While he’s not quite underappreciated for his comedic timing, especially after \u003cem>Barbie\u003c/em>, it’s fun to get to see him really embrace and lean into the goofiness — whether it’s crying and singing along to Taylor Swift’s “All Too Well” or quoting movie lines to his stunt coordinator pal (Winston Duke, always a good addition) in the midst of an actual fight.\u003c/p>\n\u003cp>There is something very juvenile and sweet about Jody and Colt’s will-they-won’t-they romance, with its mix of attraction, banter, misunderstandings and hurt feelings. It was a genius stroke to cast these two opposite each other and it leaves you wanting more scenes with the two.\u003c/p>\n\u003cp>Working with a script from Drew Pearce (\u003cem>Hobbs & Shaw\u003c/em>), Leitch packs the film with wall-to-wall action, in both the film’s movie sets and its real world. And with the self-referential humor, the industry jokes and the promise of a little romance, it feels like one of those movies we all complain they don’t make anymore.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Fall Guy’ is released nationwide on May 3, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the worst movie sins is when a comedy fails to at least match the natural charisma of its stars. Not all actors are capable of being effortlessly witty without a tightly crafted script and some excellent direction and editing. But Ryan Gosling and Emily Blunt seem, at least from afar, adept at that game. Just look at their charming press tour for \u003cem>The Fall Guy\u003c/em>. Theirs is the kind of fun banter that can be a little worrisome — what if their riffing is better than the movie?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It comes as a great relief, then, that \u003cem>The Fall Guy\u003c/em> lives up to its promise. Here is a delightful blend of action, comedy and romance that will make the audience feel like a Hollywood insider for a few hours (although there are perhaps one too many jokes about Comic-Con and Hall H).\u003c/p>\n\u003cp>Loosely based on the 1980s Lee Majors television series about a stuntman who made some extra cash on the side bounty hunting, Gosling takes up the mantle of said stunt guy, Colt Seavers.\u003c/p>\n\u003cp>Colt is a workaday stunt performer and longtime go-to for a major movie star, Tom Ryder (Aaron Taylor-Johnson). Tom is the kind of deeply egotistical and self-conscious A-lister who tells everyone he does his own stunts and worries out loud about Colt’s jawline being distractingly softer than his. I think the word “potato” is thrown around as a descriptor. Taylor-Johnson has quite a bit of fun playing up all his eccentricities that you hope, and fear, are at least somewhat inspired by real horror stories of stars behaving badly.\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/j7jPnwVGdZ8'\n title='//www.youtube.com/embed/j7jPnwVGdZ8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The film comes from director David Leitch, the Brad Pitt stuntman and stunt coordinator who helped bring \u003cem>John Wick\u003c/em> to the world and directed \u003cem>Atomic Blonde\u003c/em> and \u003cem>Bullet Train\u003c/em>. He’s a guy who not only has the vision and know-how to bring the best in stunts to films and make them pop, but also has a vested interest in putting them in the spotlight. Forget the Oscar, how about just any acknowledgement? Perhaps \u003cem>The Fall Guy\u003c/em> is just one tiny step on the path to making audiences more aware of some of the behind-the-scenes people who really make movies better and risk it all to do so.\u003c/p>\n\u003cp>It’s revealing that the movie starts with Colt suffering a terrible injury on a set. The stunt that goes wrong is one he’s just done and doesn’t seem remotely nervous about. The film cuts to his recovery and semi-reclusive retirement until he gets a call from Tom’s producer Gail (a delightfully over-the-top Hannah Waddingham) begging Colt to come back for a new film. They need him, she pleads, as does his longtime crush Jody (Blunt), who is making her directorial debut. She waits to inform him that Tom is missing and he’s the one who has to find him.\u003c/p>\n\u003cp>On the quest, Colt encounters tough-guy goons, enablers, a sword-wielding actress, and a dead body on ice that all lead up to something big and rotten. And like a selfless stunt guy, he does it all out of sight of Jody — trying his best to save her movie without giving her something extra to worry about. Nothing about it is particularly plausible, but it’s not hard to get on board for the ride, and much of that is because of Gosling.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>While he’s not quite underappreciated for his comedic timing, especially after \u003cem>Barbie\u003c/em>, it’s fun to get to see him really embrace and lean into the goofiness — whether it’s crying and singing along to Taylor Swift’s “All Too Well” or quoting movie lines to his stunt coordinator pal (Winston Duke, always a good addition) in the midst of an actual fight.\u003c/p>\n\u003cp>There is something very juvenile and sweet about Jody and Colt’s will-they-won’t-they romance, with its mix of attraction, banter, misunderstandings and hurt feelings. It was a genius stroke to cast these two opposite each other and it leaves you wanting more scenes with the two.\u003c/p>\n\u003cp>Working with a script from Drew Pearce (\u003cem>Hobbs & Shaw\u003c/em>), Leitch packs the film with wall-to-wall action, in both the film’s movie sets and its real world. And with the self-referential humor, the industry jokes and the promise of a little romance, it feels like one of those movies we all complain they don’t make anymore.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Fall Guy’ is released nationwide on May 3, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the current national discourse, once-prevalent concerns about police brutality have taken a backseat to conflict overseas, domestic abortion bans and a presidential candidate who is facing multiple court cases. And yet, four years after the summer of 2020’s nationwide protests and calls for accountability, the issue of officers using excessive force persists at an alarming rate.\u003c/p>\n\u003cp>According to data collected by the nonprofit \u003ca href=\"https://mappingpoliceviolence.us/\" target=\"_blank\" rel=\"noopener\">Mapping Police Violence\u003c/a>, 2023 brought the highest in the past decade, and 2024 is on a similar pace.\u003c/p>\n\u003cfigure id=\"attachment_13956735\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956735 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_4593-800x533.jpg\" alt=\"Woman with video camera sits in the middle of a room surrounded by four other women, all laughing and smiling. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_4593-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_4593-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_4593-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_4593-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_4593-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_4593.jpg 1728w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Filmmaker Débora Souza Silva, shown sitting on the ground with her camera, documents a discussion among mothers who’ve lost children to police brutality. \u003ccite>(Courtesy of Débora Souza Silva)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bay Area-based journalist and filmmaker \u003ca href=\"https://www.debsilva.com/\" target=\"_blank\" rel=\"noopener\">Débora Souza Silva\u003c/a> sees this as a call to action. She’s urging others to refocus their collective attention on police brutality by listening to the stories of the survivors and readdressing the issue’s root causes.\u003c/p>\n\u003cp>Souza Silva’s documentary film, \u003cem>For Our Children\u003c/em>, gives audiences an intimate look at the lives of those who’ve experienced police brutality, and the toll it takes on their families.\u003c/p>\n\u003cp>\u003cem>For Our Children\u003c/em> was acquired by \u003ca href=\"https://variety.com/2024/film/news/for-our-children-netflix-1235983377/\" target=\"_blank\" rel=\"noopener\">Array Releasing\u003c/a> and will begin streaming on Netflix on May 10. On Wednesday, May 1, Oakland’s \u003ca href=\"https://73279.formovietickets.com:2235/T.ASP?WCI=BT&RtsPurchaseId=81e2aba6-529e-415d-ab9a-0ec7dd6d588b&Page=PickTickets&SHOWID=61653\" target=\"_blank\" rel=\"noopener\">Grand Lake Theatre\u003c/a> will host a premiere and Q&A session with Souza Silva and select people featured in the movie, including Rev. Wanda Johnson, mother of the late \u003ca href=\"https://www.kqed.org/news/tag/oscar-grant-10-years\" target=\"_blank\" rel=\"noopener\">Oscar Grant.