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"content": "\u003cp>Guess what, everybody? Just when you thought we might be done exploiting Amy Winehouse’s tragic end for profit, it turns out … there’s still some cash to be made! This morning, a new trailer emerged for \u003cem>Back to Black\u003c/em>, a biopic that aims to capture Winehouse’s rise to stardom and ultimate spiral into self-destruction, all for our sick enjoyment. Hurray!\u003c/p>\n\u003cp>Before I say anything else, please now look at the trailer. And be sure to pay particular attention to the supremely ironic part where the actress playing Winehouse (Marisa Abela) mutters the line, “I wanna be remembered for just being me.” \u003cem>Ugh.\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dsJAKPrxRa0\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Please now allow me to now tell you all of the reasons I already hate this movie.\u003c/p>\n\u003col>\n\u003cli>Amy Winehouse was goofy and hilarious and had a bawdy sense of humor and there is no sign of any of that in this trailer and that is a giant bummer.\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>The Winehouse estate approved \u003cem>Back to Black\u003c/em>, but the Winehouse estate has demonstrated over and over again that \u003ca href=\"https://www.kqed.org/pop/112753/the-impossible-task-of-keeping-amy-winehouse-alive-8-years-after-her-death\">it will take any and every opportunity to make money\u003c/a> from Amy Winehouse’s name, regardless of whether or not she’d have approved. These people \u003ca href=\"https://www.theguardian.com/music/2019/feb/22/amy-winehouse-hologram-tour-postponed\">OK’d an Amy Winehouse hologram\u003c/a>, for crying out loud. Can we be done giving them money now?\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>Marisa Abela is doing an extremely good Amy Winehouse impersonation here. It’s genuinely impressive. Unfortunately, all of the things that made Winehouse such a compelling performer and human were perfectly intangible and cannot be replicated. By anyone. Even someone who’s nailing the accent this well. No amount of hairspray and eyeliner is going to compensate for that.\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>That “You’ve gotta remember: I ain’t no Spice Girl” line was deemed enough of a movie high-point to be put in this trailer. Let’s consider how bad the other dialogue must be if this made the cut.\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>This is kind of a side note but \u003ca href=\"https://www.youtube.com/watch?v=s5Dqa_K6blg\">Amy Winehouse hated Dido\u003c/a> infinitely more than she hated the Spice Girls and I would trust this movie a lot more if there was a sneaky Dido reference in evidence. (Please enjoy \u003ca href=\"https://www.youtube.com/watch?v=-ZydibkgWwY\">this footage of Amy Winehouse throwing a rock at a Dido poster\u003c/a> at a time of your choosing.)\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>Isn’t this basically just a costumed reenactment of things we already saw in 2015’s perfect, Oscar- and Grammy-winning documentary, \u003ca href=\"https://www.kqed.org/arts/10815283/beyond-a-voice-and-a-sad-story-amy-listens-to-a-life\">\u003cem>Amy\u003c/em>\u003c/a>? What is the point of this?\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>Isn’t this also just a costumed reenactment of what we, as Amy Winehouse fans, all watched happen in slow motion at the time? It wasn’t that long ago! Who is clamoring to see this supremely talented young woman self-destruct again already?\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>Do any of us really want to have to think about Mitch Winehouse or \u003ca href=\"https://www.independent.co.uk/arts-entertainment/music/news/amy-winehouse-death-blake-fielder-civil-b2411321.html\">Blake Fielder-Civil\u003c/a> ever again? Especially via the medium of look-alikes? No, thank you.\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>Amy was self-deprecating and had a very finely tuned BS detector. I genuinely don’t believe she would be enjoying any of this.\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cem>Back to Black\u003c/em> stands as evidence that, as a culture, we’re still not done exploiting the pain of our biggest female stars for public entertainment. She dealt with too much of that in life. Amy Winehouse shouldn’t be contending with it 12 years after her death.\u003c/li>\n\u003c/ol>\n\u003cp>For those of you who still want to see this biopic for some reason, \u003ca href=\"https://www.imdb.com/title/tt21261712/?ref_=tt_mv_close\">\u003cem>Back to Black\u003c/em>\u003c/a> is set for release nationwide on May 10, 2024. Good luck with all that.