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"content": "\u003cp>\u003cem>Love Lies Bleeding\u003c/em> is a weird goddamn movie.\u003c/p>\n\u003cp>It manages to be incredibly sexy one moment and turn-away-from-the-screen repulsive the next. Graphic violence and ironic humor rub up against one another. Everyone looks like a dirty trashbag, but in a way that is somehow pleasing to the eye. (Not dissimilar to 1996’s \u003cem>Trainspotting,\u003c/em> I suppose — if \u003cem>Trainspotting\u003c/em> had more perms and greasy mullets.)\u003c/p>\n\u003cp>It’s also a movie that spends two-thirds viscerally steeping itself in gritty realism, only to erupt into a surreal fantasy that flounders in the last act.\u003c/p>\n\u003cp>[aside postid='arts_13929913']Yes. Please take my word for it: \u003cem>Love Lies Bleeding\u003c/em> is a weird goddamn movie that doesn’t just defy a single genre, it actively flips all of them off.\u003c/p>\n\u003cp>At the outset, this is a story that’s unusual in the best possible way. The setting is small-town New Mexico in 1989. Grumpy, chain-smoking gym employee Lou (Kristen Stewart) meets bodybuilding out-of-towner Jackie (Katy O’Brian). The two immediately shack up and begin a steamy — albeit steroid-enhanced — relationship. Jackie works at a nearby gun range that’s run by Lou’s estranged father, Lou Sr (Ed Harris). Jackie gets her job via J.J. (Dave Franco) after the two share a brief sexual encounter on her first night in town. J.J. also happens to be married to Lou’s sister Beth (Jena Malone), whom he viciously beats on a regular basis.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BF_J3-DmiS0&t=43s\u003c/p>\n\u003cp>The bulk of \u003cem>Love Lies Bleeding\u003c/em> is a brilliantly acted, thoroughly engrossing, slow spiral into increasingly violent, desperate and complicated circumstances. J.J.’s actions set the characters on a crash course in which people are killed, bodies are concealed, traps are set, lines are blurred and allegiances are changed. At its core, the film is about love and monstrousness and how the two can intersect. But it’s also about broken families, lonely people and corrupt systems.\u003c/p>\n\u003cp>If \u003cem>Love Lies Bleeding\u003c/em> had successfully retained that tone and momentum throughout, it could have been a damn-near perfect movie. Where it throws itself drunkenly off a cliff is in trying too hard to labor its main raison d’être: the idea that love is capable of driving people to unthinkable actions.\u003c/p>\n\u003cp>Once the main characters are all thoroughly tied up in each other’s bad decisions, the script can’t quite figure out a sensible way to resolve itself. And with that, writer-director Rose Glass throws out the low-key, synth-enhanced, grimy sexiness that originally set the tone in favor of cartoonish imagery, a sharp shift into surreality and, worse still, plot holes.\u003c/p>\n\u003cp>[aside postid='arts_13952668']Still, there is enough to marvel at here that I can’t, in good conscience, tell you to skip \u003cem>Love Lies Bleeding\u003c/em> altogether. The aesthetics and misfit fashions alone are worth the viewing time. Then there’s all the hot-but-realistically-low-key sex between Lou and Jackie. Kristen Stewart’s slowly unraveling performance is magnificent. Katy O’Brian and her rippling muscles are consistently mesmerizing. And Ed Harris is so sinister here, this performance makes his \u003cem>Westworld\u003c/em> character look like a romantic lead.\u003c/p>\n\u003cp>So, by all means, go and see \u003cem>Love Lies Bleeding\u003c/em> for all of the above. Just don’t expect to get lost in its dirty little orbit for too long. It never quite sticks the landing.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Love Lies Bleeding’ officially hits Bay Area big screens on March 15, 2024. Special preview screenings begin in select San Francisco and Oakland theaters on March 12. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/BF_J3-DmiS0'\n title='//www.youtube.com/embed/BF_J3-DmiS0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The bulk of \u003cem>Love Lies Bleeding\u003c/em> is a brilliantly acted, thoroughly engrossing, slow spiral into increasingly violent, desperate and complicated circumstances. J.J.’s actions set the characters on a crash course in which people are killed, bodies are concealed, traps are set, lines are blurred and allegiances are changed. At its core, the film is about love and monstrousness and how the two can intersect. But it’s also about broken families, lonely people and corrupt systems.\u003c/p>\n\u003cp>If \u003cem>Love Lies Bleeding\u003c/em> had successfully retained that tone and momentum throughout, it could have been a damn-near perfect movie. Where it throws itself drunkenly off a cliff is in trying too hard to labor its main raison d’être: the idea that love is capable of driving people to unthinkable actions.\u003c/p>\n\u003cp>Once the main characters are all thoroughly tied up in each other’s bad decisions, the script can’t quite figure out a sensible way to resolve itself. And with that, writer-director Rose Glass throws out the low-key, synth-enhanced, grimy sexiness that originally set the tone in favor of cartoonish imagery, a sharp shift into surreality and, worse still, plot holes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Still, there is enough to marvel at here that I can’t, in good conscience, tell you to skip \u003cem>Love Lies Bleeding\u003c/em> altogether. The aesthetics and misfit fashions alone are worth the viewing time. Then there’s all the hot-but-realistically-low-key sex between Lou and Jackie. Kristen Stewart’s slowly unraveling performance is magnificent. Katy O’Brian and her rippling muscles are consistently mesmerizing. And Ed Harris is so sinister here, this performance makes his \u003cem>Westworld\u003c/em> character look like a romantic lead.\u003c/p>\n\u003cp>So, by all means, go and see \u003cem>Love Lies Bleeding\u003c/em> for all of the above. Just don’t expect to get lost in its dirty little orbit for too long. It never quite sticks the landing.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Love Lies Bleeding’ officially hits Bay Area big screens on March 15, 2024. Special preview screenings begin in select San Francisco and Oakland theaters on March 12. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Exile, the poets say, is a state of mind as much as a fact of geography. It’s no less true if the leave-taking is by choice rather than by force.\u003c/p>\n\u003cp>Lina Soualem’s compelling documentary, \u003cem>Bye Bye Tiberias\u003c/em>, seeks to convey her mother’s experience of living her entire adult life a continent away from her birthplace and family. A parable of freedom, pain and beauty, \u003cem>Bye Bye Tiberias\u003c/em> (playing Friday, March 8–Sunday, March 10 at the Roxie) traverses four generations to tell a universal story of defying parental expectations.\u003c/p>\n\u003cp>The film’s central subject, Soualem’s mother, is the renowned Palestinian actress Hiam Abbass (who will appear in conversation with Israeli-Palestinian actress Clara Khoury after the Saturday show). Best known these days as Marcia Roy in HBO’s \u003cem>Succession\u003c/em>, the France-based Abbass became an international star with the politically charged Middle Eastern dramas \u003cem>Paradise Now\u003c/em> and \u003cem>Lemon Tree\u003c/em>, and the Hollywood epics \u003cem>Munich\u003c/em> and \u003cem>Blade Runner 2049\u003c/em>.[aside postID='arts_13952306']\u003c/p>\n\u003cp>But Abass’s story, as told in this film, really starts a dozen years before she was born, when her parents fled their home in Tiberias for the Lebanon border during the Arab-Israeli War of 1948. One of their daughters had already crossed into Syria, and they planned to follow her. But then the father, a farmer, couldn’t bring himself to leave Palestine. He and Abbass’s mother went back to the Galilee region, settling in the village of Deir Hanna, in what was now (and what remains) northern Israel.\u003c/p>\n\u003cp>Hiam Abbass and most of her other siblings were born in Deir Hanna, and the family appears to have gone on to live relatively stable, highly educated lives there. (They also eventually reunited, many years later, with their daughter who fled, after she made a surreptitious and risky trip from Syria.) But the trauma of being uprooted from their original home led to the father’s premature demise, according to family lore. Disoriented, he would stand by the road asking passers-by if they’d seen his cows. The events of 1948 are clearly woven throughout both the family’s narrative and the film’s.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Otherwise, \u003cem>Bye Bye Tiberias\u003c/em> jumps back and forth in time, beginning with home movies that Hiam Abbass shot in 1992 when she returned to Deir Hanna to present her toddler, Lina, to the family. These opening scenes establish and explain the presence of Lina, the filmmaker, as the narrator, and as her mother’s interviewer in contemporary footage shot in 2018.\u003c/p>\n\u003cp>They also plant the expectation that \u003cem>Bye Bye Tiberias\u003c/em> will be a personal excavation of family and political history for Lina, who was born and raised in Europe. But she stays in the background, for better or worse, rarely onscreen. The filmmaker seems content to let Mom hold the emotional center, along with her grandmother, Um Ali, a direct link to the exile evoked through black-and-white archival footage of the Nakba (which translates to “Catastrophe,” as Palestinians describe their eviction and displacement during and after the 1948 war).\u003c/p>\n\u003cfigure id=\"attachment_13953649\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2001172747.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953649\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2001172747.jpg\" alt=\"a portrait of an older mother and adult daughter, both fair skinned with dark hair and wearing red lipstick, against a black background\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2001172747.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2001172747-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2001172747-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2001172747-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2001172747-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Palestinian actress and film director Hiam Abbass (L) and her daughter, French-Palestinian-Algerian filmmaker and actress Lina Soualem, pose during a photo session in Paris on Febr. 13, 2024. \u003ccite>(Joel Saget/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hiam was born in Deir Hanna, the fifth of eight daughters (and 10 children overall), where some of her siblings still reside. Abbass wrote poetry throughout her adolescence and studied photography in college before moving to Jerusalem to pursue acting — in secret. “Everything suffocated me,” she recalls. “Even the people I loved suffocated me.”\u003c/p>\n\u003cp>Most modern viewers will applaud Abbass’s artistic ambitions, and see her need to go and grow beyond her traditional family as not just natural but admirable. But at the time, it took a lot of guts, even if she extricated herself from her family and country through a time-honored method: marriage. (Abbass fell in love with an Englishman, she notes. She wasn’t being strategic or calculating, though the relationship had the desired result.)\u003c/p>\n\u003cp>Abbass’s decision to pursue an acting career abroad was undoubtedly the right one — “I was the child who had to escape,” she says — but it was accompanied by a raft of emotions. Palestine’s entry for the International Feature Film Oscar, \u003cem>Bye Bye Tiberias\u003c/em> lets us imagine how it felt to be “the one who left” when Abbass came home for visits, and gives just a fleeting hint of any jealousy and resentment her sisters obliquely expressed.\u003c/p>\n\u003cp>Her most palpable regret, or greatest twinge of guilt, involves her mother. FaceTime may be the next best thing to being there, but it isn’t the same thing. (And it didn’t exist until 2010.)\u003c/p>\n\u003cp>“I think we know how to become mothers,” Hiam tells Lina. “But we never know how to separate from a mother.”\u003c/p>\n\u003cp>Some moviegoers may be inclined to approach \u003cem>Bye Bye Tiberias\u003c/em> through a political lens given the terrible present moment of war, suffering and displacement. But the interactions between Hiam and Um Ali ground us in a primary, universal relationship. We get Hiam’s residual sorrow, not for the road not taken but for the price of being true to one’s soul (artistic or otherwise).\u003c/p>\n\u003cp>Abbass’s self-exile, precipitated by neither political events nor military force, is fraught with layers. Lina Soualem, uninterested in confrontational confessions or celebrity travelogue, has crafted an open-ended and often-moving portrait of the family ties that bind, and the cost of chasing one’s dreams.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Bye Bye Tiberias’ runs March 8–10 at the Roxie Theatre (3117 16th St.) in San Francisco. \u003ca href=\"https://roxie.com/film/bye-bye-tiberias/\">Tickets and more info here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "A new documentary about actress Hiam Abbass explores displacement, exile-by-choice and the price of leaving home. ",
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"title": "‘Bye Bye Tiberias’ Weaves Stories of Mothers, Daughters and Palestine’s Borders | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Exile, the poets say, is a state of mind as much as a fact of geography. It’s no less true if the leave-taking is by choice rather than by force.\u003c/p>\n\u003cp>Lina Soualem’s compelling documentary, \u003cem>Bye Bye Tiberias\u003c/em>, seeks to convey her mother’s experience of living her entire adult life a continent away from her birthplace and family. A parable of freedom, pain and beauty, \u003cem>Bye Bye Tiberias\u003c/em> (playing Friday, March 8–Sunday, March 10 at the Roxie) traverses four generations to tell a universal story of defying parental expectations.\u003c/p>\n\u003cp>The film’s central subject, Soualem’s mother, is the renowned Palestinian actress Hiam Abbass (who will appear in conversation with Israeli-Palestinian actress Clara Khoury after the Saturday show). Best known these days as Marcia Roy in HBO’s \u003cem>Succession\u003c/em>, the France-based Abbass became an international star with the politically charged Middle Eastern dramas \u003cem>Paradise Now\u003c/em> and \u003cem>Lemon Tree\u003c/em>, and the Hollywood epics \u003cem>Munich\u003c/em> and \u003cem>Blade Runner 2049\u003c/em>.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But Abass’s story, as told in this film, really starts a dozen years before she was born, when her parents fled their home in Tiberias for the Lebanon border during the Arab-Israeli War of 1948. One of their daughters had already crossed into Syria, and they planned to follow her. But then the father, a farmer, couldn’t bring himself to leave Palestine. He and Abbass’s mother went back to the Galilee region, settling in the village of Deir Hanna, in what was now (and what remains) northern Israel.\u003c/p>\n\u003cp>Hiam Abbass and most of her other siblings were born in Deir Hanna, and the family appears to have gone on to live relatively stable, highly educated lives there. (They also eventually reunited, many years later, with their daughter who fled, after she made a surreptitious and risky trip from Syria.) But the trauma of being uprooted from their original home led to the father’s premature demise, according to family lore. Disoriented, he would stand by the road asking passers-by if they’d seen his cows. The events of 1948 are clearly woven throughout both the family’s narrative and the film’s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Otherwise, \u003cem>Bye Bye Tiberias\u003c/em> jumps back and forth in time, beginning with home movies that Hiam Abbass shot in 1992 when she returned to Deir Hanna to present her toddler, Lina, to the family. These opening scenes establish and explain the presence of Lina, the filmmaker, as the narrator, and as her mother’s interviewer in contemporary footage shot in 2018.\u003c/p>\n\u003cp>They also plant the expectation that \u003cem>Bye Bye Tiberias\u003c/em> will be a personal excavation of family and political history for Lina, who was born and raised in Europe. But she stays in the background, for better or worse, rarely onscreen. The filmmaker seems content to let Mom hold the emotional center, along with her grandmother, Um Ali, a direct link to the exile evoked through black-and-white archival footage of the Nakba (which translates to “Catastrophe,” as Palestinians describe their eviction and displacement during and after the 1948 war).\u003c/p>\n\u003cfigure id=\"attachment_13953649\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2001172747.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953649\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2001172747.jpg\" alt=\"a portrait of an older mother and adult daughter, both fair skinned with dark hair and wearing red lipstick, against a black background\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2001172747.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2001172747-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2001172747-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2001172747-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2001172747-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Palestinian actress and film director Hiam Abbass (L) and her daughter, French-Palestinian-Algerian filmmaker and actress Lina Soualem, pose during a photo session in Paris on Febr. 13, 2024. \u003ccite>(Joel Saget/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hiam was born in Deir Hanna, the fifth of eight daughters (and 10 children overall), where some of her siblings still reside. Abbass wrote poetry throughout her adolescence and studied photography in college before moving to Jerusalem to pursue acting — in secret. “Everything suffocated me,” she recalls. “Even the people I loved suffocated me.”\u003c/p>\n\u003cp>Most modern viewers will applaud Abbass’s artistic ambitions, and see her need to go and grow beyond her traditional family as not just natural but admirable. But at the time, it took a lot of guts, even if she extricated herself from her family and country through a time-honored method: marriage. (Abbass fell in love with an Englishman, she notes. She wasn’t being strategic or calculating, though the relationship had the desired result.)\u003c/p>\n\u003cp>Abbass’s decision to pursue an acting career abroad was undoubtedly the right one — “I was the child who had to escape,” she says — but it was accompanied by a raft of emotions. Palestine’s entry for the International Feature Film Oscar, \u003cem>Bye Bye Tiberias\u003c/em> lets us imagine how it felt to be “the one who left” when Abbass came home for visits, and gives just a fleeting hint of any jealousy and resentment her sisters obliquely expressed.\u003c/p>\n\u003cp>Her most palpable regret, or greatest twinge of guilt, involves her mother. FaceTime may be the next best thing to being there, but it isn’t the same thing. (And it didn’t exist until 2010.)\u003c/p>\n\u003cp>“I think we know how to become mothers,” Hiam tells Lina. “But we never know how to separate from a mother.”\u003c/p>\n\u003cp>Some moviegoers may be inclined to approach \u003cem>Bye Bye Tiberias\u003c/em> through a political lens given the terrible present moment of war, suffering and displacement. But the interactions between Hiam and Um Ali ground us in a primary, universal relationship. We get Hiam’s residual sorrow, not for the road not taken but for the price of being true to one’s soul (artistic or otherwise).\u003c/p>\n\u003cp>Abbass’s self-exile, precipitated by neither political events nor military force, is fraught with layers. Lina Soualem, uninterested in confrontational confessions or celebrity travelogue, has crafted an open-ended and often-moving portrait of the family ties that bind, and the cost of chasing one’s dreams.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Bye Bye Tiberias’ runs March 8–10 at the Roxie Theatre (3117 16th St.) in San Francisco. \u003ca href=\"https://roxie.com/film/bye-bye-tiberias/\">Tickets and more info here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Sean Wang — and his Grandmas — Will Rep Fremont at the Oscars",
"headTitle": "Sean Wang — and his Grandmas — Will Rep Fremont at the Oscars | KQED",