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After Grant was killed at the Fruitvale BART station by former BART police officer Johannes Mehserle in 2009, Rev. Johnson and family founded the \u003ca href=\"https://oscargrantfoundation.org/wandaspeaks/\" target=\"_blank\" rel=\"noopener\">Oscar Grant Foundation\u003c/a>, and began working with mothers around the nation whose children were killed by police.\u003c/p>\n\u003cp>The 90-minute film opens with Rev. Johnson hosting an event during which mothers of those killed by police eat, pray, and grieve together, while taking time to intentionally say the names of their loved ones.\u003c/p>\n\u003cp>Rev. Johnson points out the relatives of \u003ca href=\"https://apnews.com/article/shootings-police-us-news-st-louis-michael-brown-9aa32033692547699a3b61da8fd1fc62\" target=\"_blank\" rel=\"noopener\">Michael Brown\u003c/a>, \u003ca href=\"https://apnews.com/hub/eric-garner\" target=\"_blank\" rel=\"noopener\">Eric Garner\u003c/a> and \u003ca href=\"https://apnews.com/hub/sandra-bland\" target=\"_blank\" rel=\"noopener\">Sandra Bland\u003c/a>. Some women dress in their Sunday’s best, while others wear shirts with airbrushed faces on them. Rev. Johnson steps to the center of the room and declares that despite mourning and dealing with grief, “You’ve got to make your child’s name known… fight for your child. Hallelujah.”\u003c/p>\n\u003cfigure id=\"attachment_13956770\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956770 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_3383-800x1067.jpg\" alt=\"Woman with video camera kneels down to document three individuals standing in front of a mural.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_3383-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_3383-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_3383-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_3383.jpg 864w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Filmmaker Débora Souza Silva films as the family of Oscar Grant stands in front of a mural created in his honor at Fruitvale BART Station in Oakland. \u003ccite>(Courtesy of Débora Souza Silva )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Exemplifying that fight in \u003cem>For Our Children\u003c/em> is the story of Angela Williams, from Troy, Ala., the mother of a teenager named Ulysses. In the aftermath of her son surviving a beating by local police that left his face disfigured, Williams says that though Ulysses is fortunate to be alive, he “was emotionally killed.”\u003c/p>\n\u003cp>After Williams contacts Rev. Johnson, the two work with a team of lawyers and community members to understand what really led to the altercation between officers and Ulysses, and how to attain justice for the young man.\u003c/p>\n\u003cp>Souza Silva is tenacious about the systemic forces that encourage police violence; she also knows the way toward real change is by being there after the headlines are gone and the TV cameras have moved on to the next story.\u003c/p>\n\u003cp>“The film is a study in sustained and compassionate listening,” Souza Silva says in a statement about the film. “Rather than reduce these women to a one-dimensional portrait of grief, we have immersed ourselves into the mothers’ homes and communities, attempting to create an intimate, nuanced and honest portrait of their lives, their struggles and their resiliency.”\u003c/p>\n\u003cp>If something is going to change when it comes to police brutality in America, it’s going to take the masses hearing from those closest to the issue. And who knows this story more intimately than those who’ve been directly impacted?\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘For Our Children’ screens at the Grand Lake Theatre in Oakland, followed by a panel discussion and Q&A with the filmmakers and Rev. Wanda Johnson, on Wednesday, May 1 at 7:15 p.m. \u003ca href=\"https://73279.formovietickets.com:2235/T.ASP?WCI=BT&RtsPurchaseId=81e2aba6-529e-415d-ab9a-0ec7dd6d588b&Page=PickTickets&SHOWID=61653\">Details here\u003c/a>. The film will be available for streaming on Netflix starting May 10.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the current national discourse, once-prevalent concerns about police brutality have taken a backseat to conflict overseas, domestic abortion bans and a presidential candidate who is facing multiple court cases. And yet, four years after the summer of 2020’s nationwide protests and calls for accountability, the issue of officers using excessive force persists at an alarming rate.\u003c/p>\n\u003cp>According to data collected by the nonprofit \u003ca href=\"https://mappingpoliceviolence.us/\" target=\"_blank\" rel=\"noopener\">Mapping Police Violence\u003c/a>, 2023 brought the highest in the past decade, and 2024 is on a similar pace.\u003c/p>\n\u003cfigure id=\"attachment_13956735\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956735 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_4593-800x533.jpg\" alt=\"Woman with video camera sits in the middle of a room surrounded by four other women, all laughing and smiling. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_4593-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_4593-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_4593-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_4593-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_4593-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_4593.jpg 1728w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Filmmaker Débora Souza Silva, shown sitting on the ground with her camera, documents a discussion among mothers who’ve lost children to police brutality. \u003ccite>(Courtesy of Débora Souza Silva)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bay Area-based journalist and filmmaker \u003ca href=\"https://www.debsilva.com/\" target=\"_blank\" rel=\"noopener\">Débora Souza Silva\u003c/a> sees this as a call to action. She’s urging others to refocus their collective attention on police brutality by listening to the stories of the survivors and readdressing the issue’s root causes.\u003c/p>\n\u003cp>Souza Silva’s documentary film, \u003cem>For Our Children\u003c/em>, gives audiences an intimate look at the lives of those who’ve experienced police brutality, and the toll it takes on their families.\u003c/p>\n\u003cp>\u003cem>For Our Children\u003c/em> was acquired by \u003ca href=\"https://variety.com/2024/film/news/for-our-children-netflix-1235983377/\" target=\"_blank\" rel=\"noopener\">Array Releasing\u003c/a> and will begin streaming on Netflix on May 10. On Wednesday, May 1, Oakland’s \u003ca href=\"https://73279.formovietickets.com:2235/T.ASP?WCI=BT&RtsPurchaseId=81e2aba6-529e-415d-ab9a-0ec7dd6d588b&Page=PickTickets&SHOWID=61653\" target=\"_blank\" rel=\"noopener\">Grand Lake Theatre\u003c/a> will host a premiere and Q&A session with Souza Silva and select people featured in the movie, including Rev. Wanda Johnson, mother of the late \u003ca href=\"https://www.kqed.org/news/tag/oscar-grant-10-years\" target=\"_blank\" rel=\"noopener\">Oscar Grant.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After Grant was killed at the Fruitvale BART station by former BART police officer Johannes Mehserle in 2009, Rev. Johnson and family founded the \u003ca href=\"https://oscargrantfoundation.org/wandaspeaks/\" target=\"_blank\" rel=\"noopener\">Oscar Grant Foundation\u003c/a>, and began working with mothers around the nation whose children were killed by police.\u003c/p>\n\u003cp>The 90-minute film opens with Rev. Johnson hosting an event during which mothers of those killed by police eat, pray, and grieve together, while taking time to intentionally say the names of their loved ones.\u003c/p>\n\u003cp>Rev. Johnson points out the relatives of \u003ca href=\"https://apnews.com/article/shootings-police-us-news-st-louis-michael-brown-9aa32033692547699a3b61da8fd1fc62\" target=\"_blank\" rel=\"noopener\">Michael Brown\u003c/a>, \u003ca href=\"https://apnews.com/hub/eric-garner\" target=\"_blank\" rel=\"noopener\">Eric Garner\u003c/a> and \u003ca href=\"https://apnews.com/hub/sandra-bland\" target=\"_blank\" rel=\"noopener\">Sandra Bland\u003c/a>. Some women dress in their Sunday’s best, while others wear shirts with airbrushed faces on them. Rev. Johnson steps to the center of the room and declares that despite mourning and dealing with grief, “You’ve got to make your child’s name known… fight for your child. Hallelujah.”