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Guess what, everybody? Just when you thought we might be done exploiting Amy Winehouse’s tragic end for profit, it turns out … there’s still some cash to be made! This morning, a new trailer emerged for \u003cem>Back to Black\u003c/em>, a biopic that aims to capture Winehouse’s rise to stardom and ultimate spiral into self-destruction, all for our sick enjoyment. Hurray!\u003c/p>\n\u003cp>Before I say anything else, please now look at the trailer. And be sure to pay particular attention to the supremely ironic part where the actress playing Winehouse (Marisa Abela) mutters the line, “I wanna be remembered for just being me.” \u003cem>Ugh.\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/dsJAKPrxRa0'\n title='//www.youtube.com/embed/dsJAKPrxRa0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>Please now allow me to now tell you all of the reasons I already hate this movie.\u003c/p>\n\u003col>\n\u003cli>Amy Winehouse was goofy and hilarious and had a bawdy sense of humor and there is no sign of any of that in this trailer and that is a giant bummer.\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>The Winehouse estate approved \u003cem>Back to Black\u003c/em>, but the Winehouse estate has demonstrated over and over again that \u003ca href=\"https://www.kqed.org/pop/112753/the-impossible-task-of-keeping-amy-winehouse-alive-8-years-after-her-death\">it will take any and every opportunity to make money\u003c/a> from Amy Winehouse’s name, regardless of whether or not she’d have approved. These people \u003ca href=\"https://www.theguardian.com/music/2019/feb/22/amy-winehouse-hologram-tour-postponed\">OK’d an Amy Winehouse hologram\u003c/a>, for crying out loud. Can we be done giving them money now?\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>Marisa Abela is doing an extremely good Amy Winehouse impersonation here. It’s genuinely impressive. Unfortunately, all of the things that made Winehouse such a compelling performer and human were perfectly intangible and cannot be replicated. By anyone. Even someone who’s nailing the accent this well. No amount of hairspray and eyeliner is going to compensate for that.\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>That “You’ve gotta remember: I ain’t no Spice Girl” line was deemed enough of a movie high-point to be put in this trailer. Let’s consider how bad the other dialogue must be if this made the cut.\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>This is kind of a side note but \u003ca href=\"https://www.youtube.com/watch?v=s5Dqa_K6blg\">Amy Winehouse hated Dido\u003c/a> infinitely more than she hated the Spice Girls and I would trust this movie a lot more if there was a sneaky Dido reference in evidence. (Please enjoy \u003ca href=\"https://www.youtube.com/watch?v=-ZydibkgWwY\">this footage of Amy Winehouse throwing a rock at a Dido poster\u003c/a> at a time of your choosing.)\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>Isn’t this basically just a costumed reenactment of things we already saw in 2015’s perfect, Oscar- and Grammy-winning documentary, \u003ca href=\"https://www.kqed.org/arts/10815283/beyond-a-voice-and-a-sad-story-amy-listens-to-a-life\">\u003cem>Amy\u003c/em>\u003c/a>? What is the point of this?\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>Isn’t this also just a costumed reenactment of what we, as Amy Winehouse fans, all watched happen in slow motion at the time? It wasn’t that long ago! Who is clamoring to see this supremely talented young woman self-destruct again already?\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>Do any of us really want to have to think about Mitch Winehouse or \u003ca href=\"https://www.independent.co.uk/arts-entertainment/music/news/amy-winehouse-death-blake-fielder-civil-b2411321.html\">Blake Fielder-Civil\u003c/a> ever again? Especially via the medium of look-alikes? No, thank you.\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>Amy was self-deprecating and had a very finely tuned BS detector. I genuinely don’t believe she would be enjoying any of this.\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cem>Back to Black\u003c/em> stands as evidence that, as a culture, we’re still not done exploiting the pain of our biggest female stars for public entertainment. She dealt with too much of that in life. Amy Winehouse shouldn’t be contending with it 12 years after her death.\u003c/li>\n\u003c/ol>\n\u003cp>For those of you who still want to see this biopic for some reason, \u003ca href=\"https://www.imdb.com/title/tt21261712/?ref_=tt_mv_close\">\u003cem>Back to Black\u003c/em>\u003c/a> is set for release nationwide on May 10, 2024. Good luck with all that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The Path to Hell Is Paved with Executive Perks in ‘The Zone of Interest’",