"content": "\u003cp>Sean Wang is having an awesome start to his year. The 30-year-old filmmaker from Fremont is nominated for his first Academy Award at this weekend’s Oscars ceremony for Best Documentary Short Film. Wang’s 17-minute documentary \u003cem>Nǎi Nai & Wài Pó\u003c/em> (\u003cem>Grandma & Grandma\u003c/em>), available to stream on on Disney+ and Hulu, sweetly captures the daily routines of his two grandmothers who live together in Fremont.\u003c/p>\n\u003cp>Before getting that golden news from the Academy, Wang debuted his first feature film, \u003cem>\u003ca href=\"https://www.focusfeatures.com/article/didi_date-announcement\">Dìdi\u003c/a>\u003c/em>, at the Sundance Festival. A coming-of-age story that Wang calls “a love letter to the Bay Area, Fremont especially,” \u003cem>Dìdi\u003c/em> won two festival awards and was picked up by Focus Features, which will give it a limited theatrical release this summer.\u003c/p>\n\u003cp>I caught up with Wang over Zoom to talk about life since the Oscar nod, his filmmaker origin story in the Bay (“everything traces back to skateboarding”) and more.\u003c/p>\n\u003cp>\u003cem>Interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Ariana Proehl: A lot of people have seen \u003ca href=\"https://www.youtube.com/watch?v=iCNMXENmOpk\">the reaction video\u003c/a> of you and your family receiving news of your Oscar nomination. What’s the ride been like since then?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Sean Wang\u003c/strong>: So surreal. This experience has overlapped with premiering my first feature film, so it’s two incredible experiences happening at the same time. It really is beyond my wildest dreams. And to get to do it with my grandmothers and have them really enjoy this process – and feel like we’re giving them a core memory at 96 and 86 years old – there’s no real downside.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7fBvvRBlDHc\u003c/p>\n\u003cp>\u003cstrong>And how are your Nǎi Nai and Wài Pó feeling about everything? Are they excited to have their glam moment at the Oscars?\u003c/strong>\u003c/p>\n\u003cp>Yeah, they’re getting styled by \u003ca href=\"https://www.instagram.com/reel/C3tDpLppEhZ/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==\">Rodarte and Shirley Kurata\u003c/a>, who was a costume designer for \u003cem>Everything Everywhere All at Once\u003c/em>. So we’re giving them a Hollywood night that, hopefully, we’ll remember forever.\u003c/p>\n\u003cp>\u003cstrong>That’s huge! Have they become local celebrities around Fremont?\u003c/strong>\u003c/p>\n\u003cp>They don’t leave the house much, so I don’t think they’re getting stopped on the street or at the Chinese supermarket, but certainly within the cultural circles that I am a part of. At the [Oscars] luncheon, people were like, “Oh my God, it’s the grandmas!” And so that’s a very strange but cool experience to have them be noticed and seen like that.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Flashing back a little bit on your history, I’m curious when you first realized you wanted to be a filmmaker, and how you went about exploring that while growing up in Fremont?\u003c/strong>\u003c/p>\n\u003cp>Everything traces back to skateboarding for me. I’m a younger sibling; all of my cousins in the States are older than me. For a lot of my early years, my interests and my identity was looking at them and what they liked. But then I discovered skating when I was 12 or 13 years old, and that was just a very pure love. It was something that was really my own.\u003c/p>\n\u003cp>Through skating, I got into photography and videos and filming my friends. I started making \u003ca href=\"https://youtu.be/bJxl7xJh46I?si=HWYSsNh_yxeCqiLV\">little documentaries\u003c/a>, and that was like a buzz for me. I was excited about putting it on YouTube, but I didn’t really have the language for it – that it was “filmmaking.” I just really loved doing it.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bJxl7xJh46I\u003c/p>\n\u003cp>When I graduated high school, that was the first real fork in the road, where it’s like, \u003cem>okay, is there a career doing this\u003c/em>? Growing up in Fremont, there just isn’t that language. I didn’t know any other filmmakers. There were no examples that I could really follow. But I knew that whatever this was, it was a very pure love. I ended up at De Anza [Community College] for two years, and the intention was to transfer to a film school and that’s what happened.\u003c/p>\n\u003cp>\u003cstrong>Let’s talk about your Oscar-nominated film. There’s a part when Wài Pó says, “in the future, you can show your children what we were like.” That really struck me. My family just laid my grandmother to rest a few weeks ago. So watching your grandmothers made me think about my own, and it’s really cool that you’ll get to have this memory of them after they are gone. I’m guessing that was at least part of the motivation and inspiration behind it? Did you go into it thinking about a short film, or were you just wanting to capture memories?\u003c/strong>\u003c/p>\n\u003cp>Thank you for sharing that with me. It was both, I think. The catalyst for the film was just wanting to film them and make \u003cem>something\u003c/em>. I moved to New York City after I graduated college and lived there for about 5 or 6 years. Then in the spring of 2021, I moved home to the Bay Area, and in that period of living with them, there was so much joy. I really got to see my grandmothers and experience day-to-day life with them.\u003c/p>\n\u003cfigure id=\"attachment_13953491\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953491\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/NaiNaiWaiPo-Film-Still-Edit.jpg\" alt=\"\" width=\"1600\" height=\"1208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/NaiNaiWaiPo-Film-Still-Edit.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/NaiNaiWaiPo-Film-Still-Edit-800x604.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/NaiNaiWaiPo-Film-Still-Edit-1020x770.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/NaiNaiWaiPo-Film-Still-Edit-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/NaiNaiWaiPo-Film-Still-Edit-768x580.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/NaiNaiWaiPo-Film-Still-Edit-1536x1160.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">From left, filmmaker Sean Wang’s ‘Wài Pó,’ Chang Li Hua, and ‘Nǎi Nai,’ Yi Yan Fuei, in a still from the Oscar-nominated documentary short film ‘Nǎi Nai & Wài Pó.’ \u003ccite>(Courtesy Disney+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But there was also this extreme anger and helplessness that a lot of people were feeling at that time with Covid, and with the rise in anti-Asian violence that was happening to people like my grandmothers, and people in our community. As a filmmaker, anytime I feel those emotions that are so visceral, it challenges me to ask, “Where are these emotions coming from? And how can we use that and create art?”\u003c/p>\n\u003cp>The antidote to the anger was their joy. I wanted to make a film that was a container for all of their humanity, their joy, their silliness, their infectious, childlike energy, but also their pain and their lives that they lived before they were my grandmothers. And create a holistic portrait of that to show just how human they are, in a way that I felt people were overlooking in our society.\u003c/p>\n\u003cp>But to what you were saying, at the end of the day, there was this home video mentality that we brought to it, where I just wanted to remember them and remember this moment that I had with them. So even if nobody watched it, it was still a memento and a time capsule for myself and my family.\u003c/p>\n\u003cfigure id=\"attachment_13953493\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953493\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/NaiNaiWaiPo_Foreheads-Edited.jpg\" alt=\"\" width=\"1600\" height=\"1204\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/NaiNaiWaiPo_Foreheads-Edited.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/NaiNaiWaiPo_Foreheads-Edited-800x602.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/NaiNaiWaiPo_Foreheads-Edited-1020x768.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/NaiNaiWaiPo_Foreheads-Edited-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/NaiNaiWaiPo_Foreheads-Edited-768x578.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/NaiNaiWaiPo_Foreheads-Edited-1536x1156.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Sean Wang touches foreheads with Nǎi Nai in a still from his documentary short film ‘Nǎi Nai & Wài Pó.’ \u003ccite>(Courtesy Disney+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Do you have a favorite scene from the film? \u003c/strong>\u003c/p>\n\u003cp>There’s a shot in the end montage, where me and Nǎi Nai are touching foreheads. That shot always makes me emotional. I always thank [producer] Sam [Davis] for capturing that. I edited the movie too, so there were moments in the edit that always gutted me. There’s a moment where Wài Pó was talking about, “I’m not afraid of death.” You can tell she’s thinking about mortality in those moments and you can see it in her eyes – not just the pain, but the humanity. And she takes a little sigh, and that moment always gutted me.\u003c/p>\n\u003cp>[ad alignright]\u003cstrong>What’s the feeling amongst your family in terms of this accomplishment, and all the excitement going into the Oscars? \u003c/strong>\u003c/p>\n\u003cp>They’re all excited. We were able to get tickets for the whole family, so it’s really a proper family affair. I feel like I’m the grandmothers’ “plus one” in all of this. As long as they’re having a good time and they feel taken care of, I’ll feel like I’m having a good time. At the end of the day, we’ve already won because this experience has been so special.\u003c/p>\n\u003cp>\u003cstrong>If you take home the Oscar, is there a favorite spot in the Bay Area where you and your family would go to celebrate?\u003c/strong>\u003c/p>\n\u003cp>That’s a good question. Growing up, we used to go out to dinner at Darda Seafood in Milpitas all the time. We haven’t been in years. But that was like a family tradition. Maybe we’ll bring that back for this one.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sean Wang is having an awesome start to his year. The 30-year-old filmmaker from Fremont is nominated for his first Academy Award at this weekend’s Oscars ceremony for Best Documentary Short Film. Wang’s 17-minute documentary \u003cem>Nǎi Nai & Wài Pó\u003c/em> (\u003cem>Grandma & Grandma\u003c/em>), available to stream on on Disney+ and Hulu, sweetly captures the daily routines of his two grandmothers who live together in Fremont.\u003c/p>\n\u003cp>Before getting that golden news from the Academy, Wang debuted his first feature film, \u003cem>\u003ca href=\"https://www.focusfeatures.com/article/didi_date-announcement\">Dìdi\u003c/a>\u003c/em>, at the Sundance Festival. A coming-of-age story that Wang calls “a love letter to the Bay Area, Fremont especially,” \u003cem>Dìdi\u003c/em> won two festival awards and was picked up by Focus Features, which will give it a limited theatrical release this summer.\u003c/p>\n\u003cp>I caught up with Wang over Zoom to talk about life since the Oscar nod, his filmmaker origin story in the Bay (“everything traces back to skateboarding”) and more.\u003c/p>\n\u003cp>\u003cem>Interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Ariana Proehl: A lot of people have seen \u003ca href=\"https://www.youtube.com/watch?v=iCNMXENmOpk\">the reaction video\u003c/a> of you and your family receiving news of your Oscar nomination. What’s the ride been like since then?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Sean Wang\u003c/strong>: So surreal. This experience has overlapped with premiering my first feature film, so it’s two incredible experiences happening at the same time. It really is beyond my wildest dreams. And to get to do it with my grandmothers and have them really enjoy this process – and feel like we’re giving them a core memory at 96 and 86 years old – there’s no real downside.\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/7fBvvRBlDHc'\n title='//www.youtube.com/embed/7fBvvRBlDHc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>And how are your Nǎi Nai and Wài Pó feeling about everything? Are they excited to have their glam moment at the Oscars?\u003c/strong>\u003c/p>\n\u003cp>Yeah, they’re getting styled by \u003ca href=\"https://www.instagram.com/reel/C3tDpLppEhZ/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==\">Rodarte and Shirley Kurata\u003c/a>, who was a costume designer for \u003cem>Everything Everywhere All at Once\u003c/em>. So we’re giving them a Hollywood night that, hopefully, we’ll remember forever.\u003c/p>\n\u003cp>\u003cstrong>That’s huge! Have they become local celebrities around Fremont?\u003c/strong>\u003c/p>\n\u003cp>They don’t leave the house much, so I don’t think they’re getting stopped on the street or at the Chinese supermarket, but certainly within the cultural circles that I am a part of. At the [Oscars] luncheon, people were like, “Oh my God, it’s the grandmas!” And so that’s a very strange but cool experience to have them be noticed and seen like that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Flashing back a little bit on your history, I’m curious when you first realized you wanted to be a filmmaker, and how you went about exploring that while growing up in Fremont?\u003c/strong>\u003c/p>\n\u003cp>Everything traces back to skateboarding for me. I’m a younger sibling; all of my cousins in the States are older than me. For a lot of my early years, my interests and my identity was looking at them and what they liked. But then I discovered skating when I was 12 or 13 years old, and that was just a very pure love. It was something that was really my own.\u003c/p>\n\u003cp>Through skating, I got into photography and videos and filming my friends. I started making \u003ca href=\"https://youtu.be/bJxl7xJh46I?si=HWYSsNh_yxeCqiLV\">little documentaries\u003c/a>, and that was like a buzz for me. I was excited about putting it on YouTube, but I didn’t really have the language for it – that it was “filmmaking.” I just really loved doing it.\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/bJxl7xJh46I'\n title='//www.youtube.com/embed/bJxl7xJh46I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When I graduated high school, that was the first real fork in the road, where it’s like, \u003cem>okay, is there a career doing this\u003c/em>? Growing up in Fremont, there just isn’t that language. I didn’t know any other filmmakers. There were no examples that I could really follow. But I knew that whatever this was, it was a very pure love. I ended up at De Anza [Community College] for two years, and the intention was to transfer to a film school and that’s what happened.\u003c/p>\n\u003cp>\u003cstrong>Let’s talk about your Oscar-nominated film. There’s a part when Wài Pó says, “in the future, you can show your children what we were like.” That really struck me. My family just laid my grandmother to rest a few weeks ago. So watching your grandmothers made me think about my own, and it’s really cool that you’ll get to have this memory of them after they are gone. I’m guessing that was at least part of the motivation and inspiration behind it? Did you go into it thinking about a short film, or were you just wanting to capture memories?\u003c/strong>\u003c/p>\n\u003cp>Thank you for sharing that with me. It was both, I think. The catalyst for the film was just wanting to film them and make \u003cem>something\u003c/em>. I moved to New York City after I graduated college and lived there for about 5 or 6 years. Then in the spring of 2021, I moved home to the Bay Area, and in that period of living with them, there was so much joy. I really got to see my grandmothers and experience day-to-day life with them.\u003c/p>\n\u003cfigure id=\"attachment_13953491\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953491\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/NaiNaiWaiPo-Film-Still-Edit.jpg\" alt=\"\" width=\"1600\" height=\"1208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/NaiNaiWaiPo-Film-Still-Edit.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/NaiNaiWaiPo-Film-Still-Edit-800x604.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/NaiNaiWaiPo-Film-Still-Edit-1020x770.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/NaiNaiWaiPo-Film-Still-Edit-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/NaiNaiWaiPo-Film-Still-Edit-768x580.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/NaiNaiWaiPo-Film-Still-Edit-1536x1160.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">From left, filmmaker Sean Wang’s ‘Wài Pó,’ Chang Li Hua, and ‘Nǎi Nai,’ Yi Yan Fuei, in a still from the Oscar-nominated documentary short film ‘Nǎi Nai & Wài Pó.’ \u003ccite>(Courtesy Disney+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But there was also this extreme anger and helplessness that a lot of people were feeling at that time with Covid, and with the rise in anti-Asian violence that was happening to people like my grandmothers, and people in our community. As a filmmaker, anytime I feel those emotions that are so visceral, it challenges me to ask, “Where are these emotions coming from? And how can we use that and create art?”\u003c/p>\n\u003cp>The antidote to the anger was their joy. I wanted to make a film that was a container for all of their humanity, their joy, their silliness, their infectious, childlike energy, but also their pain and their lives that they lived before they were my grandmothers. And create a holistic portrait of that to show just how human they are, in a way that I felt people were overlooking in our society.\u003c/p>\n\u003cp>But to what you were saying, at the end of the day, there was this home video mentality that we brought to it, where I just wanted to remember them and remember this moment that I had with them. So even if nobody watched it, it was still a memento and a time capsule for myself and my family.\u003c/p>\n\u003cfigure id=\"attachment_13953493\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953493\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/NaiNaiWaiPo_Foreheads-Edited.jpg\" alt=\"\" width=\"1600\" height=\"1204\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/NaiNaiWaiPo_Foreheads-Edited.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/NaiNaiWaiPo_Foreheads-Edited-800x602.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/NaiNaiWaiPo_Foreheads-Edited-1020x768.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/NaiNaiWaiPo_Foreheads-Edited-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/NaiNaiWaiPo_Foreheads-Edited-768x578.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/NaiNaiWaiPo_Foreheads-Edited-1536x1156.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Sean Wang touches foreheads with Nǎi Nai in a still from his documentary short film ‘Nǎi Nai & Wài Pó.’ \u003ccite>(Courtesy Disney+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Do you have a favorite scene from the film? \u003c/strong>\u003c/p>\n\u003cp>There’s a shot in the end montage, where me and Nǎi Nai are touching foreheads. That shot always makes me emotional. I always thank [producer] Sam [Davis] for capturing that. I edited the movie too, so there were moments in the edit that always gutted me. There’s a moment where Wài Pó was talking about, “I’m not afraid of death.” You can tell she’s thinking about mortality in those moments and you can see it in her eyes – not just the pain, but the humanity. And she takes a little sigh, and that moment always gutted me.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cstrong>What’s the feeling amongst your family in terms of this accomplishment, and all the excitement going into the Oscars? \u003c/strong>\u003c/p>\n\u003cp>They’re all excited. We were able to get tickets for the whole family, so it’s really a proper family affair. I feel like I’m the grandmothers’ “plus one” in all of this. As long as they’re having a good time and they feel taken care of, I’ll feel like I’m having a good time. At the end of the day, we’ve already won because this experience has been so special.\u003c/p>\n\u003cp>\u003cstrong>If you take home the Oscar, is there a favorite spot in the Bay Area where you and your family would go to celebrate?\u003c/strong>\u003c/p>\n\u003cp>That’s a good question. Growing up, we used to go out to dinner at Darda Seafood in Milpitas all the time. We haven’t been in years. But that was like a family tradition. Maybe we’ll bring that back for this one.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "‘Kung Fu Panda 4’ Is a Sweet, Fun and Well Executed Passing of the Torch",
"headTitle": "‘Kung Fu Panda 4’ Is a Sweet, Fun and Well Executed Passing of the Torch | KQED",