\u003c/p>\n\u003cfigure id=\"attachment_13956770\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956770 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_3383-800x1067.jpg\" alt=\"Woman with video camera kneels down to document three individuals standing in front of a mural.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_3383-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_3383-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_3383-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_3383.jpg 864w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Filmmaker Débora Souza Silva films as the family of Oscar Grant stands in front of a mural created in his honor at Fruitvale BART Station in Oakland. \u003ccite>(Courtesy of Débora Souza Silva )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Exemplifying that fight in \u003cem>For Our Children\u003c/em> is the story of Angela Williams, from Troy, Ala., the mother of a teenager named Ulysses. In the aftermath of her son surviving a beating by local police that left his face disfigured, Williams says that though Ulysses is fortunate to be alive, he “was emotionally killed.”\u003c/p>\n\u003cp>After Williams contacts Rev. Johnson, the two work with a team of lawyers and community members to understand what really led to the altercation between officers and Ulysses, and how to attain justice for the young man.\u003c/p>\n\u003cp>Souza Silva is tenacious about the systemic forces that encourage police violence; she also knows the way toward real change is by being there after the headlines are gone and the TV cameras have moved on to the next story.\u003c/p>\n\u003cp>“The film is a study in sustained and compassionate listening,” Souza Silva says in a statement about the film. “Rather than reduce these women to a one-dimensional portrait of grief, we have immersed ourselves into the mothers’ homes and communities, attempting to create an intimate, nuanced and honest portrait of their lives, their struggles and their resiliency.”\u003c/p>\n\u003cp>If something is going to change when it comes to police brutality in America, it’s going to take the masses hearing from those closest to the issue. And who knows this story more intimately than those who’ve been directly impacted?\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘For Our Children’ screens at the Grand Lake Theatre in Oakland, followed by a panel discussion and Q&A with the filmmakers and Rev. Wanda Johnson, on Wednesday, May 1 at 7:15 p.m. \u003ca href=\"https://73279.formovietickets.com:2235/T.ASP?WCI=BT&RtsPurchaseId=81e2aba6-529e-415d-ab9a-0ec7dd6d588b&Page=PickTickets&SHOWID=61653\">Details here\u003c/a>. The film will be available for streaming on Netflix starting May 10.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘The Feeling That the Time for Doing Something Has Passed’ Announces An Exciting New Voice",
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"content": "\u003cp>In writer-director-star Joanna Arnow’s \u003cem>The Feeling That the Time for Doing Something Has Passed\u003c/em>, Ann (Arnow), a 30-something New Yorker, lies naked in bed with an older man, Allen (Scott Cohen), with whom she has a yearslong BDSM relationship. She tells him she’s grateful he only cares about his own pleasure.\u003c/p>\n\u003cp>“It’s like I don’t even exist,” she says.\u003c/p>\n\u003cp>[aside postid='arts_13956480']Much is just out of reach in Arnow’s shrewdly perceptive and very funny new film. Love, certainly, is nowhere near Ann’s life despite a series of romantic encounters. Music is talked about — from Andrew Lloyd Webber showtunes to the team cheer from \u003cem>A League of Their Own\u003c/em> — but seldom heard. In one scene during a tryst with a composer, Ann says her favorite soundtrack is \u003cem>In the Act of Wishing for Love\u003c/em>, but she means \u003cem>In the Mood for Love\u003c/em>.\u003c/p>\n\u003cp>Even Ann’s existential crisis doesn’t quite materialize in this unwaveringly sardonic portrait of millennial malaise. Her life plays out in a series of brief, crispy edited vignettes that jump between her drab work life and her extreme but equally drab sex life.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KVacS6T7jxs\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Obedience is pushed on her in both places, as are labels, most of which Ann quietly but not necessarily apathetically accepts. One partner (Parish Bradley) who instructs her to communicate in “a series of oinks” writes the lewd name he’s given her across her belly in marker. At work, an unseen HR gives her a new job title: “Clinical Media E-learning Specialist.” Which is worse is hard to say. After three years on the job, she’s given a one-year anniversary trophy.\u003c/p>\n\u003cp>How Ann feels about all of this isn’t always obvious, possibly even to her. Arnow portrays her much as she directs and edits the film, with a detached deadpan. Sometimes Ann pushes back. She tells her older lover that she’s not an internet window he can open and close. But there’s also something in Ann that recoils against more sentimental encounters. Later in the film, she begins dating someone sweetly if naively romantic (Babak Tafti) who’s unfamiliar with the kind of bondage role-playing Ann is accustomed to. But his sweetness is more of a strike against him. Ann may be a victim of her modern, alienating environment, but she’s also a product of it.\u003c/p>\n\u003cp>[aside postid='arts_13956512']Arnow, who also made the 2013 film \u003cem>I hate myself 🙂\u003c/em> has often been compared to Lena Dunham as a generation-representing voice, for her willingness to bear all on screen and for her proclivity for autobiography. (Ann’s parents in the film are played by Arnow’s real-life mother and father, Barbara Weiserbs and David Arnow.)\u003c/p>\n\u003cp>But Arnow’s sensibility is much dryer and more satirical. Whether Ann can free herself of her circumstance is one thing, but Arnow, as a keenly insightful filmmaker, proves again and again that she has. How else can you explain the trenchant absurdity of the poem-worthy dialogue that runs through the film? A sexual partner whose first line is: “Thank you for forgiving me for mansplaining about L.A.” A boss who announces: “If you’re not on Spotify, you’re behind the times.” And Ann, who after debasing herself with her older lover, says, “The candles were nice,” only for him to reply: “There was just one candle.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Feeling That the Time for Doing Something Has Passed’ opens nationwide on April 26, 2024. The film \u003ca href=\"https://roxie.com/film/the-feeling-that-the-time-for-doing-something-has-passed/\">begins playing at the Roxie Theater\u003c/a> on May 10.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Much is just out of reach in Arnow’s shrewdly perceptive and very funny new film. Love, certainly, is nowhere near Ann’s life despite a series of romantic encounters. Music is talked about — from Andrew Lloyd Webber showtunes to the team cheer from \u003cem>A League of Their Own\u003c/em> — but seldom heard. In one scene during a tryst with a composer, Ann says her favorite soundtrack is \u003cem>In the Act of Wishing for Love\u003c/em>, but she means \u003cem>In the Mood for Love\u003c/em>.\u003c/p>\n\u003cp>Even Ann’s existential crisis doesn’t quite materialize in this unwaveringly sardonic portrait of millennial malaise. Her life plays out in a series of brief, crispy edited vignettes that jump between her drab work life and her extreme but equally drab sex life.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/KVacS6T7jxs'\n title='//www.youtube.com/embed/KVacS6T7jxs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Obedience is pushed on her in both places, as are labels, most of which Ann quietly but not necessarily apathetically accepts. One partner (Parish Bradley) who instructs her to communicate in “a series of oinks” writes the lewd name he’s given her across her belly in marker. At work, an unseen HR gives her a new job title: “Clinical Media E-learning Specialist.” Which is worse is hard to say. After three years on the job, she’s given a one-year anniversary trophy.