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"content": "\u003cp>\u003cem>The Zone of Interest\u003c/em>, selectively and brilliantly adapted by the British director Jonathan Glazer (\u003cem>Under the Skin\u003c/em>, \u003cem>Sexy Beast\u003c/em>) from the late Martin Amis’ 2014 novel, centers on a zealous factory manager and his family comfortably living next door to the 24-hour plant.\u003c/p>\n\u003cp>If this sounds like an oddly prosaic subject to garner plaudits at Cannes and awards from the Los Angeles, San Francisco and Boston film critics’ groups, with Oscar nominations very likely to come, consider that the “factory” is Auschwitz and the “manager” is commandant Rudolf Höss.\u003c/p>\n\u003cp>Now your expectations have shifted 180 degrees, informed by any number of World War II-related films and television dramas. Cast those aside, as well. \u003cem>The Zone of Interest\u003c/em>, opening Friday, Jan. 12 in the Bay Area, is a riveting, risky and relevant contemplation of the moral and social responsibility that comes with an executive job. Höss is an enthusiastic executioner, to be sure, but he is also — like the person ordering coffee in line in front of you, or sitting next to you on the plane, or yourself, perhaps — a functionary and a technocrat.\u003c/p>\n\u003cfigure id=\"attachment_13940437\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/TheZoneOfInterest_textless_ProRes422HQ_24p_1920x1080_178_Rec709_51-20_20230929.01_30_55_01.Still044.jpg\" alt=\"Man in uniform looks out from ornate balcony in gilded, heavily decorative space\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13940437\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/TheZoneOfInterest_textless_ProRes422HQ_24p_1920x1080_178_Rec709_51-20_20230929.01_30_55_01.Still044.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/TheZoneOfInterest_textless_ProRes422HQ_24p_1920x1080_178_Rec709_51-20_20230929.01_30_55_01.Still044-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/TheZoneOfInterest_textless_ProRes422HQ_24p_1920x1080_178_Rec709_51-20_20230929.01_30_55_01.Still044-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/TheZoneOfInterest_textless_ProRes422HQ_24p_1920x1080_178_Rec709_51-20_20230929.01_30_55_01.Still044-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/TheZoneOfInterest_textless_ProRes422HQ_24p_1920x1080_178_Rec709_51-20_20230929.01_30_55_01.Still044-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/TheZoneOfInterest_textless_ProRes422HQ_24p_1920x1080_178_Rec709_51-20_20230929.01_30_55_01.Still044-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Christian Friedel as Rudolph Höss in ‘The Zone of Interest.’ \u003ccite>(Courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Did you just nod to yourself and mutter “the banality of evil,” the insightful term Hannah Arendt coined at Adolf Eichmann’s trial to describe the logistical minutiae by which the Nazis deported, transported and gassed millions of human beings? Sadly, the concept has been so thoroughly digested and assimilated in the ensuing 60-plus years of faraway genocides, cable news hand-wringing and drone bombings that it’s lost its power. \u003c/p>\n\u003cp>With understatement yet extraordinary eloquence, abetted by Mica Levi’s eerie score and Johnnie Burn’s disquieting sound design, Glazer offers a fresh perspective on how we ignore or rationalize the sacrifices made by other, less fortunate people to sustain our standard of living. That is, until we no longer can, whether we make that decision or a Nuremberg jury makes it for us.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>The Zone of Interest\u003c/em> reclaims everyday barbarity from the realms of both cliché and abstraction without depicting a single act within the camp itself. This is a first-rate example of precision filmmaking, more cerebral than emotional, with ample room for the viewer to infer and interpret both the situation and its consequences. \u003c/p>\n\u003cp>The film opens with a black screen and an ominous cascade of indistinguishable instruments and voices. This mysterious invocation ends abruptly with a screen-burst of light: a sun-drenched family outing by a river. Back home, we fall into the rhythms and routine of the household, rapidly amassing clues — anguished off-screen yelling, a guard tower in the background, a distant gunshot — that convey exactly where this family lives.\u003c/p>\n\u003cfigure id=\"attachment_13940434\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/TheZoneOfInterest_textless_ProRes422HQ_24p_1920x1080_178_Rec709_51-20_20230929.00_14_17_22.Still041.jpg\" alt=\"Woman poses wearing a long fur coat in bedroom\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13940434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/TheZoneOfInterest_textless_ProRes422HQ_24p_1920x1080_178_Rec709_51-20_20230929.00_14_17_22.Still041.