"content": "\u003cp>\u003cem>Kung Fu Panda 4\u003c/em> finds our trusty, rotund hero Po at a career crossroads and he’s nervous. “Change doesn’t have to be a bad thing,” he is told. \u003cem>Kung Fu Panda 4\u003c/em> also finds the franchise at an inflection point, but there’s no reason for us to be nervous. DreamWorks knows what it’s doing.\u003c/p>\n\u003cp>The series’ first new installment in eight years is a reliably funny, sweet and wonderfully realized passing of the torch, with a paw in the past and another into the future — an elegant goodbye and a hello. Many other filmmakers — ahem, Marvel and DC — might learn a thing.\u003c/p>\n\u003cp>[aside postid='arts_13952301']When we meet him, Po — voiced as always by a lively Jack Black — is being asked to give up his dream role as Dragon Warrior and pick a successor. He’s being kicked upstairs to be Spiritual Leader of the Valley of Peace. (This is basically the Peter Principle illustrated in animation.)\u003c/p>\n\u003cp>Except Po doesn’t want to go into management. He loves smashing skulls and still has that lovable imposter syndrome he’s had since the franchise began. He tries to short-circuit any succession plans, change being too frightening.\u003c/p>\n\u003cp>A new enemy threatening an existential crisis offers a reprieve — The Chameleon — a wicked, powerful sorceress voiced by Viola Davis — looks like the lizard from the GEICO commercials who spent too much time at Graceland.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Po teams up with a new character — a Corsac fox named Zhen voiced by Awkwafina — who is an orphan-turned-thief and teaches the too-trusting panda to trust no one. The movie then becomes a buddy road movie as these two hunt The Chameleon and a chance to bundle their home and auto insurance.\u003c/p>\n\u003cp>Wait a minute, you might be asking: Where are The Furious Five — Tigress, Viper, Monkey, Crane and Mantis — who have been in each \u003cem>Kung Fu Panda\u003c/em> iteration so far? They’re not really in \u003cem>Kung Fu Panda 4\u003c/em>, but the film reaches back to the first installment to bring back the snow leopard, Tai Lung, voiced by the sonorous Ian McShane.\u003c/p>\n\u003cp>Bryan Cranston is also back to voice Po’s goofy biological father and James Hong returns as his spirited adoptive goose dad, while Dustin Hoffman reprises his role as eye-rolling master Shifu.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_inKs4eeHiI\u003c/p>\n\u003cp>It’s a good balance of new and old characters but a masterstroke is coming: The Chameleon finds a way of accessing the spirit realm and bringing back every villain Po has ever faced. That results in a greatest hits-like fight scene that may be hard to top if there’s a \u003cem>Kung Fu Panda 5\u003c/em>.\u003c/p>\n\u003cp>The third installment’s writers, Jonathan Aibel and Glenn Berger, are also back this time, joined by Darren Lemke. The film is helmed by \u003cem>The Lego Movie 2\u003c/em> director Mike Mitchell and co-directed by Stephanie Ma Stine, who worked on \u003cem>Raya and the Last Dragon\u003c/em>.\u003c/p>\n\u003cp>The last three movies have largely stuck to the rural Valley of Peace, so the filmmakers change it up this time and take Po and Zhen to an urban environment, Juniper City, packed with busy animals, rickshaws, and bulls as police officers (watch for a hilarious bull-in-a-jade-shop joke).\u003c/p>\n\u003cp>[aside postid='arts_13952668']As always, it’s the animators who are the real heroes here. From the thick fur on the pandas, to clay tiles smashing on roofs to rain splashing on stones, barroom brawls and petals wafting from cherry trees, this is a visual delight.\u003c/p>\n\u003cp>Creating The Chameleon — and her scary Komodo dragon guards — gives the animators a chance to show a tiny lizard metamorphosize into an elephant in a few seconds and they relish it. They also sometimes dip into different animation styles, giving a viewer a visual break.\u003c/p>\n\u003cp>There are some missteps, like a pelican character controlled by a fish in its mouth and three cute bunnies who appear adorable and yet are deeply psychotic. (“Violence makes my tummy tingle,” one says.) Plus, the teaming up again of Po’s dads, while welcome, is also sort of pointless here.\u003c/p>\n\u003cp>But, as Po would say, “Skadoosh!” The filmmakers have managed a very tricky assignment: Pave the way for a new franchise direction, find new ways to entertain us, remind us of lessons like “It’s never too late to do the right thing” and end the whole thing with the Black-led cover by Tenacious D of “…Baby One More Time” by Britney Spears. Embrace the change.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Kung Fu Panda 4’ is released nationwide on March 8, 2024. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>When we meet him, Po — voiced as always by a lively Jack Black — is being asked to give up his dream role as Dragon Warrior and pick a successor. He’s being kicked upstairs to be Spiritual Leader of the Valley of Peace. (This is basically the Peter Principle illustrated in animation.)\u003c/p>\n\u003cp>Except Po doesn’t want to go into management. He loves smashing skulls and still has that lovable imposter syndrome he’s had since the franchise began. He tries to short-circuit any succession plans, change being too frightening.\u003c/p>\n\u003cp>A new enemy threatening an existential crisis offers a reprieve — The Chameleon — a wicked, powerful sorceress voiced by Viola Davis — looks like the lizard from the GEICO commercials who spent too much time at Graceland.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Po teams up with a new character — a Corsac fox named Zhen voiced by Awkwafina — who is an orphan-turned-thief and teaches the too-trusting panda to trust no one. The movie then becomes a buddy road movie as these two hunt The Chameleon and a chance to bundle their home and auto insurance.\u003c/p>\n\u003cp>Wait a minute, you might be asking: Where are The Furious Five — Tigress, Viper, Monkey, Crane and Mantis — who have been in each \u003cem>Kung Fu Panda\u003c/em> iteration so far? They’re not really in \u003cem>Kung Fu Panda 4\u003c/em>, but the film reaches back to the first installment to bring back the snow leopard, Tai Lung, voiced by the sonorous Ian McShane.\u003c/p>\n\u003cp>Bryan Cranston is also back to voice Po’s goofy biological father and James Hong returns as his spirited adoptive goose dad, while Dustin Hoffman reprises his role as eye-rolling master Shifu.\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/_inKs4eeHiI'\n title='//www.youtube.com/embed/_inKs4eeHiI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s a good balance of new and old characters but a masterstroke is coming: The Chameleon finds a way of accessing the spirit realm and bringing back every villain Po has ever faced. That results in a greatest hits-like fight scene that may be hard to top if there’s a \u003cem>Kung Fu Panda 5\u003c/em>.\u003c/p>\n\u003cp>The third installment’s writers, Jonathan Aibel and Glenn Berger, are also back this time, joined by Darren Lemke. The film is helmed by \u003cem>The Lego Movie 2\u003c/em> director Mike Mitchell and co-directed by Stephanie Ma Stine, who worked on \u003cem>Raya and the Last Dragon\u003c/em>.\u003c/p>\n\u003cp>The last three movies have largely stuck to the rural Valley of Peace, so the filmmakers change it up this time and take Po and Zhen to an urban environment, Juniper City, packed with busy animals, rickshaws, and bulls as police officers (watch for a hilarious bull-in-a-jade-shop joke).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As always, it’s the animators who are the real heroes here. From the thick fur on the pandas, to clay tiles smashing on roofs to rain splashing on stones, barroom brawls and petals wafting from cherry trees, this is a visual delight.\u003c/p>\n\u003cp>Creating The Chameleon — and her scary Komodo dragon guards — gives the animators a chance to show a tiny lizard metamorphosize into an elephant in a few seconds and they relish it. They also sometimes dip into different animation styles, giving a viewer a visual break.\u003c/p>\n\u003cp>There are some missteps, like a pelican character controlled by a fish in its mouth and three cute bunnies who appear adorable and yet are deeply psychotic. (“Violence makes my tummy tingle,” one says.) Plus, the teaming up again of Po’s dads, while welcome, is also sort of pointless here.\u003c/p>\n\u003cp>But, as Po would say, “Skadoosh!” The filmmakers have managed a very tricky assignment: Pave the way for a new franchise direction, find new ways to entertain us, remind us of lessons like “It’s never too late to do the right thing” and end the whole thing with the Black-led cover by Tenacious D of “…Baby One More Time” by Britney Spears. Embrace the change.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Kung Fu Panda 4’ is released nationwide on March 8, 2024. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The 2024 Oscars’ Best Original Song Nominees, Cruelly Ranked",
"headTitle": "The 2024 Oscars’ Best Original Song Nominees, Cruelly Ranked | KQED",
"content": "\u003cp>Given the commercial and awards dominance of \u003cem>Barbie\u003c/em>‘s soundtrack — which was, if you remember, the most-nominated album at this year’s Grammys — you’d be forgiven for thinking that this year’s race for the best original song Oscar boils down to Fun Barbie (Ryan Gosling’s “I’m Just Ken”) vs. Pensive Barbie (Billie Eilish’s “What Was I Made For?”). But the field has even more going for it than that, from a lovely Jon Batiste ballad to a moving piece by the Osage Tribal Singers to … well, the umpteenth nomination for songwriter Diane Warren, and even \u003cem>that\u003c/em> song isn’t terrible!\u003c/p>\n\u003cp>This is the sixth year I’ve ranked the nominated songs for NPR — here’s \u003ca href=\"https://www.npr.org/2023/03/06/1155451988/the-2023-oscars-best-original-song-nominees-cruelly-ranked\">2023\u003c/a>, \u003ca href=\"https://www.npr.org/2023/02/07/1083945317/the-2022-oscars-best-original-song-nominees-cruelly-ranked\">2022\u003c/a>, \u003ca href=\"https://www.npr.org/2021/04/21/987253460/the-2021-oscars-best-original-song-nominees-cruelly-ranked\">2021\u003c/a>, \u003ca href=\"https://www.npr.org/2020/02/07/803636380/the-2020-oscars-best-original-song-nominees-cruelly-ranked\">2020\u003c/a> and \u003ca href=\"https://www.npr.org/2019/02/23/697103948/the-2019-oscars-best-original-song-nominees-cruelly-ranked\">2019\u003c/a> — and this is one of the better fields all around. So let’s tee ’em up, in ascending order of quality.\u003c/p>\n\u003cp>\u003cstrong>5. “The Fire Inside,” \u003c/strong>\u003cem>\u003cstrong>Flamin’ Hot\u003c/strong>\u003c/em>\u003cstrong>, performed by Becky G (Diane Warren, songwriter)\u003c/strong>\u003c/p>\n\u003cp>It’s hard to devise new ways to say that a Diane Warren composition gets nominated in this category every single year, invariably at the expense of superior songs. She’s locked into an eternal paradox: enough institutional support for a seventh consecutive nomination (!!), never enough juice to win.\u003c/p>\n\u003cp>[aside postid='arts_13953424']So here we are, yet again, pondering Doomed Nomination No. 15 and thanking our lucky stars that “The Fire Inside” is actually … decent, as recent-vintage Diane Warren songs go. Lyrically, it’s just another slice of quasi-inspirational, nominally defiant boilerplate, dragged down by couplets that would cause a generative AI program to resign in embarrassment (“They will think they can stop you / But there’s no stopping you”). Rise, stand, fight, you got this, they can’t hold you back, blah blah blah, seriously, \u003cem>have ChatGPT and Diane Warren ever been seen in the same room together?\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Musically, “The Fire Inside” is an effervescent and thoroughly inoffensive trifle, brought home by a charismatic vocal from Becky G. As a whole, this is probably Warren’s best Oscar-nominated song since 2015’s “Til It Happens to You” (a Lady Gaga collaboration that should have beaten Sam Smith’s “Writing’s on the Wall”), which is at least saying something. Just, you know, not \u003cem>much\u003c/em>. Had \u003cem>Flamin’ Hot\u003c/em> never existed — and how sad it would have been for the world to be denied Eva Longoria’s sub-featherweight brand-fluffing biopic! — Warren would have just gotten nominated for “\u003ca href=\"https://www.youtube.com/watch?v=58BzTRqQt4Y\">Gonna Be You\u003c/a>” from \u003cem>80 for Brady\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=COXSy3rp6Vc\u003c/p>\n\u003cp>\u003cstrong>4. “Wahzhazhe (A Song for My People),” \u003c/strong>\u003cem>\u003cstrong>Killers of the Flower Moon\u003c/strong>\u003c/em>\u003cstrong>, performed by Osage Tribal Singers (Scott George, songwriter)\u003c/strong>\u003c/p>\n\u003cp>Maybe I’m riding high on the thrill of not having to write about Diane Warren for another 12 months, but this is a strong field! Next up is “Wahzhazhe (A Song for My People),” which closes Martin Scorsese’s epic \u003cem>Killers of the Flower Moon\u003c/em> — and pointedly gives the Osage Nation the last word. An unconventional entry in a field typically reserved for English-language songs by well-known artists, “Wahzhazhe” had an unusual number of hurdles to clear in order to get nominated, starting with the fact that it had \u003ca href=\"https://www.billboard.com/music/awards/oscar-2024-nominations-music-best-original-song-score-1235604053/\">never been written down\u003c/a> prior to submission.\u003c/p>\n\u003cp>The first Native American nominated for best original song, songwriter Scott George crafted a rousing work that transcends its place in a movie’s closing credits: It’s a work of celebration that suits its moment in the film while speaking to the Osage Nation’s resilience in the face of systemic discrimination and murder. And it’ll surely sound terrific when performed on Oscar night, which is just one more reason among many to cheer its inclusion.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nyWCr1ly4oc\u003c/p>\n\u003cp>\u003cstrong>3. “It Never Went Away,” \u003c/strong>\u003cem>\u003cstrong>American Symphony\u003c/strong>\u003c/em>\u003cstrong>, performed by Jon Batiste (Jon Batiste and Dan Wilson, songwriters)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>American Symphony\u003c/em> documents 2021 Oscar winner Jon Batiste’s efforts to write a symphony while his wife, bestselling author Suleika Jaouad, battled leukemia. As documentaries go, it’s moving without being terribly revealing — which can also be said for the Oscar-nominated ballad that plays over the film’s closing credits. But the gorgeous piano line that propels “It Never Went Away” sure does hit hard, as Batiste serenades his wife in a lullaby of devotion.\u003c/p>\n\u003cp>Unlike so many Oscar-nominated closing-credits songs before it, “It Never Went Away” feels richly connected to the themes of the movie preceding it. The words Batiste sings aren’t exactly novel — “Thought I was a wise lad / When you plan, God laughs” — but the song as a whole beautifully captures the experience of love as an accumulation of hard-won moments, forged in shared sacrifice.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=27jnCQYRXLc\u003c/p>\n\u003cp>\u003cstrong>2. “I’m Just Ken,” \u003c/strong>\u003cem>\u003cstrong>Barbie\u003c/strong>\u003c/em>\u003cstrong>, performed by Ryan Gosling (Mark Ronson and Andrew Wyatt, songwriters)\u003c/strong>\u003c/p>\n\u003cp>It’s virtually impossible to choose which eligible \u003cem>Barbie\u003c/em> song most deserves this year’s Oscar: You could make a strong case for both nominated songs, as well as Dua Lipa’s effervescent “\u003ca href=\"https://www.youtube.com/watch?v=OiC1rgCPmUQ\">Dance the Night\u003c/a>,” which was shortlisted but missed the cut. (These days, Oscar rules stipulate that no more than two songs can be nominated from a single film.)\u003c/p>\n\u003cp>[aside postid='arts_13931753']So, seriously, think of Ryan Gosling’s wild, joke-dense “I’m Just Ken” as No. 1a more than No. 2 — though it does seem fitting that poor Ken would be relegated to second place yet again. Part inspirational battle anthem, \u003ca href=\"https://www.kqed.org/arts/13953424/film-critics-oscars-alternative-awards-best-movie-dog-stunt-cameo-song\">part dream ballet\u003c/a>, part ’80s power-ballad pastiche, “I’m Just Ken” soundtracks one of \u003cem>Barbie\u003c/em>‘s many key scenes, advancing the plot even as it dispenses catchphrases (“Can you feel the Kenergy?”) and asks the questions so many of us have asked of ourselves (“Am I not hot when I’m in my feelings?”).\u003c/p>\n\u003cp>Though “What Was I Made For?” remains this year’s likely winner, it wouldn’t be a massive shock if “I’m Just Ken” were to rise up and snatch the Oscar from its more somber \u003cem>Barbie\u003c/em> counterpart. The song pulls off a genuinely awesome feat: a grand and clever piece of comedic spectacle that is, among other superlatives, great at doing stuff. And, if you’re not grateful for “I’m Just Ken” now, just wait until it shows up to enliven a three-and-a-half-hour Oscars telecast.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wwux9KiBMjE\u003c/p>\n\u003cp>\u003cstrong>1. “What Was I Made For?,” \u003c/strong>\u003cem>\u003cstrong>Barbie\u003c/strong>\u003c/em>\u003cstrong>, performed by Billie Eilish (Billie Eilish and Finneas O’Connell, songwriters)\u003c/strong>\u003c/p>\n\u003cp>I’m never going to fault anyone for choosing jokes over feelings, so you’re more than forgiven if you prefer “I’m Just Ken” to “What Was I Made For?” But, \u003cem>man\u003c/em>, this is a gorgeous song: melodically rich, a radiant vocal performance from Billie Eilish, a compelling way to magnify the pathos in \u003cem>Barbie\u003c/em>‘s story of self-awakening, and an actual chart hit to boot.\u003c/p>\n\u003cp>[aside postid='arts_13931981']It’s worth noting once again how often the Oscars’ best original song field gets dominated by songs that roll harmlessly over closing credits — and, more to the point, that fail to convey or reflect on what their films were trying to say. This season, only the Diane Warren song really falls short in that regard; though they play over their respective credits, “Wahzhazhe (A Song for My People)” could only come from \u003cem>Killers of the Flower Moon\u003c/em> and “It Never Went Away” could only come from \u003cem>American Symphony\u003c/em>. That’s a big step up from most years, which says nothing of how integral “I’m Just Ken” and “What Was I Made For?” are to \u003cem>Barbie\u003c/em>.\u003c/p>\n\u003cp>Last year’s Oscar field produced one of the best and most satisfying winners this category has ever produced in “\u003ca href=\"https://www.youtube.com/watch?v=OsU0CGZoV8E\">Naatu Naatu\u003c/a>” from \u003cem>RRR\u003c/em>. As long as Barbie gets its due this time around, we’re in for another all-timer.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ML0zd8UAuq8\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+2024+Oscars%27+best+original+song+nominees%2C+cruelly+ranked&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Given the commercial and awards dominance of \u003cem>Barbie\u003c/em>‘s soundtrack — which was, if you remember, the most-nominated album at this year’s Grammys — you’d be forgiven for thinking that this year’s race for the best original song Oscar boils down to Fun Barbie (Ryan Gosling’s “I’m Just Ken”) vs. Pensive Barbie (Billie Eilish’s “What Was I Made For?”). But the field has even more going for it than that, from a lovely Jon Batiste ballad to a moving piece by the Osage Tribal Singers to … well, the umpteenth nomination for songwriter Diane Warren, and even \u003cem>that\u003c/em> song isn’t terrible!\u003c/p>\n\u003cp>This is the sixth year I’ve ranked the nominated songs for NPR — here’s \u003ca href=\"https://www.npr.org/2023/03/06/1155451988/the-2023-oscars-best-original-song-nominees-cruelly-ranked\">2023\u003c/a>, \u003ca href=\"https://www.npr.org/2023/02/07/1083945317/the-2022-oscars-best-original-song-nominees-cruelly-ranked\">2022\u003c/a>, \u003ca href=\"https://www.npr.org/2021/04/21/987253460/the-2021-oscars-best-original-song-nominees-cruelly-ranked\">2021\u003c/a>, \u003ca href=\"https://www.npr.org/2020/02/07/803636380/the-2020-oscars-best-original-song-nominees-cruelly-ranked\">2020\u003c/a> and \u003ca href=\"https://www.npr.org/2019/02/23/697103948/the-2019-oscars-best-original-song-nominees-cruelly-ranked\">2019\u003c/a> — and this is one of the better fields all around. So let’s tee ’em up, in ascending order of quality.\u003c/p>\n\u003cp>\u003cstrong>5. “The Fire Inside,” \u003c/strong>\u003cem>\u003cstrong>Flamin’ Hot\u003c/strong>\u003c/em>\u003cstrong>, performed by Becky G (Diane Warren, songwriter)\u003c/strong>\u003c/p>\n\u003cp>It’s hard to devise new ways to say that a Diane Warren composition gets nominated in this category every single year, invariably at the expense of superior songs. She’s locked into an eternal paradox: enough institutional support for a seventh consecutive nomination (!!), never enough juice to win.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>So here we are, yet again, pondering Doomed Nomination No. 15 and thanking our lucky stars that “The Fire Inside” is actually … decent, as recent-vintage Diane Warren songs go. Lyrically, it’s just another slice of quasi-inspirational, nominally defiant boilerplate, dragged down by couplets that would cause a generative AI program to resign in embarrassment (“They will think they can stop you / But there’s no stopping you”). Rise, stand, fight, you got this, they can’t hold you back, blah blah blah, seriously, \u003cem>have ChatGPT and Diane Warren ever been seen in the same room together?\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Musically, “The Fire Inside” is an effervescent and thoroughly inoffensive trifle, brought home by a charismatic vocal from Becky G. As a whole, this is probably Warren’s best Oscar-nominated song since 2015’s “Til It Happens to You” (a Lady Gaga collaboration that should have beaten Sam Smith’s “Writing’s on the Wall”), which is at least saying something. Just, you know, not \u003cem>much\u003c/em>. Had \u003cem>Flamin’ Hot\u003c/em> never existed — and how sad it would have been for the world to be denied Eva Longoria’s sub-featherweight brand-fluffing biopic! — Warren would have just gotten nominated for “\u003ca href=\"https://www.youtube.com/watch?v=58BzTRqQt4Y\">Gonna Be You\u003c/a>” from \u003cem>80 for Brady\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/COXSy3rp6Vc'\n title='//www.youtube.com/embed/COXSy3rp6Vc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>4. “Wahzhazhe (A Song for My People),” \u003c/strong>\u003cem>\u003cstrong>Killers of the Flower Moon\u003c/strong>\u003c/em>\u003cstrong>, performed by Osage Tribal Singers (Scott George, songwriter)\u003c/strong>\u003c/p>\n\u003cp>Maybe I’m riding high on the thrill of not having to write about Diane Warren for another 12 months, but this is a strong field! Next up is “Wahzhazhe (A Song for My People),” which closes Martin Scorsese’s epic \u003cem>Killers of the Flower Moon\u003c/em> — and pointedly gives the Osage Nation the last word. An unconventional entry in a field typically reserved for English-language songs by well-known artists, “Wahzhazhe” had an unusual number of hurdles to clear in order to get nominated, starting with the fact that it had \u003ca href=\"https://www.billboard.com/music/awards/oscar-2024-nominations-music-best-original-song-score-1235604053/\">never been written down\u003c/a> prior to submission.\u003c/p>\n\u003cp>The first Native American nominated for best original song, songwriter Scott George crafted a rousing work that transcends its place in a movie’s closing credits: It’s a work of celebration that suits its moment in the film while speaking to the Osage Nation’s resilience in the face of systemic discrimination and murder. And it’ll surely sound terrific when performed on Oscar night, which is just one more reason among many to cheer its inclusion.\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/nyWCr1ly4oc'\n title='//www.youtube.com/embed/nyWCr1ly4oc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>3. “It Never Went Away,” \u003c/strong>\u003cem>\u003cstrong>American Symphony\u003c/strong>\u003c/em>\u003cstrong>, performed by Jon Batiste (Jon Batiste and Dan Wilson, songwriters)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>American Symphony\u003c/em> documents 2021 Oscar winner Jon Batiste’s efforts to write a symphony while his wife, bestselling author Suleika Jaouad, battled leukemia. As documentaries go, it’s moving without being terribly revealing — which can also be said for the Oscar-nominated ballad that plays over the film’s closing credits. But the gorgeous piano line that propels “It Never Went Away” sure does hit hard, as Batiste serenades his wife in a lullaby of devotion.