\u003c/p>\n\u003cp>How Ann feels about all of this isn’t always obvious, possibly even to her. Arnow portrays her much as she directs and edits the film, with a detached deadpan. Sometimes Ann pushes back. She tells her older lover that she’s not an internet window he can open and close. But there’s also something in Ann that recoils against more sentimental encounters. Later in the film, she begins dating someone sweetly if naively romantic (Babak Tafti) who’s unfamiliar with the kind of bondage role-playing Ann is accustomed to. But his sweetness is more of a strike against him. Ann may be a victim of her modern, alienating environment, but she’s also a product of it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Arnow, who also made the 2013 film \u003cem>I hate myself 🙂\u003c/em> has often been compared to Lena Dunham as a generation-representing voice, for her willingness to bear all on screen and for her proclivity for autobiography. (Ann’s parents in the film are played by Arnow’s real-life mother and father, Barbara Weiserbs and David Arnow.)\u003c/p>\n\u003cp>But Arnow’s sensibility is much dryer and more satirical. Whether Ann can free herself of her circumstance is one thing, but Arnow, as a keenly insightful filmmaker, proves again and again that she has. How else can you explain the trenchant absurdity of the poem-worthy dialogue that runs through the film? A sexual partner whose first line is: “Thank you for forgiving me for mansplaining about L.A.” A boss who announces: “If you’re not on Spotify, you’re behind the times.” And Ann, who after debasing herself with her older lover, says, “The candles were nice,” only for him to reply: “There was just one candle.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Feeling That the Time for Doing Something Has Passed’ opens nationwide on April 26, 2024. The film \u003ca href=\"https://roxie.com/film/the-feeling-that-the-time-for-doing-something-has-passed/\">begins playing at the Roxie Theater\u003c/a> on May 10.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Kenneth Rainin Foundation announced its 2024 class of fellows on Wednesday, giving unrestricted grants of $100,000 each to three individual artists and one trio of creatives.\u003c/p>\n\u003cp>The list includes filmmaker \u003ca href=\"https://www.instagram.com/adrianlburrell/\" target=\"_blank\" rel=\"noopener\">Adrian L. Burrell\u003c/a>, dancer \u003ca href=\"https://www.danceforallbodies.org/antoinehunter\" target=\"_blank\" rel=\"noopener noreferrer\">Antoine Hunter, a.k.a. Purple Fire Crow\u003c/a>, poet and thespian \u003ca href=\"https://www.ayodelenzinga.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ayodele ‘WordSlanger’ Nzinga\u003c/a>, and the trio of Mike Arcega, Paolo Asuncion, and Rachel Lastimosa of the \u003ca href=\"https://arcega.us/section/501274-TNT%20Traysikel.html\" target=\"_blank\" rel=\"noopener\">TNT Traysikel\u003c/a> mobile art exhibition.\u003c/p>\n\u003cfigure id=\"attachment_13956437\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13956437\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-800x621.jpg\" alt=\"TNT Traysikel, a roaming sculpture that represents the Filipino-American community, parked in front of the Golden Gate Bridge. \" width=\"800\" height=\"621\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-800x621.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-1020x792.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-768x596.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-1536x1192.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25.jpg 1572w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">TNT Traysikel, a roaming sculpture that represents the Filipino-American community, seen parked in front of the Golden Gate Bridge. \u003ccite>(Mark Baugh-Sasaki)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When asked what it feels like to receive the award, Oakland Poet Laureate Ayodele Nzinga says: “Liberated… It affords me a tiny bit of security here in the Bay.”\u003c/p>\n\u003cp>A playwright and owner of the \u003ca href=\"https://www.kqed.org/arts/13933205/ayodele-nzinga-opens-curtain-at-bam-house-a-new-home-for-black-arts\" target=\"_blank\" rel=\"noopener\">BAM House\u003c/a> theatre, Nzinga has produced shows in Oakland for more than two decades. She founded the theatre company the Lower Bottom Playaz in 1999, and in 2021 was awarded the title of \u003ca href=\"https://www.npr.org/2021/07/15/1013730633/meet-oaklands-first-poet-laureate-dr-ayodele-wordslanger-nzinga\" target=\"_blank\" rel=\"noopener\">Oakland’s first Poet Laureate.\u003c/a>\u003c/p>\n\u003cp>“I spent most of the time as Poet Laureate hoping that I could stay in Oakland for the term of laureatecy,” says Nzinga, adding that the ability to “root” both personally and professionally is her biggest takeaway from the grant.\u003c/p>\n\u003cfigure id=\"attachment_13956481\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956481\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/0.jpg\" alt=\"\" width=\"1000\" height=\"1250\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/0.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/0-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/0-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/0-768x960.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Adrian L. Burrell. \u003ccite>(Dondre Stutley )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Adrian L. Burrell echoes Nzinga’s plan to invest the funds into personal and professional development.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Burrell is a filmmaker, photographer and proud third-generation Oakland representative. He makes multimedia works comprised of his personal sojourns, family video archives and elements of Afrocentric spirituality. His work has received national acclaim; earlier this year, he was the recipient of \u003ca href=\"https://thegrio.com/2024/02/27/meet-adrian-burrell-the-first-recipient-of-thegrios-emerging-filmmaker-fellowship/\" target=\"_blank\" rel=\"noopener\">TheGrio’s Emerging Filmmaker Fellowship\u003c/a>.\u003c/p>\n\u003cp>But the Rainin Fellowship has special meaning to him. “It feels good to be supported by the soil,” Burrell says. As an independent artist, with no official gallery representation, he knows such recognition is rare.\u003c/p>\n\u003cp>“It’s been cool to be in a position where I can make my work and it touches people,” says Burrell, who will be at the \u003ca href=\"https://museumca.org/event/book-release-and-conversation-with-filmmaker-artist-and-author-adrian-burrell/\" target=\"_blank\" rel=\"noopener\">Oakland Museum of California\u003c/a> on May 4 for a Q&A about his book, \u003cem>Sugarcane & Lighting\u003c/em>, and a screening of his short film, \u003cem>The Saints Step in Kongo Time\u003c/em>. Burrell says support from local institutions is important: “That allows me to grow my practice, and continue to try to grow toward being a practicing sustainable artist.”\u003c/p>\n\u003cfigure id=\"attachment_13956558\" class=\"wp-caption aligncenter\" style=\"max-width: 1170px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956558 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1.jpg\" alt=\"Antoine Hunter (Purple Fire Crow) poses for a photo while wearing a golden-brown cloth draped over his upper body. \" width=\"1170\" height=\"1476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1.jpg 1170w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1-800x1009.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1-1020x1287.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1-160x202.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1-768x969.jpg 768w\" sizes=\"(max-width: 1170px) 100vw, 1170px\">\u003cfigcaption class=\"wp-caption-text\">Award-winning dancer Antoine ‘Purple Fire Crow’ Hunter. \u003ccite>(Mark Kitoaka)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sustainability, for self and community, are on the mind of dancer Antoine Hunter as he receives the fellowship. Hunter, also known as Purple Fire Crow, says when he learned about the award, he was hit with a mixture of emotion — joy and gratitude, as well as the “stress to stay the best human being I can be to support my community.” He was reminded, he says, of how there’s more work to do, as his goal is to open more doors for people to come after him.\u003c/p>\n\u003cp>An award winning-dancer and choreographer from Oakland, Hunter is Deaf and creates work for people living with disabilities. “This award is a milestone blessing that adds on the layer to the story of my career with the \u003ca href=\"https://www.realurbanjazzdance.com/\" target=\"_blank\" rel=\"noopener\">Urban Jazz Dance Company\u003c/a> (UJDC),” Hunter writes in an email. He adds that the fellowship is a way of recognizing the challenges faced by members of the Deaf and Disabled communities who are working to overcome ableism, and that it will deepen the impact of his work in the Bay Area arts community — “particularly in advocating for Deaf (and) Disabled folks of many kinds of artists, and promoting inclusivity in dance.”