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/TheZoneOfInterest_textless_ProRes422HQ_24p_1920x1080_178_Rec709_51-20_20230929.00_14_17_22.Still041-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/TheZoneOfInterest_textless_ProRes422HQ_24p_1920x1080_178_Rec709_51-20_20230929.00_14_17_22.Still041-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/TheZoneOfInterest_textless_ProRes422HQ_24p_1920x1080_178_Rec709_51-20_20230929.00_14_17_22.Still041-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/TheZoneOfInterest_textless_ProRes422HQ_24p_1920x1080_178_Rec709_51-20_20230929.00_14_17_22.Still041-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/TheZoneOfInterest_textless_ProRes422HQ_24p_1920x1080_178_Rec709_51-20_20230929.00_14_17_22.Still041-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sandra Hüller as Hedwig Höss in ‘The Zone of Interest.’\u003c/figcaption>\u003c/figure>\n\u003cp>The point of view is deftly executed: We are given access to the family going about its everyday activities, but the film doesn’t invite us to identify or empathize with anyone. We are present and watching, but at a remove. (\u003cem>The Zone of Interest\u003c/em> is the exact opposite of David Fincher’s recent \u003cem>The Killer\u003c/em>, which gives us entrée to the thoughts and regimen of a hitman.) Glazer doesn’t explain or justify the actions or attitudes of Höss (impeccably played by Christian Friedel) or his wife Hedwig (a pitch-perfect Sandra Hüller), and it neither romanticizes nor villainizes them.\u003c/p>\n\u003cp>They have achieved — overachieved, really — an elevated lifestyle and status thanks to Höss’ ambition and efficiency and the special opportunities offered by the Third Reich. Heddy is in clover, with servants and swag (like a fur that belonged to a deportee), but acknowledges the pressure of her husband’s job by idly proposing they return to a life of quiet farming after the war. \u003c/p>\n\u003cp>Höss loves nature, in almost comical contrast to his indifference to people outside his family. He relishes fishing in the river (until he encounters a bit of residue from the “factory”) and riding his horse around the Polish countryside, and is furious with SS guards who damage the lilac bushes he’s planted. \u003c/p>\n\u003cp>Glazer doesn’t show the workings of the camp or any of the images and acts we associate with the Holocaust. So how does he include the victims other than by their disembodied possessions, and give them dignity without trivializing their suffering? That opening sequence of sound without image instructed us to listen actively to this movie, and the soundtrack is where Glazer has given voice to the Jews (explicitly via \u003ca href=\"https://collections.ushmm.org/search/catalog/irn671467\">a Yiddish song\u003c/a> that Joseph Wulf, who survived the war, composed at Auschwitz).\u003c/p>\n\u003cfigure id=\"attachment_13940438\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/TheZoneOfInterest_textless_ProRes422HQ_24p_1920x1080_178_Rec709_51-20_20230929.00_20_19_14.Still023.jpg\" alt=\"Three women look out through curtains in a kitchen\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13940438\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/TheZoneOfInterest_textless_ProRes422HQ_24p_1920x1080_178_Rec709_51-20_20230929.00_20_19_14.Still023.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/TheZoneOfInterest_textless_ProRes422HQ_24p_1920x1080_178_Rec709_51-20_20230929.00_20_19_14.Still023-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/TheZoneOfInterest_textless_ProRes422HQ_24p_1920x1080_178_Rec709_51-20_20230929.00_20_19_14.Still023-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/TheZoneOfInterest_textless_ProRes422HQ_24p_1920x1080_178_Rec709_51-20_20230929.00_20_19_14.Still023-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/TheZoneOfInterest_textless_ProRes422HQ_24p_1920x1080_178_Rec709_51-20_20230929.00_20_19_14.Still023-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/TheZoneOfInterest_textless_ProRes422HQ_24p_1920x1080_178_Rec709_51-20_20230929.00_20_19_14.Still023-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘The Zone of Interest.’ \u003ccite>(Courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Zone of Interest\u003c/em>, for its part, rarely leaves the grounds of the Höss residence. The arrival of an outsider, however, subtly pierces the bubble that encases the clan. Heddy’s mother comes to visit, taking in the house, garden and modest swimming pool with the requisite pride. Her daughter has done so well! \u003c/p>\n\u003cp>Late one night, though, staring at the orange glow in the sky on the other side of the camp wall, Mama seems to realize what’s been making her cough. And, perhaps, the price of her daughter’s good fortune. It’s emblematic of \u003cem>The Zone of Interest\u003c/em> that Glazer doesn’t spell out why Mama is gone when the household awakes, or reveal the contents of the letter she leaves for Heddy.