\u003c/p>\n\u003cp>Unlike so many Oscar-nominated closing-credits songs before it, “It Never Went Away” feels richly connected to the themes of the movie preceding it. The words Batiste sings aren’t exactly novel — “Thought I was a wise lad / When you plan, God laughs” — but the song as a whole beautifully captures the experience of love as an accumulation of hard-won moments, forged in shared sacrifice.\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/27jnCQYRXLc'\n title='//www.youtube.com/embed/27jnCQYRXLc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>2. “I’m Just Ken,” \u003c/strong>\u003cem>\u003cstrong>Barbie\u003c/strong>\u003c/em>\u003cstrong>, performed by Ryan Gosling (Mark Ronson and Andrew Wyatt, songwriters)\u003c/strong>\u003c/p>\n\u003cp>It’s virtually impossible to choose which eligible \u003cem>Barbie\u003c/em> song most deserves this year’s Oscar: You could make a strong case for both nominated songs, as well as Dua Lipa’s effervescent “\u003ca href=\"https://www.youtube.com/watch?v=OiC1rgCPmUQ\">Dance the Night\u003c/a>,” which was shortlisted but missed the cut. (These days, Oscar rules stipulate that no more than two songs can be nominated from a single film.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>So, seriously, think of Ryan Gosling’s wild, joke-dense “I’m Just Ken” as No. 1a more than No. 2 — though it does seem fitting that poor Ken would be relegated to second place yet again. Part inspirational battle anthem, \u003ca href=\"https://www.kqed.org/arts/13953424/film-critics-oscars-alternative-awards-best-movie-dog-stunt-cameo-song\">part dream ballet\u003c/a>, part ’80s power-ballad pastiche, “I’m Just Ken” soundtracks one of \u003cem>Barbie\u003c/em>‘s many key scenes, advancing the plot even as it dispenses catchphrases (“Can you feel the Kenergy?”) and asks the questions so many of us have asked of ourselves (“Am I not hot when I’m in my feelings?”).\u003c/p>\n\u003cp>Though “What Was I Made For?” remains this year’s likely winner, it wouldn’t be a massive shock if “I’m Just Ken” were to rise up and snatch the Oscar from its more somber \u003cem>Barbie\u003c/em> counterpart. The song pulls off a genuinely awesome feat: a grand and clever piece of comedic spectacle that is, among other superlatives, great at doing stuff. And, if you’re not grateful for “I’m Just Ken” now, just wait until it shows up to enliven a three-and-a-half-hour Oscars telecast.\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/wwux9KiBMjE'\n title='//www.youtube.com/embed/wwux9KiBMjE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>1. “What Was I Made For?,” \u003c/strong>\u003cem>\u003cstrong>Barbie\u003c/strong>\u003c/em>\u003cstrong>, performed by Billie Eilish (Billie Eilish and Finneas O’Connell, songwriters)\u003c/strong>\u003c/p>\n\u003cp>I’m never going to fault anyone for choosing jokes over feelings, so you’re more than forgiven if you prefer “I’m Just Ken” to “What Was I Made For?” But, \u003cem>man\u003c/em>, this is a gorgeous song: melodically rich, a radiant vocal performance from Billie Eilish, a compelling way to magnify the pathos in \u003cem>Barbie\u003c/em>‘s story of self-awakening, and an actual chart hit to boot.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s worth noting once again how often the Oscars’ best original song field gets dominated by songs that roll harmlessly over closing credits — and, more to the point, that fail to convey or reflect on what their films were trying to say. This season, only the Diane Warren song really falls short in that regard; though they play over their respective credits, “Wahzhazhe (A Song for My People)” could only come from \u003cem>Killers of the Flower Moon\u003c/em> and “It Never Went Away” could only come from \u003cem>American Symphony\u003c/em>. That’s a big step up from most years, which says nothing of how integral “I’m Just Ken” and “What Was I Made For?” are to \u003cem>Barbie\u003c/em>.\u003c/p>\n\u003cp>Last year’s Oscar field produced one of the best and most satisfying winners this category has ever produced in “\u003ca href=\"https://www.youtube.com/watch?v=OsU0CGZoV8E\">Naatu Naatu\u003c/a>” from \u003cem>RRR\u003c/em>. As long as Barbie gets its due this time around, we’re in for another all-timer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Best Dog? Best Hat? Ahead of the Oscars, Film Critics Hand Out Their Own Awards",
"headTitle": "Best Dog? Best Hat? Ahead of the Oscars, Film Critics Hand Out Their Own Awards | KQED",
"content": "\u003cp>The Academy Awards honor many things in movies but not some of the most important. Ahead of Sunday’s Oscars, Associated Press film writers Lindsey Bahr and Jake Coyle make selections for their own awards — some more offbeat than others.\u003c/p>\n\u003ch2>Best Actually Supporting Performance: Cory Michael Smith, ‘May December’\u003c/h2>\n\u003cp>Sometimes the best truly supporting performances are the ones that will never, ever get the “awards push,” like the brilliant Cory Michael Smith as Georgie Atherton in \u003ca href=\"https://www.kqed.org/arts/13938143/may-december-movie-review-netflix-mary-kay-letourneau-julianne-moore\">\u003cem>May December\u003c/em>\u003c/a>. With his subtly manic energy, sad smile and that awful bleached hair, his is that kind of undeniable presence who steals both scenes he’s in and also completely upends everything we’ve come to understand so far. But this is how awards season works and something that only our awards strategist friends can justify. — L.B.\u003c/p>\n\u003cfigure id=\"attachment_13953431\" class=\"wp-caption aligncenter\" style=\"max-width: 1276px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953431\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.44.37-PM.png\" alt=\"A nervous looking woman sits on a bench, hands clasped in her lap, next to a younger man who is sitting casually with his legs crossed.\" width=\"1276\" height=\"892\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.44.37-PM.png 1276w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.44.37-PM-800x559.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.44.37-PM-1020x713.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.44.37-PM-160x112.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.44.37-PM-768x537.png 768w\" sizes=\"(max-width: 1276px) 100vw, 1276px\">\u003cfigcaption class=\"wp-caption-text\">Natalie Portman and Cory Michael Smith in a scene from ‘May December.’ \u003ccite>(François Duhamel/ Netflix via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Hairstyle: Gwen’s upside-down ponytail, ‘Spider-Man: Across the Spider-Verse’\u003c/h2>\n\u003cp>There are, no doubt, more elegantly styled heads of hair among this year’s Oscar nominees. But no ‘do could match the gravity-assisted beauty of the ponytail that hangs suspended in the air when Gwen (Hailee Steinfeld) and Miles (Shameik Moore) sit together, clung to the underside of cornice, gazing out at an upturned New York in \u003cem>Spider-Man: Across the Spider-Verse\u003c/em>. For a topsy-turvy, canon-breaking film series, Gwen’s upside-down ponytail points the way. — J.C.\u003c/p>\n\u003cfigure id=\"attachment_13953432\" class=\"wp-caption aligncenter\" style=\"max-width: 1168px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953432\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.46.49-PM.png\" alt=\"An illustration of two small figures sitting on a bench. In the distance, a city skyline can be seen upside down.\" width=\"1168\" height=\"704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.46.49-PM.png 1168w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.46.49-PM-800x482.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.46.49-PM-1020x615.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.46.49-PM-160x96.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.46.49-PM-768x463.png 768w\" sizes=\"(max-width: 1168px) 100vw, 1168px\">\u003cfigcaption class=\"wp-caption-text\">Miles Morales as Spider-Man and Spider-Gwen in a scene from Columbia Pictures and Sony Pictures Animation’s ‘Spider-Man: Across the Spider-Verse.’ \u003ccite>(Sony Pictures Animation via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Duo Act: Jeffrey Wright and John Ortiz, ‘American Fiction’\u003c/h2>\n\u003cp>As great as the whole ensemble is in Cord Jefferson’s incisive drama, the movie is never better than when Wright and Ortiz are matched together. When Wright’s frustrated novelist Monk Ellison meets with his agent Arthur (Ortiz), \u003ca href=\"https://www.kqed.org/arts/13938160/american-fiction-based-on-erasure-jeffrey-wright-cord-jefferson-ross\">\u003cem>American Fiction\u003c/em>\u003c/a> sparkles with the comic interplay of two character-actor greats. Give these guys a sitcom and I’d watch six seasons. — J.C.\u003c/p>\n\u003cfigure id=\"attachment_13953433\" class=\"wp-caption aligncenter\" style=\"max-width: 1206px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953433\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.48.52-PM.png\" alt=\"A Black man in a polo shirt and a Latino man in a shirt and tie both peer down at a desk looking concerned.\" width=\"1206\" height=\"786\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.48.52-PM.png 1206w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.48.52-PM-800x521.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.48.52-PM-1020x665.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.48.52-PM-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.48.52-PM-768x501.png 768w\" sizes=\"(max-width: 1206px) 100vw, 1206px\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey Wright and John Ortiz in a scene from ‘American Fiction.’ \u003ccite>(MGM via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Cameo: Margot Robbie, ‘Asteroid City’\u003c/h2>\n\u003cp>Wes Anderson’s \u003ca href=\"https://www.kqed.org/arts/13930502/asteroid-city-review-wes-anderson-scarlet-johansson-jason-schwartzman\">\u003cem>Asteroid City\u003c/em>\u003c/a> got a raw deal this year with zero nominations (maybe he’ll win his first Oscar for his Henry Sugar short). One performance in a sea of great ones that really made an impact was a true cameo that’s saved for the very end: Margot Robbie as the actor whose scene as Jason Schwartzman’s dead wife was cut for time. She gets only a few minutes, to remind her would’ve-been co-star of their would’ve-been lines, dressed in Elizabethan garb a balcony away. It is an emotional gut punch of the best kind, brief and perfect. — L.B.\u003c/p>\n\u003ch2>Best Face: Willem Dafoe, ‘Poor Things’\u003c/h2>\n\u003cp>Willem Dafoe’s face is already a work of art, but\u003ca href=\"https://www.kqed.org/arts/13938158/poor-things-movie-review-emma-stone-bella-baxter-mark-ruffalo-willem-dafoe\">\u003cem> Poor Things\u003c/em>\u003c/a> turns it into a Munch-esque masterpiece. His scarred Dr. Godwin Baxter, whose deformities come from experiments performed on him, is like a fusion of mad scientist and wounded victim. He’s Frankenstein and Frankenstein’s monster, in one. — J.C.\u003c/p>\n\u003cfigure id=\"attachment_13953434\" class=\"wp-caption aligncenter\" style=\"max-width: 1270px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953434\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.50.45-PM.png\" alt=\"A disfigured man sits at a dining table next to a contraption made of glass bottles and tubes.\" width=\"1270\" height=\"780\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.50.45-PM.png 1270w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.50.45-PM-800x491.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.50.45-PM-1020x626.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.50.45-PM-160x98.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.50.45-PM-768x472.png 768w\" sizes=\"(max-width: 1270px) 100vw, 1270px\">\u003cfigcaption class=\"wp-caption-text\">Willem Dafoe in a scene from ‘Poor Things.’ \u003ccite>(Atsushi Nishijima/ Searchlight Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Stunts: ‘Mission: Impossible: Dead Reckoning — Part One’\u003c/h2>\n\u003cp>It remains wild that the film academy still doesn’t recognize stunts, but we can here. \u003cem>Mission: Impossible – Dead Reckoning\u003c/em> isn’t the underdog in this category but that doesn’t make what they did any less impressive. The obvious “best” is the cliff jump, which most of us know by now that Tom Cruise did himself. But I’m also partial to the Rome car chase in which Cruise and Hayley Atwell try to escape capture in a creaky, vintage Fiat 500 while handcuffed together. — L.B.\u003c/p>\n\u003cfigure id=\"attachment_13953435\" class=\"wp-caption aligncenter\" style=\"max-width: 1138px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953435\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.52.26-PM.png\" alt=\"A man flies through the air in a horizontal position, a motorbike if falling vertically underneath him.\" width=\"1138\" height=\"756\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.52.26-PM.png 1138w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.52.26-PM-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.52.26-PM-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.52.26-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.52.26-PM-768x510.png 768w\" sizes=\"(max-width: 1138px) 100vw, 1138px\">\u003cfigcaption class=\"wp-caption-text\">Tom Cruise in a scene from ‘Mission: Impossible — Dead Reckoning, Part One.’ \u003ccite>(Paramount Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Use of Earth Wind and Fire’s ‘September’: ‘Robot Dreams’\u003c/h2>\n\u003cp>“September” has probably been heard in a hundred movies and at a billion weddings, but the best animated feature nominee \u003cem>Robot Dreams\u003c/em> uses the disco classic to perfection. In a movie that is strikingly grown-up about a relationship between a dog and robot, all of the joy and nostalgia of “September” has never been more moving. It sends you out of the theater humming “The bell was ringin’, oh, oh / Our souls were singin’.” — J.C.\u003c/p>\n\u003cfigure id=\"attachment_13953436\" class=\"wp-caption aligncenter\" style=\"max-width: 956px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953436\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.54.27-PM.png\" alt=\"A robot and a dog stand in front of a hotdog cart at a park, holding hot dogs.\" width=\"956\" height=\"682\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.54.27-PM.png 956w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.54.27-PM-800x571.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.54.27-PM-160x114.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.54.27-PM-768x548.png 768w\" sizes=\"(max-width: 956px) 100vw, 956px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Robot Dreams.’ \u003ccite>(Neon via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Most Stylish: ‘Priscilla’\u003c/h2>\n\u003cp>This is perhaps a silly superlative to give to a movie that was easily one of the strongest adaptations of the year, taking what was essentially a young woman’s diary entries and making something evocative and profound without the use of first-person narration. The thoughtful style of \u003ca href=\"https://www.kqed.org/arts/13936970/priscilla-movie-review-sofia-coppola-jacob-elordi-cailee-spaeny\">Sofia Coppola’s film\u003c/a> helps make this point, transporting audiences into this intoxicating and dreamlike wonderland of the most beautiful clothes and glamorous settings with the biggest star of the time, and guiding us along with Pricilla to the realization that it is also a nightmare. — L.B.\u003c/p>\n\u003cfigure id=\"attachment_13953437\" class=\"wp-caption aligncenter\" style=\"max-width: 1262px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953437\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.55.55-PM.png\" alt=\"A 1960s bride and groom stand before a tiered wedding cake in front of an arch made of white roses. \" width=\"1262\" height=\"846\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.55.55-PM.png 1262w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.55.55-PM-800x536.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.55.55-PM-1020x684.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.55.55-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.55.55-PM-768x515.png 768w\" sizes=\"(max-width: 1262px) 100vw, 1262px\">\u003cfigcaption class=\"wp-caption-text\">Cailee Spaeny and Jacob Elordi in a scene from ‘Priscilla.’ \u003ccite>(Philippe Le Sourd/ A24 via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Scene: The Trinity Test, ‘Oppenheimer’\u003c/h2>\n\u003cp>I don’t love everything about Christopher Nolan’s epic but I think the Trinity Test scene is a sequence that will be taught to film students for generations. It’s not just the explosion itself, which was accomplished with old-school moviemaking techniques like forced perspective (doing something small but making it seem big). It’s the rumbling tremors of the moments that follow, when Oppenheimer, after hearing that the bomb has been dropped on Hiroshima, is greeted by a flag-waving gymnasium audience. Oppenheimer’s face is horrified, reckoning with what he’s wrought. The crowd turns grotesque and ashen. A girl (played by Nolan’s daughter) shrieks. Here is the real thunder of \u003ca href=\"https://www.kqed.org/arts/13932204/oppenheimer-japanese-erasure\">\u003cem>Oppenheimer\u003c/em>\u003c/a>. — J.C.\u003c/p>\n\u003cfigure id=\"attachment_13953438\" class=\"wp-caption aligncenter\" style=\"max-width: 1278px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953438\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.57.52-PM.png\" alt=\"A white man sits, wearing goggles in front of a small window. His face is lit up in bright light.\" width=\"1278\" height=\"890\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.57.52-PM.png 1278w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.57.52-PM-800x557.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.57.52-PM-1020x710.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.57.52-PM-160x111.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.57.52-PM-768x535.png 768w\" sizes=\"(max-width: 1278px) 100vw, 1278px\">\u003cfigcaption class=\"wp-caption-text\">Cillian Murphy in a scene from ‘Oppenheimer.’ \u003ccite>(Universal Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Dream Ballet: ‘Barbie’\u003c/h2>\n\u003cp>Last year had so much great dancing, from the sweaty club scenes in \u003cem>Passages\u003c/em>, to the wedding line dance in \u003cem>The Iron Claw\u003c/em>, Jeff’s silly moves in \u003ca href=\"https://www.kqed.org/arts/13933589/behind-bottoms-a-wild-queer-and-bloody-high-school-sex-comedy\">\u003cem>Bottoms\u003c/em>\u003c/a>, Bella Baxter’s broken doll euphoria in \u003cem>Poor Things\u003c/em>, \u003cem>M3GAN\u003c/em>’s boogie and, of course, the end of \u003ca href=\"https://www.kqed.org/arts/13938358/saltburn-review-emerald-fennell-shocking-scenes-jacob-elordi\">\u003cem>Saltburn\u003c/em>\u003c/a>. But the trophy goes to Greta Gerwig’s euphoric “I’m Just Ken” dream ballet, a sequence she fought to keep in that is also the \u003ca href=\"https://www.kqed.org/arts/13931753/allan-doll-michael-cera-greta-gerwig-barbie-movie-review\">best in the film\u003c/a>. — L.B.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VDCnJHyMuyU\u003c/p>\n\u003ch2>Best Fight: Julia Louis-Dreyfus and Tobias Menzies, ‘You Hurt My Feelings’\u003c/h2>\n\u003cp>Sure, you could pick more violent encounters. But is there possibly anything more ferociously rock ’em-sock ’em than an author overhearing her husband say he doesn’t like her latest book? In Nicole Holofcener’s \u003cem>You Hurt My Feelings\u003c/em>, it’s the opening salvo in a painfully, hysterically acute examination of honesty in relationships. Not, I repeat not, a date movie. — J.C.\u003c/p>\n\u003cfigure id=\"attachment_13953440\" class=\"wp-caption aligncenter\" style=\"max-width: 1198px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953440\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.01.56-PM.png\" alt=\"A white man and a white woman stand in a living room, facing forward and looking stunned.\" width=\"1198\" height=\"748\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.01.56-PM.png 1198w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.01.56-PM-800x499.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.01.56-PM-1020x637.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.01.56-PM-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.01.56-PM-768x480.png 768w\" sizes=\"(max-width: 1198px) 100vw, 1198px\">\u003cfigcaption class=\"wp-caption-text\">Tobias Menzies and Julia Louis-Dreyfus in a scene from ‘You Hurt My Feelings.’ \u003ccite>(Jeong Park/ A24 via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Use of a Preexisting Song: ‘Silver Joy’ by Damien Jurado, ‘The Holdovers’\u003c/h2>\n\u003cp>I think the original song category needs an overhaul. For years, movies have helped introduce me to songs that exist that I might have missed, that become immediate favorites because of the emotional association with a movie. Selecting the right existing song is such an art and one last year stood out over all the rest: Damien Jurado’s “Silver Joy” in \u003ca href=\"https://www.kqed.org/arts/13937046/alexander-payne-keeps-real-emotion-at-bay-in-the-coyly-comic-holdovers\">\u003cem>The Holdovers\u003c/em>\u003c/a>. — L.B.\u003c/p>\n\u003ch2>Best Hat: Michael Fassbender’s bucket hat, ‘The Killer’\u003c/h2>\n\u003cp>Meticulous movie hitmen have long worn stylish hats. Think of the fedora of the protagonist of \u003cem>Le Samouraï.\u003c/em> The assassin of David Fincher’s \u003ca href=\"https://www.kqed.org/arts/13937708/the-killer-movie-review-david-fincher-trent-reznor-michael-fassbender\">\u003cem>The Killer\u003c/em>\u003c/a>, though, wears a bucket hat. It’s just as much a silhouette, but he looks more like a dopey tourist than a stone-cold killer. That’s much the point for a movie about murder in increasingly anonymous times. — J.C.