\u003c/p>\n\u003cfigure id=\"attachment_13956574\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956574 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-800x450.jpg\" alt=\"The TNT Traysikel trio and their three-wheeled vehicle. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The TNT Traysikel trio and their three-wheeled vehicle. \u003ccite>(Alvin Dizon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mike Arcega of TNT Traysikel says the fellowship feels like validation for the group’s work. They created a vehicle that speaks to the culture of the Philippines and connects Filipino community members here in the Bay, and it’s paying off.\u003c/p>\n\u003cp>TNT Traysikel’s Rachel Lastimosa says the stipulation-free grant “signals that artists know what they’re doing, and that they know how to get the job done.” She adds that “the job” isn’t always about producing. “There’s more parts to being an artist that are very human — like housing, healthcare, childcare for example — that contribute to the work we do,” says Lastimosa. “It’s validating to get this sense of self-determination.” \u003c/p>\n\u003cp>Paolo Asuncion, the third member of TNT Traysikel, says the group plans on taking their vehicle on the road, connecting with Filipino communities in Stockton, Morro Bay and as far as \u003ca href=\"https://filipinola.com/st-malo/\" target=\"_blank\" rel=\"noopener\">Bayou St. Malo in Louisiana\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The plan is to ride TNT across the states,” Asuncion says, “to collect stories from all of these people and to spread the joy outward from San Francisco Bay.” \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Kenneth Rainin Foundation announced its 2024 class of fellows on Wednesday, giving unrestricted grants of $100,000 each to three individual artists and one trio of creatives.\u003c/p>\n\u003cp>The list includes filmmaker \u003ca href=\"https://www.instagram.com/adrianlburrell/\" target=\"_blank\" rel=\"noopener\">Adrian L. Burrell\u003c/a>, dancer \u003ca href=\"https://www.danceforallbodies.org/antoinehunter\" target=\"_blank\" rel=\"noopener noreferrer\">Antoine Hunter, a.k.a. Purple Fire Crow\u003c/a>, poet and thespian \u003ca href=\"https://www.ayodelenzinga.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ayodele ‘WordSlanger’ Nzinga\u003c/a>, and the trio of Mike Arcega, Paolo Asuncion, and Rachel Lastimosa of the \u003ca href=\"https://arcega.us/section/501274-TNT%20Traysikel.html\" target=\"_blank\" rel=\"noopener\">TNT Traysikel\u003c/a> mobile art exhibition.\u003c/p>\n\u003cfigure id=\"attachment_13956437\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13956437\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-800x621.jpg\" alt=\"TNT Traysikel, a roaming sculpture that represents the Filipino-American community, parked in front of the Golden Gate Bridge. \" width=\"800\" height=\"621\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-800x621.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-1020x792.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-768x596.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25-1536x1192.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/b46deecd95380203a29c0adb7ee6ec25.jpg 1572w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">TNT Traysikel, a roaming sculpture that represents the Filipino-American community, seen parked in front of the Golden Gate Bridge. \u003ccite>(Mark Baugh-Sasaki)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When asked what it feels like to receive the award, Oakland Poet Laureate Ayodele Nzinga says: “Liberated… It affords me a tiny bit of security here in the Bay.”\u003c/p>\n\u003cp>A playwright and owner of the \u003ca href=\"https://www.kqed.org/arts/13933205/ayodele-nzinga-opens-curtain-at-bam-house-a-new-home-for-black-arts\" target=\"_blank\" rel=\"noopener\">BAM House\u003c/a> theatre, Nzinga has produced shows in Oakland for more than two decades. She founded the theatre company the Lower Bottom Playaz in 1999, and in 2021 was awarded the title of \u003ca href=\"https://www.npr.org/2021/07/15/1013730633/meet-oaklands-first-poet-laureate-dr-ayodele-wordslanger-nzinga\" target=\"_blank\" rel=\"noopener\">Oakland’s first Poet Laureate.\u003c/a>\u003c/p>\n\u003cp>“I spent most of the time as Poet Laureate hoping that I could stay in Oakland for the term of laureatecy,” says Nzinga, adding that the ability to “root” both personally and professionally is her biggest takeaway from the grant.\u003c/p>\n\u003cfigure id=\"attachment_13956481\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956481\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/0.jpg\" alt=\"\" width=\"1000\" height=\"1250\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/0.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/0-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/0-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/0-768x960.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Adrian L. Burrell. \u003ccite>(Dondre Stutley )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Adrian L. Burrell echoes Nzinga’s plan to invest the funds into personal and professional development.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Burrell is a filmmaker, photographer and proud third-generation Oakland representative. He makes multimedia works comprised of his personal sojourns, family video archives and elements of Afrocentric spirituality. His work has received national acclaim; earlier this year, he was the recipient of \u003ca href=\"https://thegrio.com/2024/02/27/meet-adrian-burrell-the-first-recipient-of-thegrios-emerging-filmmaker-fellowship/\" target=\"_blank\" rel=\"noopener\">TheGrio’s Emerging Filmmaker Fellowship\u003c/a>.\u003c/p>\n\u003cp>But the Rainin Fellowship has special meaning to him. “It feels good to be supported by the soil,” Burrell says. As an independent artist, with no official gallery representation, he knows such recognition is rare.\u003c/p>\n\u003cp>“It’s been cool to be in a position where I can make my work and it touches people,” says Burrell, who will be at the \u003ca href=\"https://museumca.org/event/book-release-and-conversation-with-filmmaker-artist-and-author-adrian-burrell/\" target=\"_blank\" rel=\"noopener\">Oakland Museum of California\u003c/a> on May 4 for a Q&A about his book, \u003cem>Sugarcane & Lighting\u003c/em>, and a screening of his short film, \u003cem>The Saints Step in Kongo Time\u003c/em>. Burrell says support from local institutions is important: “That allows me to grow my practice, and continue to try to grow toward being a practicing sustainable artist.”\u003c/p>\n\u003cfigure id=\"attachment_13956558\" class=\"wp-caption aligncenter\" style=\"max-width: 1170px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956558 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1.jpg\" alt=\"Antoine Hunter (Purple Fire Crow) poses for a photo while wearing a golden-brown cloth draped over his upper body. \" width=\"1170\" height=\"1476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1.jpg 1170w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1-800x1009.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1-1020x1287.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1-160x202.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1-768x969.jpg 768w\" sizes=\"(max-width: 1170px) 100vw, 1170px\">\u003cfigcaption class=\"wp-caption-text\">Award-winning dancer Antoine ‘Purple Fire Crow’ Hunter. \u003ccite>(Mark Kitoaka)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sustainability, for self and community, are on the mind of dancer Antoine Hunter as he receives the fellowship. Hunter, also known as Purple Fire Crow, says when he learned about the award, he was hit with a mixture of emotion — joy and gratitude, as well as the “stress to stay the best human being I can be to support my community.” He was reminded, he says, of how there’s more work to do, as his goal is to open more doors for people to come after him.