\u003c/p>\n\u003cp>Glazer elegantly solves the problem of how to bring the Holocaust into the present with a documentary sequence of workers cleaning the museum cases at Auschwitz-Birkenau. The banality of routine impresses us, even in the most horrific location, culminating in the crematorium, thankfully still and silent. \u003c/p>\n\u003cp>I was reminded of another masterpiece, Alain Resnais and Jean Cayrol’s poetic documentary \u003cem>Night and Fog\u003c/em> (streaming on \u003ca href=\"https://www.max.com/movies/night-and-fog/808501a5-3ae2-4ce7-9a83-2e9758cf83cf\">Max\u003c/a> and \u003ca href=\"https://www.criterionchannel.com/night-and-fog-1\">The Criterion Channel\u003c/a>, and on Blu-Ray at the \u003ca href=\"https://sfpl.bibliocommons.com/v2/record/S93C5333378\">San Francisco Public Library\u003c/a>). Filmed at Auschwitz in 1955, the Nazis’ murdered millions are unseen and unheard, but the filmmakers utilize that specific killing ground to illuminate the threat of similar future horrors — and the resistance required to prevent them.\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>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘The Zone of Interest’ opens in Bay Area theaters on Jan. 12, 2024.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>The Zone of Interest\u003c/em>, selectively and brilliantly adapted by the British director Jonathan Glazer (\u003cem>Under the Skin\u003c/em>, \u003cem>Sexy Beast\u003c/em>) from the late Martin Amis’ 2014 novel, centers on a zealous factory manager and his family comfortably living next door to the 24-hour plant.\u003c/p>\n\u003cp>If this sounds like an oddly prosaic subject to garner plaudits at Cannes and awards from the Los Angeles, San Francisco and Boston film critics’ groups, with Oscar nominations very likely to come, consider that the “factory” is Auschwitz and the “manager” is commandant Rudolf Höss.\u003c/p>\n\u003cp>Now your expectations have shifted 180 degrees, informed by any number of World War II-related films and television dramas. Cast those aside, as well. \u003cem>The Zone of Interest\u003c/em>, opening Friday, Jan. 12 in the Bay Area, is a riveting, risky and relevant contemplation of the moral and social responsibility that comes with an executive job. Höss is an enthusiastic executioner, to be sure, but he is also — like the person ordering coffee in line in front of you, or sitting next to you on the plane, or yourself, perhaps — a functionary and a technocrat.\u003c/p>\n\u003cfigure id=\"attachment_13940437\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/TheZoneOfInterest_textless_ProRes422HQ_24p_1920x1080_178_Rec709_51-20_20230929.01_30_55_01.Still044.jpg\" alt=\"Man in uniform looks out from ornate balcony in gilded, heavily decorative space\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13940437\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/TheZoneOfInterest_textless_ProRes422HQ_24p_1920x1080_178_Rec709_51-20_20230929.01_30_55_01.Still044.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/TheZoneOfInterest_textless_ProRes422HQ_24p_1920x1080_178_Rec709_51-20_20230929.01_30_55_01.Still044-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/TheZoneOfInterest_textless_ProRes422HQ_24p_1920x1080_178_Rec709_51-20_20230929.01_30_55_01.Still044-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/TheZoneOfInterest_textless_ProRes422HQ_24p_1920x1080_178_Rec709_51-20_20230929.01_30_55_01.Still044-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/TheZoneOfInterest_textless_ProRes422HQ_24p_1920x1080_178_Rec709_51-20_20230929.01_30_55_01.Still044-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/TheZoneOfInterest_textless_ProRes422HQ_24p_1920x1080_178_Rec709_51-20_20230929.01_30_55_01.Still044-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Christian Friedel as Rudolph Höss in ‘The Zone of Interest.’ \u003ccite>(Courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Did you just nod to yourself and mutter “the banality of evil,” the insightful term Hannah Arendt coined at Adolf Eichmann’s trial to describe the logistical minutiae by which the Nazis deported, transported and gassed millions of human beings? Sadly, the concept has been so thoroughly digested and assimilated in the ensuing 60-plus years of faraway genocides, cable news hand-wringing and drone bombings that it’s lost its power. \u003c/p>\n\u003cp>With understatement yet extraordinary eloquence, abetted by Mica Levi’s eerie score and Johnnie Burn’s disquieting sound design, Glazer offers a fresh perspective on how we ignore or rationalize the sacrifices made by other, less fortunate people to sustain our standard of living. That is, until we no longer can, whether we make that decision or a Nuremberg jury makes it for us.