\u003c/p>\n\u003cfigure id=\"attachment_13937722\" class=\"wp-caption aligncenter\" style=\"max-width: 1584px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937722\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.06.08-AM.png\" alt=\"A white man wearing leisure wear including white pants and a beige sun hat sits on a bench, looking relaxed.\" width=\"1584\" height=\"1136\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.06.08-AM.png 1584w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.06.08-AM-800x574.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.06.08-AM-1020x732.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.06.08-AM-160x115.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.06.08-AM-768x551.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.06.08-AM-1536x1102.png 1536w\" sizes=\"(max-width: 1584px) 100vw, 1584px\">\u003cfigcaption class=\"wp-caption-text\">Michael Fassbender stars in ‘The Killer.’ \u003ccite>(Netflix via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best One-Scene Performance: Audra McDonald, ‘Origin’\u003c/h2>\n\u003cp>In Ava DuVernay’s too-overlooked \u003ca href=\"https://www.kqed.org/arts/13950482/ava-duvernay-origin-caste-our-discontents-isabel-wilkerson\">\u003cem>Origin\u003c/em>\u003c/a>, much of the film’s sense of humanity comes from the rich presences of the actors who float in and out of the movie. Not just the stellar lead, Aunjanue Ellis-Taylor, but a number of performers — including Jon Bernthal, Emily Yancy and Nick Offerman — add to the nuance of \u003cem>Origin\u003c/em>. That’s especially true of Audra McDonald, who turns up for just one scene that may be the most potent of the film. McDonald plays a woman named Miss Hale, and her story of how she got that name is a delicate powerhouse. — J.C.\u003c/p>\n\u003ch2>Most Romantic: ‘The Taste of Things’\u003c/h2>\n\u003cp>There are not many truly romantic films made for big audiences these days. Sure there’s the odd rom-com here and there, but sweeping, luscious, capital R romances are few and far between and rarely celebrated at awards season (yes, I’m still thinking about Joe Wright’s \u003cem>Cyrano\u003c/em>). This season, that title went to \u003ca href=\"https://www.kqed.org/arts/13951896/the-taste-of-things-juliette-binoche-food-movie-review\">\u003cem>The Taste of Things\u003c/em>\u003c/a>, which doesn’t have an ounce of cynicism, just pure love. — L.B.\u003c/p>\n\u003cfigure id=\"attachment_13953441\" class=\"wp-caption aligncenter\" style=\"max-width: 1274px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953441\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.08.33-PM.png\" alt=\"A woman and man stand close together next to a stove pouring one pan into another.\" width=\"1274\" height=\"846\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.08.33-PM.png 1274w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.08.33-PM-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.08.33-PM-1020x677.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.08.33-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.08.33-PM-768x510.png 768w\" sizes=\"(max-width: 1274px) 100vw, 1274px\">\u003cfigcaption class=\"wp-caption-text\">Juliette Binoche and Benoît Magimel in a scene from ‘The Taste of Things.’ \u003ccite>(Stéphanie Branchu/ IFC Films via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best NFL Player Performance: Marshawn Lynch, ‘Bottoms’\u003c/h2>\n\u003cp>With exactly zero apologies to \u003cem>80 for Brady\u003c/em> (Jets fan here), no former footballer made more of a big-screen impression than Marshawn Lynch, the former elite running back known as “Beast Mode.” In Emma Seligman’s raunchy lesbian teen comedy \u003cem>Bottoms\u003c/em>, Lynch turns up as a high school teacher and is quite funny acting opposite Rachel Sennott and Ayo Edebiri. The role also has poignance. Lynch has said he did it to help make up for how he handled his sister, Marreesha Sapp-Lynch, coming out in high school. — J.C.\u003c/p>\n\u003ch2>Best Dog Not Named Snoop: Chaplin, ‘Fallen Leaves’\u003c/h2>\n\u003cp>Snoop, the all-seeing dog in the best picture nominee \u003cem>Anatomy of a Fall\u003c/em>, has really hogged the pooch spotlight. Messi, the dog who plays Snoop, has been all over the place, including the film academy luncheon. But it’s time his reign of terror came to end. In Aki Kaurismäki’s \u003cem>Fallen Leaves\u003c/em>, my favorite film of 2023, a pair of loners find nourishing points of connection in a cruel and grim world: the movies, karaoke and a dog named Chaplin. The dog, named Alma in real life, is Kaurismäki’s own mutt, and deserves a few bones thrown her way, too. — J.C.\u003c/p>\n\u003cfigure id=\"attachment_13953442\" class=\"wp-caption aligncenter\" style=\"max-width: 1266px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953442\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.10.18-PM.png\" alt=\"A woman sits in a waiting room with one arm around a small dog.\" width=\"1266\" height=\"862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.10.18-PM.png 1266w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.10.18-PM-800x545.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.10.18-PM-1020x695.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.10.18-PM-160x109.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.10.18-PM-768x523.png 768w\" sizes=\"(max-width: 1266px) 100vw, 1266px\">\u003cfigcaption class=\"wp-caption-text\">Alma Pöysti and Alma the dog in a scene from ‘Fallen Leaves.’ \u003ccite>(MUBI via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The 96th Academy Awards will take place on March 10, starting at 4 p.m. and will air live on ABC.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Academy Awards honor many things in movies but not some of the most important. Ahead of Sunday’s Oscars, Associated Press film writers Lindsey Bahr and Jake Coyle make selections for their own awards — some more offbeat than others.\u003c/p>\n\u003ch2>Best Actually Supporting Performance: Cory Michael Smith, ‘May December’\u003c/h2>\n\u003cp>Sometimes the best truly supporting performances are the ones that will never, ever get the “awards push,” like the brilliant Cory Michael Smith as Georgie Atherton in \u003ca href=\"https://www.kqed.org/arts/13938143/may-december-movie-review-netflix-mary-kay-letourneau-julianne-moore\">\u003cem>May December\u003c/em>\u003c/a>. With his subtly manic energy, sad smile and that awful bleached hair, his is that kind of undeniable presence who steals both scenes he’s in and also completely upends everything we’ve come to understand so far. But this is how awards season works and something that only our awards strategist friends can justify. — L.B.\u003c/p>\n\u003cfigure id=\"attachment_13953431\" class=\"wp-caption aligncenter\" style=\"max-width: 1276px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953431\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.44.37-PM.png\" alt=\"A nervous looking woman sits on a bench, hands clasped in her lap, next to a younger man who is sitting casually with his legs crossed.\" width=\"1276\" height=\"892\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.44.37-PM.png 1276w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.44.37-PM-800x559.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.44.37-PM-1020x713.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.44.37-PM-160x112.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.44.37-PM-768x537.png 768w\" sizes=\"(max-width: 1276px) 100vw, 1276px\">\u003cfigcaption class=\"wp-caption-text\">Natalie Portman and Cory Michael Smith in a scene from ‘May December.’ \u003ccite>(François Duhamel/ Netflix via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Hairstyle: Gwen’s upside-down ponytail, ‘Spider-Man: Across the Spider-Verse’\u003c/h2>\n\u003cp>There are, no doubt, more elegantly styled heads of hair among this year’s Oscar nominees. But no ‘do could match the gravity-assisted beauty of the ponytail that hangs suspended in the air when Gwen (Hailee Steinfeld) and Miles (Shameik Moore) sit together, clung to the underside of cornice, gazing out at an upturned New York in \u003cem>Spider-Man: Across the Spider-Verse\u003c/em>. For a topsy-turvy, canon-breaking film series, Gwen’s upside-down ponytail points the way. — J.C.\u003c/p>\n\u003cfigure id=\"attachment_13953432\" class=\"wp-caption aligncenter\" style=\"max-width: 1168px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953432\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.46.49-PM.png\" alt=\"An illustration of two small figures sitting on a bench. In the distance, a city skyline can be seen upside down.\" width=\"1168\" height=\"704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.46.49-PM.png 1168w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.46.49-PM-800x482.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.46.49-PM-1020x615.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.46.49-PM-160x96.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.46.49-PM-768x463.png 768w\" sizes=\"(max-width: 1168px) 100vw, 1168px\">\u003cfigcaption class=\"wp-caption-text\">Miles Morales as Spider-Man and Spider-Gwen in a scene from Columbia Pictures and Sony Pictures Animation’s ‘Spider-Man: Across the Spider-Verse.’ \u003ccite>(Sony Pictures Animation via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Duo Act: Jeffrey Wright and John Ortiz, ‘American Fiction’\u003c/h2>\n\u003cp>As great as the whole ensemble is in Cord Jefferson’s incisive drama, the movie is never better than when Wright and Ortiz are matched together. When Wright’s frustrated novelist Monk Ellison meets with his agent Arthur (Ortiz), \u003ca href=\"https://www.kqed.org/arts/13938160/american-fiction-based-on-erasure-jeffrey-wright-cord-jefferson-ross\">\u003cem>American Fiction\u003c/em>\u003c/a> sparkles with the comic interplay of two character-actor greats. Give these guys a sitcom and I’d watch six seasons. — J.C.\u003c/p>\n\u003cfigure id=\"attachment_13953433\" class=\"wp-caption aligncenter\" style=\"max-width: 1206px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953433\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.48.52-PM.png\" alt=\"A Black man in a polo shirt and a Latino man in a shirt and tie both peer down at a desk looking concerned.\" width=\"1206\" height=\"786\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.48.52-PM.png 1206w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.48.52-PM-800x521.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.48.52-PM-1020x665.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.48.52-PM-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.48.52-PM-768x501.png 768w\" sizes=\"(max-width: 1206px) 100vw, 1206px\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey Wright and John Ortiz in a scene from ‘American Fiction.’ \u003ccite>(MGM via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Cameo: Margot Robbie, ‘Asteroid City’\u003c/h2>\n\u003cp>Wes Anderson’s \u003ca href=\"https://www.kqed.org/arts/13930502/asteroid-city-review-wes-anderson-scarlet-johansson-jason-schwartzman\">\u003cem>Asteroid City\u003c/em>\u003c/a> got a raw deal this year with zero nominations (maybe he’ll win his first Oscar for his Henry Sugar short). One performance in a sea of great ones that really made an impact was a true cameo that’s saved for the very end: Margot Robbie as the actor whose scene as Jason Schwartzman’s dead wife was cut for time. She gets only a few minutes, to remind her would’ve-been co-star of their would’ve-been lines, dressed in Elizabethan garb a balcony away. It is an emotional gut punch of the best kind, brief and perfect. — L.B.\u003c/p>\n\u003ch2>Best Face: Willem Dafoe, ‘Poor Things’\u003c/h2>\n\u003cp>Willem Dafoe’s face is already a work of art, but\u003ca href=\"https://www.kqed.org/arts/13938158/poor-things-movie-review-emma-stone-bella-baxter-mark-ruffalo-willem-dafoe\">\u003cem> Poor Things\u003c/em>\u003c/a> turns it into a Munch-esque masterpiece. His scarred Dr. Godwin Baxter, whose deformities come from experiments performed on him, is like a fusion of mad scientist and wounded victim. He’s Frankenstein and Frankenstein’s monster, in one. — J.C.\u003c/p>\n\u003cfigure id=\"attachment_13953434\" class=\"wp-caption aligncenter\" style=\"max-width: 1270px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953434\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.50.45-PM.png\" alt=\"A disfigured man sits at a dining table next to a contraption made of glass bottles and tubes.\" width=\"1270\" height=\"780\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.50.45-PM.png 1270w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.50.45-PM-800x491.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.50.45-PM-1020x626.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.50.45-PM-160x98.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.50.45-PM-768x472.png 768w\" sizes=\"(max-width: 1270px) 100vw, 1270px\">\u003cfigcaption class=\"wp-caption-text\">Willem Dafoe in a scene from ‘Poor Things.’ \u003ccite>(Atsushi Nishijima/ Searchlight Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Stunts: ‘Mission: Impossible: Dead Reckoning — Part One’\u003c/h2>\n\u003cp>It remains wild that the film academy still doesn’t recognize stunts, but we can here. \u003cem>Mission: Impossible – Dead Reckoning\u003c/em> isn’t the underdog in this category but that doesn’t make what they did any less impressive. The obvious “best” is the cliff jump, which most of us know by now that Tom Cruise did himself. But I’m also partial to the Rome car chase in which Cruise and Hayley Atwell try to escape capture in a creaky, vintage Fiat 500 while handcuffed together. — L.B.\u003c/p>\n\u003cfigure id=\"attachment_13953435\" class=\"wp-caption aligncenter\" style=\"max-width: 1138px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953435\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.52.26-PM.png\" alt=\"A man flies through the air in a horizontal position, a motorbike if falling vertically underneath him.\" width=\"1138\" height=\"756\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.52.26-PM.png 1138w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.52.26-PM-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.52.26-PM-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.52.26-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.52.26-PM-768x510.png 768w\" sizes=\"(max-width: 1138px) 100vw, 1138px\">\u003cfigcaption class=\"wp-caption-text\">Tom Cruise in a scene from ‘Mission: Impossible — Dead Reckoning, Part One.’ \u003ccite>(Paramount Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Use of Earth Wind and Fire’s ‘September’: ‘Robot Dreams’\u003c/h2>\n\u003cp>“September” has probably been heard in a hundred movies and at a billion weddings, but the best animated feature nominee \u003cem>Robot Dreams\u003c/em> uses the disco classic to perfection. In a movie that is strikingly grown-up about a relationship between a dog and robot, all of the joy and nostalgia of “September” has never been more moving. It sends you out of the theater humming “The bell was ringin’, oh, oh / Our souls were singin’.” — J.C.\u003c/p>\n\u003cfigure id=\"attachment_13953436\" class=\"wp-caption aligncenter\" style=\"max-width: 956px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953436\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.54.27-PM.png\" alt=\"A robot and a dog stand in front of a hotdog cart at a park, holding hot dogs.\" width=\"956\" height=\"682\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.54.27-PM.png 956w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.54.27-PM-800x571.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.54.27-PM-160x114.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.54.27-PM-768x548.png 768w\" sizes=\"(max-width: 956px) 100vw, 956px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Robot Dreams.’ \u003ccite>(Neon via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Most Stylish: ‘Priscilla’\u003c/h2>\n\u003cp>This is perhaps a silly superlative to give to a movie that was easily one of the strongest adaptations of the year, taking what was essentially a young woman’s diary entries and making something evocative and profound without the use of first-person narration. The thoughtful style of \u003ca href=\"https://www.kqed.org/arts/13936970/priscilla-movie-review-sofia-coppola-jacob-elordi-cailee-spaeny\">Sofia Coppola’s film\u003c/a> helps make this point, transporting audiences into this intoxicating and dreamlike wonderland of the most beautiful clothes and glamorous settings with the biggest star of the time, and guiding us along with Pricilla to the realization that it is also a nightmare. — L.B.\u003c/p>\n\u003cfigure id=\"attachment_13953437\" class=\"wp-caption aligncenter\" style=\"max-width: 1262px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953437\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.55.55-PM.png\" alt=\"A 1960s bride and groom stand before a tiered wedding cake in front of an arch made of white roses. \" width=\"1262\" height=\"846\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.55.55-PM.png 1262w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.55.55-PM-800x536.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.55.55-PM-1020x684.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.55.55-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.55.55-PM-768x515.png 768w\" sizes=\"(max-width: 1262px) 100vw, 1262px\">\u003cfigcaption class=\"wp-caption-text\">Cailee Spaeny and Jacob Elordi in a scene from ‘Priscilla.’ \u003ccite>(Philippe Le Sourd/ A24 via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Scene: The Trinity Test, ‘Oppenheimer’\u003c/h2>\n\u003cp>I don’t love everything about Christopher Nolan’s epic but I think the Trinity Test scene is a sequence that will be taught to film students for generations. It’s not just the explosion itself, which was accomplished with old-school moviemaking techniques like forced perspective (doing something small but making it seem big). It’s the rumbling tremors of the moments that follow, when Oppenheimer, after hearing that the bomb has been dropped on Hiroshima, is greeted by a flag-waving gymnasium audience. Oppenheimer’s face is horrified, reckoning with what he’s wrought. The crowd turns grotesque and ashen. A girl (played by Nolan’s daughter) shrieks. Here is the real thunder of \u003ca href=\"https://www.kqed.org/arts/13932204/oppenheimer-japanese-erasure\">\u003cem>Oppenheimer\u003c/em>\u003c/a>. — J.C.\u003c/p>\n\u003cfigure id=\"attachment_13953438\" class=\"wp-caption aligncenter\" style=\"max-width: 1278px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953438\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.57.52-PM.png\" alt=\"A white man sits, wearing goggles in front of a small window. His face is lit up in bright light.\" width=\"1278\" height=\"890\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.57.52-PM.png 1278w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.57.52-PM-800x557.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.57.52-PM-1020x710.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.57.52-PM-160x111.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-3.57.52-PM-768x535.png 768w\" sizes=\"(max-width: 1278px) 100vw, 1278px\">\u003cfigcaption class=\"wp-caption-text\">Cillian Murphy in a scene from ‘Oppenheimer.’ \u003ccite>(Universal Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Dream Ballet: ‘Barbie’\u003c/h2>\n\u003cp>Last year had so much great dancing, from the sweaty club scenes in \u003cem>Passages\u003c/em>, to the wedding line dance in \u003cem>The Iron Claw\u003c/em>, Jeff’s silly moves in \u003ca href=\"https://www.kqed.org/arts/13933589/behind-bottoms-a-wild-queer-and-bloody-high-school-sex-comedy\">\u003cem>Bottoms\u003c/em>\u003c/a>, Bella Baxter’s broken doll euphoria in \u003cem>Poor Things\u003c/em>, \u003cem>M3GAN\u003c/em>’s boogie and, of course, the end of \u003ca href=\"https://www.kqed.org/arts/13938358/saltburn-review-emerald-fennell-shocking-scenes-jacob-elordi\">\u003cem>Saltburn\u003c/em>\u003c/a>. But the trophy goes to Greta Gerwig’s euphoric “I’m Just Ken” dream ballet, a sequence she fought to keep in that is also the \u003ca href=\"https://www.kqed.org/arts/13931753/allan-doll-michael-cera-greta-gerwig-barbie-movie-review\">best in the film\u003c/a>. — L.B.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/VDCnJHyMuyU'\n title='//www.youtube.com/embed/VDCnJHyMuyU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Best Fight: Julia Louis-Dreyfus and Tobias Menzies, ‘You Hurt My Feelings’\u003c/h2>\n\u003cp>Sure, you could pick more violent encounters. But is there possibly anything more ferociously rock ’em-sock ’em than an author overhearing her husband say he doesn’t like her latest book? In Nicole Holofcener’s \u003cem>You Hurt My Feelings\u003c/em>, it’s the opening salvo in a painfully, hysterically acute examination of honesty in relationships. Not, I repeat not, a date movie. — J.C.\u003c/p>\n\u003cfigure id=\"attachment_13953440\" class=\"wp-caption aligncenter\" style=\"max-width: 1198px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953440\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.01.56-PM.png\" alt=\"A white man and a white woman stand in a living room, facing forward and looking stunned.\" width=\"1198\" height=\"748\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.01.56-PM.png 1198w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.01.56-PM-800x499.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.01.56-PM-1020x637.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.01.56-PM-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.01.56-PM-768x480.png 768w\" sizes=\"(max-width: 1198px) 100vw, 1198px\">\u003cfigcaption class=\"wp-caption-text\">Tobias Menzies and Julia Louis-Dreyfus in a scene from ‘You Hurt My Feelings.’ \u003ccite>(Jeong Park/ A24 via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best Use of a Preexisting Song: ‘Silver Joy’ by Damien Jurado, ‘The Holdovers’\u003c/h2>\n\u003cp>I think the original song category needs an overhaul. For years, movies have helped introduce me to songs that exist that I might have missed, that become immediate favorites because of the emotional association with a movie. Selecting the right existing song is such an art and one last year stood out over all the rest: Damien Jurado’s “Silver Joy” in \u003ca href=\"https://www.kqed.org/arts/13937046/alexander-payne-keeps-real-emotion-at-bay-in-the-coyly-comic-holdovers\">\u003cem>The Holdovers\u003c/em>\u003c/a>. — L.B.\u003c/p>\n\u003ch2>Best Hat: Michael Fassbender’s bucket hat, ‘The Killer’\u003c/h2>\n\u003cp>Meticulous movie hitmen have long worn stylish hats. Think of the fedora of the protagonist of \u003cem>Le Samouraï.\u003c/em> The assassin of David Fincher’s \u003ca href=\"https://www.kqed.org/arts/13937708/the-killer-movie-review-david-fincher-trent-reznor-michael-fassbender\">\u003cem>The Killer\u003c/em>\u003c/a>, though, wears a bucket hat. It’s just as much a silhouette, but he looks more like a dopey tourist than a stone-cold killer. That’s much the point for a movie about murder in increasingly anonymous times. — J.C.\u003c/p>\n\u003cfigure id=\"attachment_13937722\" class=\"wp-caption aligncenter\" style=\"max-width: 1584px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937722\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.06.08-AM.png\" alt=\"A white man wearing leisure wear including white pants and a beige sun hat sits on a bench, looking relaxed.\" width=\"1584\" height=\"1136\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.06.08-AM.png 1584w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.06.08-AM-800x574.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.06.08-AM-1020x732.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.06.08-AM-160x115.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.06.08-AM-768x551.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-11.06.08-AM-1536x1102.png 1536w\" sizes=\"(max-width: 1584px) 100vw, 1584px\">\u003cfigcaption class=\"wp-caption-text\">Michael Fassbender stars in ‘The Killer.’ \u003ccite>(Netflix via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best One-Scene Performance: Audra McDonald, ‘Origin’\u003c/h2>\n\u003cp>In Ava DuVernay’s too-overlooked \u003ca href=\"https://www.kqed.org/arts/13950482/ava-duvernay-origin-caste-our-discontents-isabel-wilkerson\">\u003cem>Origin\u003c/em>\u003c/a>, much of the film’s sense of humanity comes from the rich presences of the actors who float in and out of the movie. Not just the stellar lead, Aunjanue Ellis-Taylor, but a number of performers — including Jon Bernthal, Emily Yancy and Nick Offerman — add to the nuance of \u003cem>Origin\u003c/em>. That’s especially true of Audra McDonald, who turns up for just one scene that may be the most potent of the film. McDonald plays a woman named Miss Hale, and her story of how she got that name is a delicate powerhouse. — J.C.\u003c/p>\n\u003ch2>Most Romantic: ‘The Taste of Things’\u003c/h2>\n\u003cp>There are not many truly romantic films made for big audiences these days. Sure there’s the odd rom-com here and there, but sweeping, luscious, capital R romances are few and far between and rarely celebrated at awards season (yes, I’m still thinking about Joe Wright’s \u003cem>Cyrano\u003c/em>). This season, that title went to \u003ca href=\"https://www.kqed.org/arts/13951896/the-taste-of-things-juliette-binoche-food-movie-review\">\u003cem>The Taste of Things\u003c/em>\u003c/a>, which doesn’t have an ounce of cynicism, just pure love. — L.B.\u003c/p>\n\u003cfigure id=\"attachment_13953441\" class=\"wp-caption aligncenter\" style=\"max-width: 1274px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953441\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.08.33-PM.png\" alt=\"A woman and man stand close together next to a stove pouring one pan into another.\" width=\"1274\" height=\"846\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.08.33-PM.png 1274w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.08.33-PM-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.08.33-PM-1020x677.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.08.33-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.08.33-PM-768x510.png 768w\" sizes=\"(max-width: 1274px) 100vw, 1274px\">\u003cfigcaption class=\"wp-caption-text\">Juliette Binoche and Benoît Magimel in a scene from ‘The Taste of Things.’ \u003ccite>(Stéphanie Branchu/ IFC Films via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Best NFL Player Performance: Marshawn Lynch, ‘Bottoms’\u003c/h2>\n\u003cp>With exactly zero apologies to \u003cem>80 for Brady\u003c/em> (Jets fan here), no former footballer made more of a big-screen impression than Marshawn Lynch, the former elite running back known as “Beast Mode.” In Emma Seligman’s raunchy lesbian teen comedy \u003cem>Bottoms\u003c/em>, Lynch turns up as a high school teacher and is quite funny acting opposite Rachel Sennott and Ayo Edebiri. The role also has poignance. Lynch has said he did it to help make up for how he handled his sister, Marreesha Sapp-Lynch, coming out in high school. — J.C.\u003c/p>\n\u003ch2>Best Dog Not Named Snoop: Chaplin, ‘Fallen Leaves’\u003c/h2>\n\u003cp>Snoop, the all-seeing dog in the best picture nominee \u003cem>Anatomy of a Fall\u003c/em>, has really hogged the pooch spotlight. Messi, the dog who plays Snoop, has been all over the place, including the film academy luncheon. But it’s time his reign of terror came to end. In Aki Kaurismäki’s \u003cem>Fallen Leaves\u003c/em>, my favorite film of 2023, a pair of loners find nourishing points of connection in a cruel and grim world: the movies, karaoke and a dog named Chaplin. The dog, named Alma in real life, is Kaurismäki’s own mutt, and deserves a few bones thrown her way, too. — J.C.\u003c/p>\n\u003cfigure id=\"attachment_13953442\" class=\"wp-caption aligncenter\" style=\"max-width: 1266px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953442\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.10.18-PM.png\" alt=\"A woman sits in a waiting room with one arm around a small dog.\" width=\"1266\" height=\"862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.10.18-PM.png 1266w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.10.18-PM-800x545.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.10.18-PM-1020x695.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.10.18-PM-160x109.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-05-at-4.10.18-PM-768x523.png 768w\" sizes=\"(max-width: 1266px) 100vw, 1266px\">\u003cfigcaption class=\"wp-caption-text\">Alma Pöysti and Alma the dog in a scene from ‘Fallen Leaves.’ \u003ccite>(MUBI via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The 96th Academy Awards will take place on March 10, starting at 4 p.m. and will air live on ABC.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "50 Years Ago, ‘Blazing Saddles’ Broke Wind — and Box Office Expectations",
"headTitle": "50 Years Ago, ‘Blazing Saddles’ Broke Wind — and Box Office Expectations | KQED",
"content": "\u003cp>Fifty years ago, \u003ca href=\"https://www.npr.org/2021/12/07/1061836388/mel-brooks-all-about-me\">Mel Brooks\u003c/a> released \u003cem>Blazing Saddles\u003c/em> to gales of laughter and a mighty roar of flatulence jokes.\u003c/p>\n\u003cp>Also to mixed reviews from harrumphing critics. \u003ca href=\"https://www.nytimes.com/1974/02/08/archives/screen-blazing-saddles-a-western-in-burlesque.html\">Typical \u003c/a>was Vincent Canby, whose New York Times review lamented the film’s “desperate, bone crushing efforts to be funny.”\u003c/p>\n\u003cp>The critics eventually came around, though it took a while. By the film’s 30th anniversary, NBC’s \u003cem>Today Show \u003c/em>was \u003ca href=\"https://www.today.com/popculture/blazing-saddles-still-has-big-laughs-wbna5263487\">acknowledging \u003c/a>that its laughs were in the service of a plot that “skewers just about every aspect of racial prejudice.”\u003c/p>\n\u003cp>[aside postid='arts_13939927']And in 2006, when NPR’s Linda Wertheimer reported that \u003cem>Blazing Saddles\u003c/em> was being added to the National Film Registry, she was clearly \u003ca href=\"https://www.npr.org/2006/12/30/6700144/blazing-saddles-makes-national-film-registry\">feigning incredulity\u003c/a>. “Who could have imagined a film featuring a bunch of cowboys sitting around the campfire, eating beans and breaking wind, to be enshrined in the Library of Congress?”\u003c/p>\n\u003cp>By then, of course, \u003cem>everyone\u003c/em> could imagine. Brooks had subsequently made a slew of genre-spoof classics (\u003cem>Young Frankenstein, Silent Movie, High Anxiety, Spaceballs, Robin Hood: Men in Tights\u003c/em>) and even riffed on history itself (\u003cem>History of the World: Part I\u003c/em>), not to mention the 2000 Year Old Man routines he created with \u003ca href=\"https://www.npr.org/2020/06/30/510434234/carl-reiner-actor-director-writer-producer-and-mensch-dies-at-98\">Carl Reiner\u003c/a>. The man was a legend.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But in 1974, he was significantly less well-known, having made a couple of mildly successful comedies (\u003cem>The Twelve Chairs\u003c/em> and \u003cem>The Producers\u003c/em>) and worked in\u003ca href=\"https://www.npr.org/2013/07/10/200755247/sid-caesar-who-got-laughs-without-politics-or-putdowns-dies-at-91\"> Sid Caesar\u003c/a>‘s joke-writer stable for TV. So what he was doing in this western parody got, in the words of another of that era’s funnymen, “no respect.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VKayG1TrfuE\u003c/p>\n\u003ch3>Upending Hollywood’s version of the Old West\u003c/h3>\n\u003cp>\u003cem>Blazing Saddles\u003c/em> starts out like many a Western before it: Big Sky country, a wide open prairie in the 1870s being tamed by a railroad. The foreman is white, his workers mostly African American, and he expects them to be singing as they sweat.\u003c/p>\n\u003cp>“When you were slaves you sang like birds,” he smirks. “How about a good ol’ n***** work song.”\u003c/p>\n\u003cp>Brooks worried about using the racial epithet I’ve just elided. But his co-screenwriter \u003ca href=\"https://www.npr.org/2014/12/11/369641000/richard-pryor-a-comedy-pioneer-who-was-always-whittling-on-dynamite\">Richard Pryor\u003c/a> insisted he use it — and use it often — consciously putting it the mouths of evil or unthinking characters, so that star Cleavon Little could comically mock or demolish them.\u003c/p>\n\u003cp>Which he does. Repeatedly. And hilariously.\u003c/p>\n\u003cp>[aside postid='arts_13907576']So, \u003cem>Blazing Saddles\u003c/em> is not really “like many a Western before it.” Brooks was upending Hollywood’s version of the Old West, much as \u003ca href=\"https://www.npr.org/2006/11/21/6520822/film-world-mourns-director-robert-altman\">Robert Altman\u003c/a>‘s dark, land-grab drama \u003cem>McCabe & Mrs. Miller\u003c/em> had, three years earlier. He just took a different tack. To set his comedy in motion, he had \u003ca href=\"https://www.npr.org/2008/05/30/90981454/comedic-actor-harvey-korman-dies-at-81\">Harvey Korman\u003c/a>‘s scheming politician come up with the idea of hiring a Black sheriff to scare the townsfolk of Rock Ridge away from their town, so he can buy it on the cheap before any of them learns the rail line will soon be coming through.\u003c/p>\n\u003cp>His ploy works. When Cleavon Little’s Sheriff Bart rides into view, they are indeed less than welcoming. But they are also less than bright — foiled in their plan to shoot their new sheriff, for instance, when he points his gun at his own head and takes \u003cem>himself\u003c/em> hostage.\u003c/p>\n\u003ch3>‘He’s like wet sauerkraut in my hands’\u003c/h3>\n\u003cp>Bart then teams up with \u003ca href=\"https://www.npr.org/2016/08/30/491944275/in-this-2005-interview-gene-wilder-explains-how-he-learned-to-get-laughs\">Gene Wilder\u003c/a>‘s Waco Kid, a hung-over gunslinger, at which point the film adopts the rhythms of a black/white buddy comedy. Until, that is, it turns into a spoof of \u003cem>The Blue Angel\u003c/em>, as Madeline Kahn’s seductress-for-hire Lili Von Shtupp croons a gloriously off-pitch “I’m Tired” and sets about seducing Sheriff Bart. “He’s like wet sauerkraut in my hands,” she purrs in an accent that suggests she got vocal coaching from both Marlene Dietrich and Elmer Fudd.\u003c/p>\n\u003cp>To satirize 1970s racial prejudice using 1870s characters, Brooks opted to become an equal-opportunity shredder of genres and conventions. A horse gets punched, as does an old lady. Even Busby Berkeley musicals come in for a brief ribbing when a brawl literally breaks the fourth wall and the cast crashes into a dance number on a nearby soundstage.\u003c/p>\n\u003cp>And of course, there’s that campfire scene: cowboys consuming pots of coffee and platefuls of baked beans, with predictable — though unusual for film — results.\u003c/p>\n\u003ch3>‘Bury it.’\u003c/h3>\n\u003cp>When studio executives first saw \u003cem>Blazing Saddles\u003c/em>, they were \u003cem>not\u003c/em> amused. One distributor \u003ca href=\"https://www.youtube.com/watch?v=uv7L6Hrlj58&t=99s\">suggested \u003c/a>they “bury it.” Others wanted rewrites. But Brooks’ \u003ca href=\"https://ew.com/article/2014/05/01/blazing-saddles-mel-brooks/\">contract gave him final cut\u003c/a>, and he flat-out refused to make changes.\u003c/p>\n\u003cp>So on Feb. 7, 1974, the studio opened the film as a test in three cities — NYC, LA, Chicago — considered the most likely to get Brooks’ Borscht Belt sense of humor. Critics were dismissive, but even the most negative reviews conceded that audiences were howling.\u003c/p>\n\u003cp>[aside postid='pop_107664']And word got around. By the time the weather had warmed, \u003cem>Blazing Saddles \u003c/em>was playing to long lines in suburban cinemas across the country.\u003c/p>\n\u003cp>It ended up the biggest box-office hit of 1974, seen by some 63 million moviegoers in North America (more than would, decades later, see \u003cem>any\u003c/em> of the \u003cem>Lord of the Rings\u003c/em> movies in U.S. theaters).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Blazing Saddles\u003c/em> became, in short, a pop culture touchstone. And 50 years later, that’s what it remains.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=50+years+ago%2C+%27Blazing+Saddles%27+broke+wind+%E2%80%94+and+box+office+expectations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fifty years ago, \u003ca href=\"https://www.npr.org/2021/12/07/1061836388/mel-brooks-all-about-me\">Mel Brooks\u003c/a> released \u003cem>Blazing Saddles\u003c/em> to gales of laughter and a mighty roar of flatulence jokes.\u003c/p>\n\u003cp>Also to mixed reviews from harrumphing critics. \u003ca href=\"https://www.nytimes.com/1974/02/08/archives/screen-blazing-saddles-a-western-in-burlesque.html\">Typical \u003c/a>was Vincent Canby, whose New York Times review lamented the film’s “desperate, bone crushing efforts to be funny.”\u003c/p>\n\u003cp>The critics eventually came around, though it took a while. By the film’s 30th anniversary, NBC’s \u003cem>Today Show \u003c/em>was \u003ca href=\"https://www.today.com/popculture/blazing-saddles-still-has-big-laughs-wbna5263487\">acknowledging \u003c/a>that its laughs were in the service of a plot that “skewers just about every aspect of racial prejudice.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And in 2006, when NPR’s Linda Wertheimer reported that \u003cem>Blazing Saddles\u003c/em> was being added to the National Film Registry, she was clearly \u003ca href=\"https://www.npr.org/2006/12/30/6700144/blazing-saddles-makes-national-film-registry\">feigning incredulity\u003c/a>. “Who could have imagined a film featuring a bunch of cowboys sitting around the campfire, eating beans and breaking wind, to be enshrined in the Library of Congress?”\u003c/p>\n\u003cp>By then, of course, \u003cem>everyone\u003c/em> could imagine. Brooks had subsequently made a slew of genre-spoof classics (\u003cem>Young Frankenstein, Silent Movie, High Anxiety, Spaceballs, Robin Hood: Men in Tights\u003c/em>) and even riffed on history itself (\u003cem>History of the World: Part I\u003c/em>), not to mention the 2000 Year Old Man routines he created with \u003ca href=\"https://www.npr.org/2020/06/30/510434234/carl-reiner-actor-director-writer-producer-and-mensch-dies-at-98\">Carl Reiner\u003c/a>. The man was a legend.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But in 1974, he was significantly less well-known, having made a couple of mildly successful comedies (\u003cem>The Twelve Chairs\u003c/em> and \u003cem>The Producers\u003c/em>) and worked in\u003ca href=\"https://www.npr.org/2013/07/10/200755247/sid-caesar-who-got-laughs-without-politics-or-putdowns-dies-at-91\"> Sid Caesar\u003c/a>‘s joke-writer stable for TV. So what he was doing in this western parody got, in the words of another of that era’s funnymen, “no respect.”\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/VKayG1TrfuE'\n title='//www.youtube.com/embed/VKayG1TrfuE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Upending Hollywood’s version of the Old West\u003c/h3>\n\u003cp>\u003cem>Blazing Saddles\u003c/em> starts out like many a Western before it: Big Sky country, a wide open prairie in the 1870s being tamed by a railroad. The foreman is white, his workers mostly African American, and he expects them to be singing as they sweat.\u003c/p>\n\u003cp>“When you were slaves you sang like birds,” he smirks. “How about a good ol’ n***** work song.”\u003c/p>\n\u003cp>Brooks worried about using the racial epithet I’ve just elided. But his co-screenwriter \u003ca href=\"https://www.npr.org/2014/12/11/369641000/richard-pryor-a-comedy-pioneer-who-was-always-whittling-on-dynamite\">Richard Pryor\u003c/a> insisted he use it — and use it often — consciously putting it the mouths of evil or unthinking characters, so that star Cleavon Little could comically mock or demolish them.\u003c/p>\n\u003cp>Which he does. Repeatedly. And hilariously.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>So, \u003cem>Blazing Saddles\u003c/em> is not really “like many a Western before it.” Brooks was upending Hollywood’s version of the Old West, much as \u003ca href=\"https://www.npr.org/2006/11/21/6520822/film-world-mourns-director-robert-altman\">Robert Altman\u003c/a>‘s dark, land-grab drama \u003cem>McCabe & Mrs. Miller\u003c/em> had, three years earlier. He just took a different tack. To set his comedy in motion, he had \u003ca href=\"https://www.npr.org/2008/05/30/90981454/comedic-actor-harvey-korman-dies-at-81\">Harvey Korman\u003c/a>‘s scheming politician come up with the idea of hiring a Black sheriff to scare the townsfolk of Rock Ridge away from their town, so he can buy it on the cheap before any of them learns the rail line will soon be coming through.\u003c/p>\n\u003cp>His ploy works. When Cleavon Little’s Sheriff Bart rides into view, they are indeed less than welcoming. But they are also less than bright — foiled in their plan to shoot their new sheriff, for instance, when he points his gun at his own head and takes \u003cem>himself\u003c/em> hostage.\u003c/p>\n\u003ch3>‘He’s like wet sauerkraut in my hands’\u003c/h3>\n\u003cp>Bart then teams up with \u003ca href=\"https://www.npr.org/2016/08/30/491944275/in-this-2005-interview-gene-wilder-explains-how-he-learned-to-get-laughs\">Gene Wilder\u003c/a>‘s Waco Kid, a hung-over gunslinger, at which point the film adopts the rhythms of a black/white buddy comedy. Until, that is, it turns into a spoof of \u003cem>The Blue Angel\u003c/em>, as Madeline Kahn’s seductress-for-hire Lili Von Shtupp croons a gloriously off-pitch “I’m Tired” and sets about seducing Sheriff Bart. “He’s like wet sauerkraut in my hands,” she purrs in an accent that suggests she got vocal coaching from both Marlene Dietrich and Elmer Fudd.\u003c/p>\n\u003cp>To satirize 1970s racial prejudice using 1870s characters, Brooks opted to become an equal-opportunity shredder of genres and conventions. A horse gets punched, as does an old lady. Even Busby Berkeley musicals come in for a brief ribbing when a brawl literally breaks the fourth wall and the cast crashes into a dance number on a nearby soundstage.\u003c/p>\n\u003cp>And of course, there’s that campfire scene: cowboys consuming pots of coffee and platefuls of baked beans, with predictable — though unusual for film — results.\u003c/p>\n\u003ch3>‘Bury it.’\u003c/h3>\n\u003cp>When studio executives first saw \u003cem>Blazing Saddles\u003c/em>, they were \u003cem>not\u003c/em> amused. One distributor \u003ca href=\"https://www.youtube.com/watch?v=uv7L6Hrlj58&t=99s\">suggested \u003c/a>they “bury it.” Others wanted rewrites. But Brooks’ \u003ca href=\"https://ew.com/article/2014/05/01/blazing-saddles-mel-brooks/\">contract gave him final cut\u003c/a>, and he flat-out refused to make changes.\u003c/p>\n\u003cp>So on Feb. 7, 1974, the studio opened the film as a test in three cities — NYC, LA, Chicago — considered the most likely to get Brooks’ Borscht Belt sense of humor. Critics were dismissive, but even the most negative reviews conceded that audiences were howling.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And word got around. By the time the weather had warmed, \u003cem>Blazing Saddles \u003c/em>was playing to long lines in suburban cinemas across the country.\u003c/p>\n\u003cp>It ended up the biggest box-office hit of 1974, seen by some 63 million moviegoers in North America (more than would, decades later, see \u003cem>any\u003c/em> of the \u003cem>Lord of the Rings\u003c/em> movies in U.S. theaters).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Blazing Saddles\u003c/em> became, in short, a pop culture touchstone. And 50 years later, that’s what it remains.