\u003c/p>\n\u003cp>An award winning-dancer and choreographer from Oakland, Hunter is Deaf and creates work for people living with disabilities. “This award is a milestone blessing that adds on the layer to the story of my career with the \u003ca href=\"https://www.realurbanjazzdance.com/\" target=\"_blank\" rel=\"noopener\">Urban Jazz Dance Company\u003c/a> (UJDC),” Hunter writes in an email. He adds that the fellowship is a way of recognizing the challenges faced by members of the Deaf and Disabled communities who are working to overcome ableism, and that it will deepen the impact of his work in the Bay Area arts community — “particularly in advocating for Deaf (and) Disabled folks of many kinds of artists, and promoting inclusivity in dance.”\u003c/p>\n\u003cfigure id=\"attachment_13956574\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956574 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-800x450.jpg\" alt=\"The TNT Traysikel trio and their three-wheeled vehicle. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/unnamed-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The TNT Traysikel trio and their three-wheeled vehicle. \u003ccite>(Alvin Dizon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mike Arcega of TNT Traysikel says the fellowship feels like validation for the group’s work. They created a vehicle that speaks to the culture of the Philippines and connects Filipino community members here in the Bay, and it’s paying off.\u003c/p>\n\u003cp>TNT Traysikel’s Rachel Lastimosa says the stipulation-free grant “signals that artists know what they’re doing, and that they know how to get the job done.” She adds that “the job” isn’t always about producing. “There’s more parts to being an artist that are very human — like housing, healthcare, childcare for example — that contribute to the work we do,” says Lastimosa. “It’s validating to get this sense of self-determination.” \u003c/p>\n\u003cp>Paolo Asuncion, the third member of TNT Traysikel, says the group plans on taking their vehicle on the road, connecting with Filipino communities in Stockton, Morro Bay and as far as \u003ca href=\"https://filipinola.com/st-malo/\" target=\"_blank\" rel=\"noopener\">Bayou St. Malo in Louisiana\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The plan is to ride TNT across the states,” Asuncion says, “to collect stories from all of these people and to spread the joy outward from San Francisco Bay.” \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Prepare to Get Hot and Bothered With Stylish, Synthy Tennis Drama ‘Challengers’",
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"content": "\u003cp>\u003cem>Challengers\u003c/em> is a bit of a tease. That’s what makes it fun.\u003c/p>\n\u003cp>There is plenty of skin, sweat, close-ups of muscly thighs and smoldering looks of lust and hate in this deliriously over-the-top psychodrama. But get that image of Josh O’Connor, Zendaya and Mike Faist sitting together on the bed out of your mind. Most of this action takes place on the tennis court.\u003c/p>\n\u003cp>[aside postid='arts_13955948']It’s still a sexy tennis movie about friendship, love, competition and sport set to a synth-y score from Trent Reznor and Atticus Ross — it just might not contain exactly what you think it does. But remember, Luca Guadagnino is the one who filmed Timothée Chalamet with that peach, perhaps more memorable than any actual sex scene from the past decade. Manage expectations, but also trust.\u003c/p>\n\u003cp>And like \u003cem>Call Me By Your Name\u003c/em> did for Chalamet, \u003cem>Challengers\u003c/em> is one of those rare original big-screen delights that firmly announces the arrival of a new generation of movie stars. Zendaya and Faist already had a bit of a leg up. She has played significant supporting roles in some of the biggest movies of the past few years, from \u003cem>Spider-Man\u003c/em> to \u003cem>Dune\u003c/em>, and he had had his big cinematic breakthrough as Riff in Steven Spielberg’s \u003cem>West Side Story\u003c/em>. But it’s O’Connor who really comes out on top, effectively shedding any lingering image of him as a whiny, dweeby Prince Charles in seasons three and four of \u003cem>The Crown\u003c/em>. In \u003cem>Challengers\u003c/em>, his Patrick Zweig is the cocky, flirty, slightly mean, slightly dirty and slightly broken bad boyfriend of our fictional dreams.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-2N3hmRmwHQ\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Written by playwright Justin Kuritzkes (who is married to \u003cem>Past Lives\u003c/em> filmmaker Celine Song), \u003cem>Challengers\u003c/em> is a prickly treat, about fractured relationships, egos, infidelity and ambition. Set during a qualifying match at the New Rochelle Tennis Club, outside New York City, the intricately woven story reveals itself through flashbacks that build to a crescendo in the present-day match.\u003c/p>\n\u003cp>[aside postid='arts_13955729']O’Connor’s Patrick and Faist’s Art are old boarding school roommates turned tennis teammates. It’s a relationship that’s at turns brotherly, erotic and competitive. Whatever it is, they are definitely too close and not remotely prepared for Zendaya’s Tashi Duncan to enter the mix.\u003c/p>\n\u003cp>Tashi, in high school, is well on her way to becoming the next big tennis superstar. Art and Patrick watch her play, mouths agape at her technical form and physical beauty. Later, they both ask for her number, leading to a revealing night in a grungy hotel room. She promises her number to the one who wins the singles match the next day. Tashi just wants to see some good tennis, she says, but she also knows how to motivate and manipulate.\u003c/p>\n\u003cp>Because of the fractured timeline, we know that Tashi in the present day does not play tennis anymore. She was injured at some point and never recovered, unlike her husband, Art, who is now one of the most famous players in the world. The two of them are wildly wealthy, living in a ritzy hotel and fronting Aston Martin ad campaigns. At night, Tashi uses Augustinus Bader cream to moisturize her legs. Guadagnino, who likes to wink at and luxuriate in wealth signifiers, enlisted JW Anderson designer Jonathan Anderson to do the costumes, which will surely populate summer style inspiration boards the way his \u003cem>A Bigger Splash\u003c/em> and \u003cem>Call Me By Your Name\u003c/em> have in the past.\u003c/p>\n\u003cp>[aside postid='arts_13956480']But while they are technically at the top, Art is also on a losing streak, so Tashi sends him to a low-stakes tournament where he can get his confidence back. That’s where they encounter Patrick, who has not been so fortunate over the years and who has fallen out with his old friends. Of course, it’s all building to Patrick and Art playing one another in the final match, a part of which is so wildly and comically drawn out that you can almost envision the \u003cem>Saturday Night Live\u003c/em> spoof.\u003c/p>\n\u003cp>\u003cem>Challengers\u003c/em> is a drama, but a funny and self-aware one. It doesn’t take itself very seriously and has a lot of fun with its characters, all three of which are anti-heroes in a way. You might have a favorite, but you’re probably not rooting for anyone exactly — just glued to the screen to see how it all plays out on and off the court.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Challengers’ is released nationwide on April 26, 2024. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>O’Connor’s Patrick and Faist’s Art are old boarding school roommates turned tennis teammates. It’s a relationship that’s at turns brotherly, erotic and competitive. Whatever it is, they are definitely too close and not remotely prepared for Zendaya’s Tashi Duncan to enter the mix.\u003c/p>\n\u003cp>Tashi, in high school, is well on her way to becoming the next big tennis superstar. Art and Patrick watch her play, mouths agape at her technical form and physical beauty. Later, they both ask for her number, leading to a revealing night in a grungy hotel room. She promises her number to the one who wins the singles match the next day. Tashi just wants to see some good tennis, she says, but she also knows how to motivate and manipulate.\u003c/p>\n\u003cp>Because of the fractured timeline, we know that Tashi in the present day does not play tennis anymore. She was injured at some point and never recovered, unlike her husband, Art, who is now one of the most famous players in the world. The two of them are wildly wealthy, living in a ritzy hotel and fronting Aston Martin ad campaigns. At night, Tashi uses Augustinus Bader cream to moisturize her legs. Guadagnino, who likes to wink at and luxuriate in wealth signifiers, enlisted JW Anderson designer Jonathan Anderson to do the costumes, which will surely populate summer style inspiration boards the way his \u003cem>A Bigger Splash\u003c/em> and \u003cem>Call Me By Your Name\u003c/em> have in the past.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But while they are technically at the top, Art is also on a losing streak, so Tashi sends him to a low-stakes tournament where he can get his confidence back. That’s where they encounter Patrick, who has not been so fortunate over the years and who has fallen out with his old friends. Of course, it’s all building to Patrick and Art playing one another in the final match, a part of which is so wildly and comically drawn out that you can almost envision the \u003cem>Saturday Night Live\u003c/em> spoof.\u003c/p>\n\u003cp>\u003cem>Challengers\u003c/em> is a drama, but a funny and self-aware one. It doesn’t take itself very seriously and has a lot of fun with its characters, all three of which are anti-heroes in a way. You might have a favorite, but you’re probably not rooting for anyone exactly — just glued to the screen to see how it all plays out on and off the court.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Challengers’ is released nationwide on April 26, 2024. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Lumumba Lives! Alongside Max, Abbey, Dizzy and Duke in ‘Soundtrack for a Coup d’Etat’",
"headTitle": "Lumumba Lives! Alongside Max, Abbey, Dizzy and Duke in ‘Soundtrack for a Coup d’Etat’ | KQED",
"content": "\u003cp>In the hands of Johan Grimonprez, archival footage carries a 200-volt charge. That dusty patina and musty aroma that envelops most period documentaries? Not a whiff in Grimonprez’s work, which crackles, buzzes and stings like a live wire hitched to the pulse of history.\u003c/p>\n\u003cp>The Belgian filmmaker and visual essayist’s bracing, relentless \u003cem>\u003ca href=\"https://sffilm.org/event/persistence-of-vision-award-johan-grimonprez-soundtrack-for-a-coup-detat/\">Soundtrack for a Coup d’Etat\u003c/a>\u003c/em>, which premiered at Sundance and screens Thursday, April 25 at the Berkeley Art Museum and Pacific Film Archive as part of the San Francisco International Film Festival (April 24–28), takes us back to the mid-1950s through mid-1960s when Africa’s continent-wide movement for independence and solidarity coincided with the Cold War between jousting superpowers as well as the emerging Civil Rights Movement in the United States.\u003c/p>\n\u003cp>[aside postID='arts_13954872,arts_13956111']The film’s through line is Patrice Lumumba, a beer salesman in the Belgian colony of the Congo and skilled public speaker who emerged to lead the successful campaign for independence. In June 1960 he was elected the first prime minister of the Republic of the Congo; seven months later, following a U.S. and Belgium-backed coup by Col. Joseph Mobutu, Lumumba was murdered with two political allies. He was 35.\u003c/p>\n\u003cp>Raoul Peck (\u003cem>I Am Not Your Negro\u003c/em>) made an essential but hard-to-find documentary, \u003cem>Lumumba: Death of a Prophet\u003c/em> (1991), as well as the 2000 biopic \u003cem>Lumumba\u003c/em> (streaming for free on \u003ca href=\"https://www.kanopy.com/en/product/lumumba-2\">Kanopy\u003c/a>). Grimonprez doesn’t retrace Peck’s steps (let alone revisit 19th-century Belgian atrocities) so much as re-cast Lumumba’s visionary pan-Africanism — portrayed by the international media of the time as radical, primitive, violent and Communist-leaning — as reasonable Black expression.\u003c/p>\n\u003cp>To put it another way, the filmmaker is less concerned with the injustice and tragedy of Lumumba’s death than how the white power structure (President Dwight Eisenhower, Director of Central Intelligence Allen Dulles, Belgian and U.S. business interests and European mercenaries) exerted its will, protected its mineral and commercial holdings and changed the path of African history. (I shouldn’t limit myself to the past tense, as Grimonprez’s inclusion of color Tesla and Apple iPhone ads in the black-and-white flow reminds us.)\u003c/p>\n\u003cfigure id=\"attachment_13956485\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SOUNDTRACK_2-scaled.jpg\" alt=\"Black and white photo of parade with flags and onlookers, two men standing in back of car\" width=\"2560\" height=\"1705\" class=\"size-full wp-image-13956485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SOUNDTRACK_2-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SOUNDTRACK_2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SOUNDTRACK_2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SOUNDTRACK_2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SOUNDTRACK_2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SOUNDTRACK_2-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SOUNDTRACK_2-2048x1364.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SOUNDTRACK_2-1920x1279.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Soundtrack for a Coup d’Etat.’ \u003ccite>(Courtesy SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I apologize for withholding until now the “soundtrack” that Grimonprez deploys as poignant, pleasurable counterpoint to the shadowy narrative of devious ambassadors and smug spooks, and cowed United Nations Secretary-General Dag Hammarskjöld. It is vintage, wall-to-wall jazz, beginning with Max Roach and Abbey Lincoln, who will reappear at a climactic UN Security Council meeting in the wake of Lumumba’s murder.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The precise starting point, though, is Louis Armstrong, who toured the world as a goodwill ambassador in the decades after World War II. In fact, the State Department sponsored his trips to Africa in the 1950s. Even without seeing \u003cem>Soundtrack for a Coup d’Etat\u003c/em>, you can imagine Satchmo’s pleasure at his reception in pre-independence Ghana, his fury at the racism and violence that Black Americans experienced at the same time, and his distaste for being used by his government to “Blackwash” its domestic policies abroad.\u003c/p>\n\u003cp>[aside postID='arts_13955977']Grimonprez, who is receiving SFFILM’s annual Persistence of Vision Award presented to a non-narrative filmmaker (previous winners include Trinh T. Minh-ha, Kenneth Anger and Heddy Honigmann), has a rare, ephemeral talent with news footage and vintage interviews that allows us to experience — while the story is moving forward, albeit with digressions — how broadcasters and cameramen framed their subjects at the time. The condescension and racism are palpable.\u003c/p>\n\u003cp>In the event you can’t catch \u003cem>Soundtrack for a Coup d’Etat\u003c/em> at the festival, and even if you can, Kanopy has an earlier, even more visceral Grimonprez foray into moving-image archives. \u003cem>\u003ca href=\"https://www.kanopy.com/en/product/5959289?vp=torontopl\">dial H-I-S-T-O-R-Y\u003c/a>\u003c/em> (1997) is an often-shocking compilation from the ’70s heyday of commercial airline hijackings by terrorists of various stripes that finds the horror in the banality of distanced, objective news footage.\u003c/p>\n\u003cp>One of the pleasures of the new film is the way in which time, context and a skillful editor shift our perspectives of historical figures. Long before Benetton, Nikita Khrushchev (First Secretary of the Communist Party of the Soviet Union and Chairman of the Council of Ministers) and Cuban Prime Minister Fidel Castro are aware of the performative and symbolic value of their public appearances.\u003c/p>\n\u003cp>Every appearance and word in this film by Malcolm X, meanwhile, sparkles with wisdom, insight and courage. He is beyond direct; he’s a genuine prophet. Yet in his lifetime, the media portrayed him as a dangerous fringe figure. How might the world look today if Lumumba and Malcolm had lived longer? Would the promise of African self-rule have come to fruition? Would Johan Grimonprez be in the Bay Area this week with a film called \u003cem>Soundtrack for a Revolution\u003c/em>?\u003c/p>\n\u003cp>Grimonprez doesn’t pose those questions, at least not directly. But they are woven into the film, in the soulful notes of Duke Ellington, Dizzy Gillespie, Thelonius Monk, John Coltrane, Nina Simone, Art Blakey and Ornette Coleman.