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=50+years+ago%2C+%27Blazing+Saddles%27+broke+wind+%E2%80%94+and+box+office+expectations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There is a scene in \u003cem>Problemista\u003c/em> where Craigslist becomes an actual physical entity. The listings website is personified by a large flamboyant man floating in space. Wrapped in junk and tech garbage, he whispers intensely about sex work in one breath and Ikea Billy bookcases the next. Strange though this may sound, this entity is acutely (and hilariously) familiar to any human that has ever casually browsed that website.\u003c/p>\n\u003cp>This kind of surrealist vision is not unusual in \u003cem>Problemista\u003c/em> even though the movie is grounded, at its core, in harsh realities. In the film, Alejandro (Julio Torres, who also wrote and directed it) is an aspiring toy designer from El Salvador who takes an unpaid job with Elizabeth (Tilda Swinton) after losing his U.S. visa. Alejandro is childlike, moves through the world in tiny hops like a cartoon, and is full of dark whimsy. (He wants all of the toys he designs to have “tension and intrigue.” Like Cabbage Patch Dolls contending with bitchy text messages, and snakes that leap out of cans with signs attached to them that read: “I’m sorry, I was trapped in this can and scaring you was the only way out.”)\u003c/p>\n\u003cp>[aside postid='arts_13952779']In contrast to Alejandro, Elizabeth is harsh, entitled and tightly wound in a way that’s unbearable for almost everyone in her vicinity. Still, the two strike a deal: If Alejandro helps Elizabeth put together an art show of her deceased husband’s work, she will sponsor his immigration application. All of which might make for a bleak story were it not for Torres’ penchant for embracing weirdness.\u003c/p>\n\u003cp>At one point, the quagmire of immigration law becomes a series of floating diagonal boxes that must be navigated via trapdoors and vents — a little bit like an un-winnable game of shoots and ladders. These small moments of surreality don’t just serve as an engaging way to tell \u003cem>Problemista’\u003c/em>s story, they make the circumstances of the main character more viscerally relatable.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zbsk4okRUds\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In addition to the mind-bending scenery,\u003cem> Problemista\u003c/em> is elevated by an exceptionally funny script. Many of the best lines are served up by Swinton leaning full force into her character’s casual indifference to other people’s hardships. (Her utterance of the line “There is an underbelly of closeted fishermen” is, in particular, a masterpiece of dry comedic acting, but her tone stays on point throughout.)\u003c/p>\n\u003cp>Once upon a time many years ago, I — like Alejandro — worked as a personal assistant in New York City. Like Elizabeth, my boss was an eccentric, blunt, supremely demanding woman who owned a variety of homes in expensive places. At the time, I was a broke freelancer with a variety of immigration issues, hustling to make ends meet and living, like Alejandro, in Bushwick. To say I related to this movie would be a gross understatement. By this story’s unpredictable — and surprisingly heartwarming — end, however, I realized that the themes of \u003cem>Problemista \u003c/em>are actually very universal.\u003c/p>\n\u003cp>[aside postid='arts_13953095']\u003cem>Problemista\u003c/em> is a story about the hardships that come with chasing your dreams — any dreams at all. It’s about the inhumanity of gratuitous bureaucracy and needlessly complicated technology. (FileMaker Pro is a running joke throughout). It’s about how, so often, wanting to work in an artistic profession makes one’s life more difficult, but also infinitely more joyful. Ultimately, \u003cem>Problemista \u003c/em>is about finding lessons and friendship in unusual places, slaying personal dragons and the importance of standing up for yourself.\u003c/p>\n\u003cp>If it’s not already obvious, this movie contains multitudes. (I haven’t even covered Isabella Rossellini’s delightful narration or the side storyline about cryogenesis…) And presented through Torres’ eyes, Alejandro’s difficult but dreamlike little world becomes a joy to visit — even when it’s being partially operated by Craigslist demons.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Problemista’ screens at select San Francisco theaters on March 8, and nationwide on March 22, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In addition to the mind-bending scenery,\u003cem> Problemista\u003c/em> is elevated by an exceptionally funny script. Many of the best lines are served up by Swinton leaning full force into her character’s casual indifference to other people’s hardships. (Her utterance of the line “There is an underbelly of closeted fishermen” is, in particular, a masterpiece of dry comedic acting, but her tone stays on point throughout.)\u003c/p>\n\u003cp>Once upon a time many years ago, I — like Alejandro — worked as a personal assistant in New York City. Like Elizabeth, my boss was an eccentric, blunt, supremely demanding woman who owned a variety of homes in expensive places. At the time, I was a broke freelancer with a variety of immigration issues, hustling to make ends meet and living, like Alejandro, in Bushwick. To say I related to this movie would be a gross understatement. By this story’s unpredictable — and surprisingly heartwarming — end, however, I realized that the themes of \u003cem>Problemista \u003c/em>are actually very universal.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Problemista\u003c/em> is a story about the hardships that come with chasing your dreams — any dreams at all. It’s about the inhumanity of gratuitous bureaucracy and needlessly complicated technology. (FileMaker Pro is a running joke throughout). It’s about how, so often, wanting to work in an artistic profession makes one’s life more difficult, but also infinitely more joyful. Ultimately, \u003cem>Problemista \u003c/em>is about finding lessons and friendship in unusual places, slaying personal dragons and the importance of standing up for yourself.\u003c/p>\n\u003cp>If it’s not already obvious, this movie contains multitudes. (I haven’t even covered Isabella Rossellini’s delightful narration or the side storyline about cryogenesis…) And presented through Torres’ eyes, Alejandro’s difficult but dreamlike little world becomes a joy to visit — even when it’s being partially operated by Craigslist demons.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Problemista’ screens at select San Francisco theaters on March 8, and nationwide on March 22, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>San Francisco resident and \u003ca href=\"https://www.kpbs.org/news/arts-culture/2007/07/21/john-waters-the-sultan-of-sleaze-speaks\">sultan of sleaze\u003c/a> John Waters is \u003ca href=\"https://www.worldofreel.com/blog/2024/2/26/aubrey-plaza-set-to-star-in-john-waters-liarmouth\">reported\u003c/a> to soon begin production on his first feature film in 20 years — with Aubrey Plaza in the lead role.\u003c/p>\n\u003cp>\u003cem>Liarmouth\u003c/em>, based on Waters’ 2022 “feel-bad romance” novel of the same name, follows a duplicitous scammer, Marsha Sprinkle, who alienates her boyfriend and immediate family through awful, criminal behavior.\u003c/p>\n\u003cp>Plaza told \u003cem>Dazed\u003c/em> in 2022 that she was \u003ca href=\"https://www.dazeddigital.com/film-tv/article/57276/1/aubrey-plaza-emily-the-criminal-interview\">throwing herself at Waters’ feet to play Marsha\u003c/a>: “I emailed him immediately and said, ‘You better let me audition for you. I even look like the girl on the cover,’” she said. “I’ll do anything to get the part. And I mean \u003cem>anything\u003c/em>.”\u003c/p>\n\u003cp>[aside postID='arts_13951325']Filming for \u003cem>Liarmouth\u003c/em> will begin later this year in Waters’ hometown of Baltimore.\u003c/p>\n\u003cp>Waters, a \u003ca href=\"https://oaklandside.org/2022/10/07/thee-stork-club-new-bar-opening-oakland/\">spiritual godfather to Thee Stork Club\u003c/a> and annual \u003ca href=\"https://www.kqed.org/arts/13915779/mosswood-meltdown-2022-bikini-kill-kim-gordon\">emcee at the Mosswood Meltdown music festival\u003c/a> in Oakland, had planned to begin filming in 2022 before the Hollywood strikes by actors and screenwriters.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Known for films like \u003cem>Pink Flamingos\u003c/em>, \u003cem>Polyester\u003c/em> and \u003cem>Crybaby\u003c/em>, Waters last directed a film, the Tracey Ullman-starring \u003cem>A Dirty Shame\u003c/em>, in 2004.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco resident and \u003ca href=\"https://www.kpbs.org/news/arts-culture/2007/07/21/john-waters-the-sultan-of-sleaze-speaks\">sultan of sleaze\u003c/a> John Waters is \u003ca href=\"https://www.worldofreel.com/blog/2024/2/26/aubrey-plaza-set-to-star-in-john-waters-liarmouth\">reported\u003c/a> to soon begin production on his first feature film in 20 years — with Aubrey Plaza in the lead role.\u003c/p>\n\u003cp>\u003cem>Liarmouth\u003c/em>, based on Waters’ 2022 “feel-bad romance” novel of the same name, follows a duplicitous scammer, Marsha Sprinkle, who alienates her boyfriend and immediate family through awful, criminal behavior.\u003c/p>\n\u003cp>Plaza told \u003cem>Dazed\u003c/em> in 2022 that she was \u003ca href=\"https://www.dazeddigital.com/film-tv/article/57276/1/aubrey-plaza-emily-the-criminal-interview\">throwing herself at Waters’ feet to play Marsha\u003c/a>: “I emailed him immediately and said, ‘You better let me audition for you. I even look like the girl on the cover,’” she said. “I’ll do anything to get the part. And I mean \u003cem>anything\u003c/em>.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Filming for \u003cem>Liarmouth\u003c/em> will begin later this year in Waters’ hometown of Baltimore.\u003c/p>\n\u003cp>Waters, a \u003ca href=\"https://oaklandside.org/2022/10/07/thee-stork-club-new-bar-opening-oakland/\">spiritual godfather to Thee Stork Club\u003c/a> and annual \u003ca href=\"https://www.kqed.org/arts/13915779/mosswood-meltdown-2022-bikini-kill-kim-gordon\">emcee at the Mosswood Meltdown music festival\u003c/a> in Oakland, had planned to begin filming in 2022 before the Hollywood strikes by actors and screenwriters.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Seeking Adventure, African Teens Find Transcendence in ‘Io Capitano’",
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"content": "\u003cp>Seydou and Moussa, the easygoing cousins at the center of Italian director Matteo Garrone’s eye-opening drama \u003cem>Io Capitano\u003c/em>, are not typical refugees. The teenagers aren’t compelled to leave their Senegal homes because of political unrest, violence or poverty. They aren’t starving. They don’t need to support their families, not just yet. \u003c/p>\n\u003cp>But they dream, naively, of writing and recording songs and becoming such big stars that “white people will ask for our autographs.” And that dream, they have convinced themselves, can only be attained in Europe. \u003c/p>\n\u003cp>Nominated for the Academy Award for International Feature Film, \u003cem>Io Capitano\u003c/em> (opening Friday, Feb. 23 in San Francisco, and in outlying Bay Area cities throughout March) arrives with the stamp of a social-issue film. To be sure, most stories about people leaving their native land in search of better opportunities derive from an underlying problem or injustice.\u003c/p>\n\u003cfigure id=\"attachment_13952869\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Io-capitano-featured-image.jpg\" alt=\"\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13952869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Io-capitano-featured-image.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Io-capitano-featured-image-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Io-capitano-featured-image-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Io-capitano-featured-image-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Io-capitano-featured-image-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Io-capitano-featured-image-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Io Capitano.’ \u003ccite>(Courtesy Cohen Media Group)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Seydou and Moussa’s arduous endeavor is one of choice, not desperation. And because the filmmakers opt not to show the worst brutalities that the young men and other refugees endure on their journey from Dakar through Senegal, Mali, Niger and Libya to the port of Tripoli, \u003cem>Io Capitano\u003c/em> plays more like a high-stakes adventure story than a message movie. Ultimately, and most satisfyingly, \u003cem>Io Capitano\u003c/em> reveals itself as a coming-of-age tale marked by a loss of innocence.\u003c/p>\n\u003cp>Put another way, I am pleased to report that \u003cem>Io Capitano\u003c/em> is not a depressing slog through the sand and mud. The youth and strength of the protagonists, along with their implicit potential, infuses the film with optimism, regardless of their situation. While danger and misfortune hover all around — opportunistic fake-passport dealers, corrupt border guards, predatory human smugglers, the unforgiving Sahara Desert itself — we sense that Seydou (played by Seydou Sarr) and Moussa (Moustapha Fall) will make it through their unanticipated ordeal.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Garrone (\u003cem>Gomorrah\u003c/em>, \u003cem>Pinocchio\u003c/em>) and his co-writers based the script on the real-life accounts of three Africans who traversed the continent to start anew in Europe. To avoid the sense that we’re getting Seydou and Moussa’s experience filtered through a Western lens, the camera sticks close to them except for occasional establishing shots (of the Sahara Desert, for example).\u003c/p>\n\u003cfigure id=\"attachment_13952870\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Io-Capitano_Still-3_Courtesy-of-Cohen-Media-Group-scaled-1.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13952870\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Io-Capitano_Still-3_Courtesy-of-Cohen-Media-Group-scaled-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Io-Capitano_Still-3_Courtesy-of-Cohen-Media-Group-scaled-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Io-Capitano_Still-3_Courtesy-of-Cohen-Media-Group-scaled-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Io-Capitano_Still-3_Courtesy-of-Cohen-Media-Group-scaled-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Io-Capitano_Still-3_Courtesy-of-Cohen-Media-Group-scaled-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Io-Capitano_Still-3_Courtesy-of-Cohen-Media-Group-scaled-1-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Io Capitano.’ \u003ccite>(Courtesy Cohen Media Group)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When the guys are separated by thieving soldiers, the film stays focused on Seydou. From a narrative standpoint, the unknown status of the off-screen character generates uncertainty and tension. More importantly, Seydou’s vulnerability now that’s he’s on his own becomes more palpable and his plight more acute. \u003c/p>\n\u003cp>Days before, hallucinating in the desert, he had adopted a struggling stranger as a mother figure. At this dark juncture, he is literally saved by another refugee — who volunteers Seydou and himself for construction work, it turns out, on a wealthy Libyan’s remote compound — who becomes a father figure.\u003c/p>\n\u003cp>[aside postID='arts_13952786']\u003cem>Io Capitano\u003c/em> presents a sprawling landscape of both ruthless cruelty and unsolicited kindness. Surprisingly, and profoundly, the film spotlights the moral choice between survival and humanity. There is no blame or shame in the former, but to have empathy for those in worse straits, and to go even further and put their well-being on your shoulders, is a genuine feat.\u003c/p>\n\u003cp>Eventually, \u003cem>Io Capitano\u003c/em> leaves dry land for Seydou’s final test, which he passes beyond his doubts and dreams. He has discovered what taking responsibility means, and not just for his own choices and his own life. Yes, truly, he is now the \u003cem>capitano\u003c/em> of his fate. But in assuming responsibility for other people, he has become a mature member of society. \u003c/p>\n\u003cp>It is a transformational moment in Seydou’s life, and it is also the point where the film’s political message is clearest. Seydou is the kind of immigrant that any country should welcome.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Io Capitano’ opens Friday, Feb. 23 at the Metreon 16 and Opera Plaza Cinema in San Francisco; Friday, March 1 at the Smith Rafael Film Center in San Rafael and the Summerfield Cinemas in Santa Rosa; Friday, March 8 at the Orinda Theater; and Friday, March 15 at the Jarvis Conservatory in Napa.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Seydou and Moussa, the easygoing cousins at the center of Italian director Matteo Garrone’s eye-opening drama \u003cem>Io Capitano\u003c/em>, are not typical refugees. The teenagers aren’t compelled to leave their Senegal homes because of political unrest, violence or poverty. They aren’t starving. They don’t need to support their families, not just yet. \u003c/p>\n\u003cp>But they dream, naively, of writing and recording songs and becoming such big stars that “white people will ask for our autographs.” And that dream, they have convinced themselves, can only be attained in Europe. \u003c/p>\n\u003cp>Nominated for the Academy Award for International Feature Film, \u003cem>Io Capitano\u003c/em> (opening Friday, Feb. 23 in San Francisco, and in outlying Bay Area cities throughout March) arrives with the stamp of a social-issue film. To be sure, most stories about people leaving their native land in search of better opportunities derive from an underlying problem or injustice.\u003c/p>\n\u003cfigure id=\"attachment_13952869\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Io-capitano-featured-image.jpg\" alt=\"\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13952869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Io-capitano-featured-image.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Io-capitano-featured-image-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Io-capitano-featured-image-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Io-capitano-featured-image-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Io-capitano-featured-image-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Io-capitano-featured-image-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Io Capitano.’ \u003ccite>(Courtesy Cohen Media Group)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Seydou and Moussa’s arduous endeavor is one of choice, not desperation. And because the filmmakers opt not to show the worst brutalities that the young men and other refugees endure on their journey from Dakar through Senegal, Mali, Niger and Libya to the port of Tripoli, \u003cem>Io Capitano\u003c/em> plays more like a high-stakes adventure story than a message movie. Ultimately, and most satisfyingly, \u003cem>Io Capitano\u003c/em> reveals itself as a coming-of-age tale marked by a loss of innocence.\u003c/p>\n\u003cp>Put another way, I am pleased to report that \u003cem>Io Capitano\u003c/em> is not a depressing slog through the sand and mud. The youth and strength of the protagonists, along with their implicit potential, infuses the film with optimism, regardless of their situation. While danger and misfortune hover all around — opportunistic fake-passport dealers, corrupt border guards, predatory human smugglers, the unforgiving Sahara Desert itself — we sense that Seydou (played by Seydou Sarr) and Moussa (Moustapha Fall) will make it through their unanticipated ordeal.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Garrone (\u003cem>Gomorrah\u003c/em>, \u003cem>Pinocchio\u003c/em>) and his co-writers based the script on the real-life accounts of three Africans who traversed the continent to start anew in Europe. To avoid the sense that we’re getting Seydou and Moussa’s experience filtered through a Western lens, the camera sticks close to them except for occasional establishing shots (of the Sahara Desert, for example).\u003c/p>\n\u003cfigure id=\"attachment_13952870\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Io-Capitano_Still-3_Courtesy-of-Cohen-Media-Group-scaled-1.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13952870\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Io-Capitano_Still-3_Courtesy-of-Cohen-Media-Group-scaled-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Io-Capitano_Still-3_Courtesy-of-Cohen-Media-Group-scaled-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Io-Capitano_Still-3_Courtesy-of-Cohen-Media-Group-scaled-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Io-Capitano_Still-3_Courtesy-of-Cohen-Media-Group-scaled-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Io-Capitano_Still-3_Courtesy-of-Cohen-Media-Group-scaled-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Io-Capitano_Still-3_Courtesy-of-Cohen-Media-Group-scaled-1-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Io Capitano.’ \u003ccite>(Courtesy Cohen Media Group)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When the guys are separated by thieving soldiers, the film stays focused on Seydou. From a narrative standpoint, the unknown status of the off-screen character generates uncertainty and tension. More importantly, Seydou’s vulnerability now that’s he’s on his own becomes more palpable and his plight more acute. \u003c/p>\n\u003cp>Days before, hallucinating in the desert, he had adopted a struggling stranger as a mother figure. At this dark juncture, he is literally saved by another refugee — who volunteers Seydou and himself for construction work, it turns out, on a wealthy Libyan’s remote compound — who becomes a father figure.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Io Capitano\u003c/em> presents a sprawling landscape of both ruthless cruelty and unsolicited kindness. Surprisingly, and profoundly, the film spotlights the moral choice between survival and humanity. There is no blame or shame in the former, but to have empathy for those in worse straits, and to go even further and put their well-being on your shoulders, is a genuine feat.\u003c/p>\n\u003cp>Eventually, \u003cem>Io Capitano\u003c/em> leaves dry land for Seydou’s final test, which he passes beyond his doubts and dreams. He has discovered what taking responsibility means, and not just for his own choices and his own life. Yes, truly, he is now the \u003cem>capitano\u003c/em> of his fate. But in assuming responsibility for other people, he has become a mature member of society. \u003c/p>\n\u003cp>It is a transformational moment in Seydou’s life, and it is also the point where the film’s political message is clearest. Seydou is the kind of immigrant that any country should welcome.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Io Capitano’ opens Friday, Feb. 23 at the Metreon 16 and Opera Plaza Cinema in San Francisco; Friday, March 1 at the Smith Rafael Film Center in San Rafael and the Summerfield Cinemas in Santa Rosa; Friday, March 8 at the Orinda Theater; and Friday, March 15 at the Jarvis Conservatory in Napa.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Hilary Swank Gives Inspirational ‘Ordinary Angels’ Both the Heart and Heft it Needs",