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The presentation of SFFILM’s Persistence of Vision Award begins at 6:30 p.m. on April 25 at the Berkeley Art Museum and Pacific Film Archive with director Johan Grimonprez and presenter Fumi Okiji expected to attend. ‘Soundtrack for a Coup d’Etat’ plays at 7 p.m. \u003ca href=\"https://sffilm.org/event/persistence-of-vision-award-johan-grimonprez-soundtrack-for-a-coup-detat/\">Find tickets and more information here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the hands of Johan Grimonprez, archival footage carries a 200-volt charge. That dusty patina and musty aroma that envelops most period documentaries? Not a whiff in Grimonprez’s work, which crackles, buzzes and stings like a live wire hitched to the pulse of history.\u003c/p>\n\u003cp>The Belgian filmmaker and visual essayist’s bracing, relentless \u003cem>\u003ca href=\"https://sffilm.org/event/persistence-of-vision-award-johan-grimonprez-soundtrack-for-a-coup-detat/\">Soundtrack for a Coup d’Etat\u003c/a>\u003c/em>, which premiered at Sundance and screens Thursday, April 25 at the Berkeley Art Museum and Pacific Film Archive as part of the San Francisco International Film Festival (April 24–28), takes us back to the mid-1950s through mid-1960s when Africa’s continent-wide movement for independence and solidarity coincided with the Cold War between jousting superpowers as well as the emerging Civil Rights Movement in the United States.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The film’s through line is Patrice Lumumba, a beer salesman in the Belgian colony of the Congo and skilled public speaker who emerged to lead the successful campaign for independence. In June 1960 he was elected the first prime minister of the Republic of the Congo; seven months later, following a U.S. and Belgium-backed coup by Col. Joseph Mobutu, Lumumba was murdered with two political allies. He was 35.\u003c/p>\n\u003cp>Raoul Peck (\u003cem>I Am Not Your Negro\u003c/em>) made an essential but hard-to-find documentary, \u003cem>Lumumba: Death of a Prophet\u003c/em> (1991), as well as the 2000 biopic \u003cem>Lumumba\u003c/em> (streaming for free on \u003ca href=\"https://www.kanopy.com/en/product/lumumba-2\">Kanopy\u003c/a>). Grimonprez doesn’t retrace Peck’s steps (let alone revisit 19th-century Belgian atrocities) so much as re-cast Lumumba’s visionary pan-Africanism — portrayed by the international media of the time as radical, primitive, violent and Communist-leaning — as reasonable Black expression.\u003c/p>\n\u003cp>To put it another way, the filmmaker is less concerned with the injustice and tragedy of Lumumba’s death than how the white power structure (President Dwight Eisenhower, Director of Central Intelligence Allen Dulles, Belgian and U.S. business interests and European mercenaries) exerted its will, protected its mineral and commercial holdings and changed the path of African history. (I shouldn’t limit myself to the past tense, as Grimonprez’s inclusion of color Tesla and Apple iPhone ads in the black-and-white flow reminds us.)\u003c/p>\n\u003cfigure id=\"attachment_13956485\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SOUNDTRACK_2-scaled.jpg\" alt=\"Black and white photo of parade with flags and onlookers, two men standing in back of car\" width=\"2560\" height=\"1705\" class=\"size-full wp-image-13956485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SOUNDTRACK_2-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SOUNDTRACK_2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SOUNDTRACK_2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SOUNDTRACK_2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SOUNDTRACK_2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SOUNDTRACK_2-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SOUNDTRACK_2-2048x1364.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SOUNDTRACK_2-1920x1279.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Soundtrack for a Coup d’Etat.’ \u003ccite>(Courtesy SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I apologize for withholding until now the “soundtrack” that Grimonprez deploys as poignant, pleasurable counterpoint to the shadowy narrative of devious ambassadors and smug spooks, and cowed United Nations Secretary-General Dag Hammarskjöld. It is vintage, wall-to-wall jazz, beginning with Max Roach and Abbey Lincoln, who will reappear at a climactic UN Security Council meeting in the wake of Lumumba’s murder.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The precise starting point, though, is Louis Armstrong, who toured the world as a goodwill ambassador in the decades after World War II. In fact, the State Department sponsored his trips to Africa in the 1950s. Even without seeing \u003cem>Soundtrack for a Coup d’Etat\u003c/em>, you can imagine Satchmo’s pleasure at his reception in pre-independence Ghana, his fury at the racism and violence that Black Americans experienced at the same time, and his distaste for being used by his government to “Blackwash” its domestic policies abroad.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Grimonprez, who is receiving SFFILM’s annual Persistence of Vision Award presented to a non-narrative filmmaker (previous winners include Trinh T. Minh-ha, Kenneth Anger and Heddy Honigmann), has a rare, ephemeral talent with news footage and vintage interviews that allows us to experience — while the story is moving forward, albeit with digressions — how broadcasters and cameramen framed their subjects at the time. The condescension and racism are palpable.\u003c/p>\n\u003cp>In the event you can’t catch \u003cem>Soundtrack for a Coup d’Etat\u003c/em> at the festival, and even if you can, Kanopy has an earlier, even more visceral Grimonprez foray into moving-image archives. \u003cem>\u003ca href=\"https://www.kanopy.com/en/product/5959289?vp=torontopl\">dial H-I-S-T-O-R-Y\u003c/a>\u003c/em> (1997) is an often-shocking compilation from the ’70s heyday of commercial airline hijackings by terrorists of various stripes that finds the horror in the banality of distanced, objective news footage.\u003c/p>\n\u003cp>One of the pleasures of the new film is the way in which time, context and a skillful editor shift our perspectives of historical figures. Long before Benetton, Nikita Khrushchev (First Secretary of the Communist Party of the Soviet Union and Chairman of the Council of Ministers) and Cuban Prime Minister Fidel Castro are aware of the performative and symbolic value of their public appearances.\u003c/p>\n\u003cp>Every appearance and word in this film by Malcolm X, meanwhile, sparkles with wisdom, insight and courage. He is beyond direct; he’s a genuine prophet. Yet in his lifetime, the media portrayed him as a dangerous fringe figure. How might the world look today if Lumumba and Malcolm had lived longer? Would the promise of African self-rule have come to fruition? Would Johan Grimonprez be in the Bay Area this week with a film called \u003cem>Soundtrack for a Revolution\u003c/em>?\u003c/p>\n\u003cp>Grimonprez doesn’t pose those questions, at least not directly. But they are woven into the film, in the soulful notes of Duke Ellington, Dizzy Gillespie, Thelonius Monk, John Coltrane, Nina Simone, Art Blakey and Ornette Coleman.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The presentation of SFFILM’s Persistence of Vision Award begins at 6:30 p.m. on April 25 at the Berkeley Art Museum and Pacific Film Archive with director Johan Grimonprez and presenter Fumi Okiji expected to attend. ‘Soundtrack for a Coup d’Etat’ plays at 7 p.m. \u003ca href=\"https://sffilm.org/event/persistence-of-vision-award-johan-grimonprez-soundtrack-for-a-coup-detat/\">Find tickets and more information here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"id": "bbc-world-service",
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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"meta": {
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},
"link": "/radio/program/bbc-world-service",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
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},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
"meta": {
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"order": 1
},
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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},
"link": "/radio/program/how-i-built-this",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
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"order": 18
},
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"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.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"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>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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