"headTitle": "Hilary Swank Gives Inspirational ‘Ordinary Angels’ Both the Heart and Heft it Needs | KQED",
"content": "\u003cp>At the end of \u003cem>Ordinary Angels\u003c/em>, we’re given one of those now-see-how-it-really-happened moments with real footage mirroring the climax of the film. That’s a really good thing.\u003c/p>\n\u003cp>Because otherwise, one might be tempted to think the filmmakers had dreamed up a story too sappy and inspirational to be true. But no, this tale of how one determined woman rallied her community to help save a dying young girl took place largely as it’s presented.\u003c/p>\n\u003cp>[aside postid='arts_13952488']Despite the compelling source material, \u003cem>Ordinary Angels\u003c/em> is one of those movies where you can predict developments with certainty. You know in your bones when the phone’s about to ring with a fateful call. You know when a character is finally going to lose patience, telegraphing the obligatory Moment of Conflict. And you know when an alcoholic is going to relapse, even before the shot of the beers in the fridge.\u003c/p>\n\u003cp>Such predictability can be fatal for a film, but \u003cem>Ordinary Angels\u003c/em>, directed by Jon Gunn, has something crucial going for it — Hilary Swank. Not for nothing, we soon recall, has Swank won two Oscars. With her innate groundedness — even in big hair, fringed jacket, sparkly dress and pink heels — she can lend truth to most any scenario. She gives what could have been merely a pass-the -Kleenex weepie its heart, yes, but more importantly its heft.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=R1vn8kPgCYA\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>First, though, we meet Ed, a Kentucky roofer (Alan Ritchson, solid and appealing). In flashback, Ed welcomes his second daughter at the hospital with his wife, and the loving couple name her Michelle. Flash forward five years, though, and Ed’s wife is dying of a congenital disease. A devastated Ed promises to take care of the girls.\u003c/p>\n\u003cp>Now we meet Sharon (Swank), a single hairdresser with an estranged son. She’s also what they call hard-living, which means we meet her at — where else? — a bar, where she dances on the counter and does shots and falls down and ends up a mascara-stained mess. Her wise friend Rose — there’s always a wise friend — forces her to an AA meeting, but Sharon still won’t call herself an alcoholic.\u003c/p>\n\u003cp>But she does hear some good advice at the meeting, where a man describes learning to “find a reason to be here that’s bigger than you are.”\u003c/p>\n\u003cp>[aside postid='arts_13952409']Like clockwork, Sharon sees an article in the local paper about a 5-year-old girl — Ed’s daughter Michelle — whose mother has just died and who now needs a liver transplant. Sharon shows up at the funeral unannounced, then tells Rose back at the salon that she thinks her destiny is to find the money for the transplant.\u003c/p>\n\u003cp>But meanwhile, there are huge hospital bills, and Ed can’t afford them. Without asking, Sharon holds a fundraiser and shows up at the house with several thousand dollars in cash. Ed is, understandably, perplexed at this woman who is soon eating dinner with the family. But his mother, Barbara, welcomes Sharon with open arms. “Mom, she’s a mess,” Ed says. “Perfect, she’ll fit right in here,” Barbara replies.\u003c/p>\n\u003cp>Certainly they need money. For one hospital stay, Ed, who has no health insurance, is charged more than $6,000 (the scene is an advertisement for socialized medicine). Soon Sharon is sitting down with Ed and going through all his bills, making piles of “urgent” and “very urgent.” (“Daddy’s in over his head,” says older daughter Ashley.) Sharon also helps Ed market his roofing skills.\u003c/p>\n\u003cp>But Sharon is struggling in her own life. Her estranged son, embittered by her alcoholism during his childhood, rejects her efforts to reconcile. Sharon’s words to him, even uttered by the always-authentic Swank, are trite: “I know I let you down,” she says. “Being a single mom ain’t easy.” The by-the-numbers script also leaves us wondering when, a full hour into the movie, Ed asks Sharon about her past: “Married? Kids?” You’d think that would have come up many moons ago, but OK.\u003c/p>\n\u003cp>[aside postid='arts_13952301']Things go back and forth between Ed and Sharon, who may be an angel but lacks boundaries. She pretends to be his sister to call and find out what he owes the hospital. But later, she convinces a group of hospital executives to erase hundreds of thousands of dollars in debt. Ed is moved to tears, but then Sharon goes too far, angering him when she calls a news crew to the home without permission.\u003c/p>\n\u003cp>Sharon suffers a predictable relapse with alcohol, but then the stakes are raised dramatically for the denouement of the story. A new liver for Michelle is in reach, but the family needs a private plane to get there — during the famous Kentucky Blizzard of 1994, the worst in state history. Sharon needs more miracles and the whole town needs to help.\u003c/p>\n\u003cp>Again, this would all seem made up if it didn’t actually happen. We won’t spoil the ending, but this is an inspirational tale, so you can count on being inspired. Luckily Swank is on hand, almost singlehandedly raising the material to a level that keeps you wanting to watch. And sometimes, for a good cry at the movies, that’s really all you need.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Ordinary Angels’ is released nationwide on Feb. 22, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At the end of \u003cem>Ordinary Angels\u003c/em>, we’re given one of those now-see-how-it-really-happened moments with real footage mirroring the climax of the film. That’s a really good thing.\u003c/p>\n\u003cp>Because otherwise, one might be tempted to think the filmmakers had dreamed up a story too sappy and inspirational to be true. But no, this tale of how one determined woman rallied her community to help save a dying young girl took place largely as it’s presented.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Despite the compelling source material, \u003cem>Ordinary Angels\u003c/em> is one of those movies where you can predict developments with certainty. You know in your bones when the phone’s about to ring with a fateful call. You know when a character is finally going to lose patience, telegraphing the obligatory Moment of Conflict. And you know when an alcoholic is going to relapse, even before the shot of the beers in the fridge.\u003c/p>\n\u003cp>Such predictability can be fatal for a film, but \u003cem>Ordinary Angels\u003c/em>, directed by Jon Gunn, has something crucial going for it — Hilary Swank. Not for nothing, we soon recall, has Swank won two Oscars. With her innate groundedness — even in big hair, fringed jacket, sparkly dress and pink heels — she can lend truth to most any scenario. She gives what could have been merely a pass-the -Kleenex weepie its heart, yes, but more importantly its heft.\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/R1vn8kPgCYA'\n title='//www.youtube.com/embed/R1vn8kPgCYA'\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>First, though, we meet Ed, a Kentucky roofer (Alan Ritchson, solid and appealing). In flashback, Ed welcomes his second daughter at the hospital with his wife, and the loving couple name her Michelle. Flash forward five years, though, and Ed’s wife is dying of a congenital disease. A devastated Ed promises to take care of the girls.\u003c/p>\n\u003cp>Now we meet Sharon (Swank), a single hairdresser with an estranged son. She’s also what they call hard-living, which means we meet her at — where else? — a bar, where she dances on the counter and does shots and falls down and ends up a mascara-stained mess. Her wise friend Rose — there’s always a wise friend — forces her to an AA meeting, but Sharon still won’t call herself an alcoholic.\u003c/p>\n\u003cp>But she does hear some good advice at the meeting, where a man describes learning to “find a reason to be here that’s bigger than you are.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Like clockwork, Sharon sees an article in the local paper about a 5-year-old girl — Ed’s daughter Michelle — whose mother has just died and who now needs a liver transplant. Sharon shows up at the funeral unannounced, then tells Rose back at the salon that she thinks her destiny is to find the money for the transplant.\u003c/p>\n\u003cp>But meanwhile, there are huge hospital bills, and Ed can’t afford them. Without asking, Sharon holds a fundraiser and shows up at the house with several thousand dollars in cash. Ed is, understandably, perplexed at this woman who is soon eating dinner with the family. But his mother, Barbara, welcomes Sharon with open arms. “Mom, she’s a mess,” Ed says. “Perfect, she’ll fit right in here,” Barbara replies.\u003c/p>\n\u003cp>Certainly they need money. For one hospital stay, Ed, who has no health insurance, is charged more than $6,000 (the scene is an advertisement for socialized medicine). Soon Sharon is sitting down with Ed and going through all his bills, making piles of “urgent” and “very urgent.” (“Daddy’s in over his head,” says older daughter Ashley.) Sharon also helps Ed market his roofing skills.\u003c/p>\n\u003cp>But Sharon is struggling in her own life. Her estranged son, embittered by her alcoholism during his childhood, rejects her efforts to reconcile. Sharon’s words to him, even uttered by the always-authentic Swank, are trite: “I know I let you down,” she says. “Being a single mom ain’t easy.” The by-the-numbers script also leaves us wondering when, a full hour into the movie, Ed asks Sharon about her past: “Married? Kids?” You’d think that would have come up many moons ago, but OK.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Things go back and forth between Ed and Sharon, who may be an angel but lacks boundaries. She pretends to be his sister to call and find out what he owes the hospital. But later, she convinces a group of hospital executives to erase hundreds of thousands of dollars in debt. Ed is moved to tears, but then Sharon goes too far, angering him when she calls a news crew to the home without permission.\u003c/p>\n\u003cp>Sharon suffers a predictable relapse with alcohol, but then the stakes are raised dramatically for the denouement of the story. A new liver for Michelle is in reach, but the family needs a private plane to get there — during the famous Kentucky Blizzard of 1994, the worst in state history. Sharon needs more miracles and the whole town needs to help.\u003c/p>\n\u003cp>Again, this would all seem made up if it didn’t actually happen. We won’t spoil the ending, but this is an inspirational tale, so you can count on being inspired. Luckily Swank is on hand, almost singlehandedly raising the material to a level that keeps you wanting to watch. And sometimes, for a good cry at the movies, that’s really all you need.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Ordinary Angels’ is released nationwide on Feb. 22, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Drive-Away Dolls\u003c/em> is, technically speaking, made up of old parts.\u003c/p>\n\u003cp>Its script was written two decades ago, when references to Ralph Nader and Chelsea Clinton’s security detail were current. Its homages are even more vintage, with trippy transitions harkening back to the acid-soaked B-movies of the 1960s. There’s a mysterious, sought-after briefcase, odd couple thugs on the hunt for it and some innocents who find themselves unwittingly entangled in the drama. It is all very familiar, and yet, in the hands of Ethan Coen and Tricia Cooke (who co-wrote), this 83-minute road trip caper feels like one of the freshest theatrical offerings of the year.\u003c/p>\n\u003cp>[aside postid='arts_13952306']Margaret Qualley and Geraldine Viswanathan star as Jamie and Marian, best friends and total opposites who are looking to escape their surroundings for a bit. The free-spirited, no-filter Jamie has been caught cheating on her cop girlfriend, Suki (Beanie Feldstein), and is looking for an adventure. The uptight Marian just wants a change and has decided that a better life awaits in Tallahassee, Florida. Both women are kind of cliches in the way that only works in the movies. Are they recognizable as people we know in real life? Not really. Do they make sense as friends? Also no. But they make for fun characters to play off of one another — especially Qualley as Jamie who mines every inch of her wonderfully expressive face to embody this shameless Texas lesbian with a fondness for dive bars, a ravenous sex drive and a heart of gold. She just wants to get her friend laid on their little road trip down south.\u003c/p>\n\u003cp>But unbeknownst to them, the drive-away car they rented for the trip (a run-down Dodge Aries that you can practically smell through the screen) contains a briefcase that some violent, dangerous people are after. Coen directed the film, his first solo narrative feature without his brother Joel Coen. The comedy and sensibilities we know so well from their shared films is still very present here, with a funny and violent start introducing the pesky silver briefcase and its owner, Santos, a short-lived but memorable Pedro Pascal.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_vy_7UGICJU\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The world of \u003cem>Drive-Away Dolls\u003c/em> is full of rich smaller parts. The great Bill Camp is Curlie, the stone-faced proprietor of the junky drive-away shop who is responsible for the epic mix up. He probably has less than 20 lines of dialogue, and yet every one is a keeper. The goons are Joey Slotnick and C.J. Wilson, another mismatched pair who bicker about their different ways of dealing with people of interest, while trying to track down the girls for their boss: A smooth-talking Colman Domingo. Miley Cyrus and Matt Damon, an ever-reliable comedic cameo who does not disappoint here, also factor into the mix.\u003c/p>\n\u003cp>[aside postid='arts_13952409']Its recent past setting is interesting: A time capsule that is a little clunky at times but also kind of charming — when was the last time you heard a Ralph Nader joke? It’s understandable why they kept their original period for a concept that might have evaporated with smartphones and dating apps mixed in. Their commitment to the bit is admirable, but it also might be one that needs a few more decades to settle into itself. It also makes you wonder about the Allison Anders version that never was.\u003c/p>\n\u003cp>\u003cem>Drive-Away Dolls\u003c/em> isn’t perfect — it has a bit of a main character problem in which its heroines are regularly outshone by the razor-sharp supporting players. This is perhaps a good problem to have, all things considered. But it can also lead to an unfair impatience with the leads who are still very good but perhaps a little less fun to spend time with than the others. And even with its economical runtime, it drags a bit.\u003c/p>\n\u003cp>Still, it’s also one of those movies that you can imagine yourself watching (and enjoying) again, if at the very least to memorize some of its terrifically funny and quotable lines.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Drive-Away Dolls’ is released nationwide on Feb. 23, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Its recent past setting is interesting: A time capsule that is a little clunky at times but also kind of charming — when was the last time you heard a Ralph Nader joke? It’s understandable why they kept their original period for a concept that might have evaporated with smartphones and dating apps mixed in. Their commitment to the bit is admirable, but it also might be one that needs a few more decades to settle into itself. It also makes you wonder about the Allison Anders version that never was.\u003c/p>\n\u003cp>\u003cem>Drive-Away Dolls\u003c/em> isn’t perfect — it has a bit of a main character problem in which its heroines are regularly outshone by the razor-sharp supporting players. This is perhaps a good problem to have, all things considered. But it can also lead to an unfair impatience with the leads who are still very good but perhaps a little less fun to spend time with than the others. And even with its economical runtime, it drags a bit.\u003c/p>\n\u003cp>Still, it’s also one of those movies that you can imagine yourself watching (and enjoying) again, if at the very least to memorize some of its terrifically funny and quotable lines.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Drive-Away Dolls’ is released nationwide on Feb. 23, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
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"source": "kqed",
"order": 3
},
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"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
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}
},
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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.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"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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"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"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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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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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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"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"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",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "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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"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
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"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
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"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"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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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"rss": "https://feeds.npr.org/510312/podcast.xml"
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},
"commonwealth-club": {
"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",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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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",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
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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",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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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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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
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"link": "/radio/program/fresh-air",
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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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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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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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"rss": "https://feeds.npr.org/510051/podcast.xml"
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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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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"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.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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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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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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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",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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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/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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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)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"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": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"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/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
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