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Zone of Interest\u003c/em> reclaims everyday barbarity from the realms of both cliché and abstraction without depicting a single act within the camp itself. This is a first-rate example of precision filmmaking, more cerebral than emotional, with ample room for the viewer to infer and interpret both the situation and its consequences. \u003c/p>\n\u003cp>The film opens with a black screen and an ominous cascade of indistinguishable instruments and voices. This mysterious invocation ends abruptly with a screen-burst of light: a sun-drenched family outing by a river. Back home, we fall into the rhythms and routine of the household, rapidly amassing clues — anguished off-screen yelling, a guard tower in the background, a distant gunshot — that convey exactly where this family lives.\u003c/p>\n\u003cfigure id=\"attachment_13940434\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/TheZoneOfInterest_textless_ProRes422HQ_24p_1920x1080_178_Rec709_51-20_20230929.00_14_17_22.Still041.jpg\" alt=\"Woman poses wearing a long fur coat in bedroom\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13940434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/TheZoneOfInterest_textless_ProRes422HQ_24p_1920x1080_178_Rec709_51-20_20230929.00_14_17_22.Still041.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/TheZoneOfInterest_textless_ProRes422HQ_24p_1920x1080_178_Rec709_51-20_20230929.00_14_17_22.Still041-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/TheZoneOfInterest_textless_ProRes422HQ_24p_1920x1080_178_Rec709_51-20_20230929.00_14_17_22.Still041-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/TheZoneOfInterest_textless_ProRes422HQ_24p_1920x1080_178_Rec709_51-20_20230929.00_14_17_22.Still041-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/TheZoneOfInterest_textless_ProRes422HQ_24p_1920x1080_178_Rec709_51-20_20230929.00_14_17_22.Still041-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/TheZoneOfInterest_textless_ProRes422HQ_24p_1920x1080_178_Rec709_51-20_20230929.00_14_17_22.Still041-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sandra Hüller as Hedwig Höss in ‘The Zone of Interest.’\u003c/figcaption>\u003c/figure>\n\u003cp>The point of view is deftly executed: We are given access to the family going about its everyday activities, but the film doesn’t invite us to identify or empathize with anyone. We are present and watching, but at a remove. (\u003cem>The Zone of Interest\u003c/em> is the exact opposite of David Fincher’s recent \u003cem>The Killer\u003c/em>, which gives us entrée to the thoughts and regimen of a hitman.) Glazer doesn’t explain or justify the actions or attitudes of Höss (impeccably played by Christian Friedel) or his wife Hedwig (a pitch-perfect Sandra Hüller), and it neither romanticizes nor villainizes them.\u003c/p>\n\u003cp>They have achieved — overachieved, really — an elevated lifestyle and status thanks to Höss’ ambition and efficiency and the special opportunities offered by the Third Reich. Heddy is in clover, with servants and swag (like a fur that belonged to a deportee), but acknowledges the pressure of her husband’s job by idly proposing they return to a life of quiet farming after the war. \u003c/p>\n\u003cp>Höss loves nature, in almost comical contrast to his indifference to people outside his family. He relishes fishing in the river (until he encounters a bit of residue from the “factory”) and riding his horse around the Polish countryside, and is furious with SS guards who damage the lilac bushes he’s planted. \u003c/p>\n\u003cp>Glazer doesn’t show the workings of the camp or any of the images and acts we associate with the Holocaust. So how does he include the victims other than by their disembodied possessions, and give them dignity without trivializing their suffering? That opening sequence of sound without image instructed us to listen actively to this movie, and the soundtrack is where Glazer has given voice to the Jews (explicitly via \u003ca href=\"https://collections.ushmm.org/search/catalog/irn671467\">a Yiddish song\u003c/a> that Joseph Wulf, who survived the war, composed at Auschwitz).\u003c/p>\n\u003cfigure id=\"attachment_13940438\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/TheZoneOfInterest_textless_ProRes422HQ_24p_1920x1080_178_Rec709_51-20_20230929.00_20_19_14.Still023.jpg\" alt=\"Three women look out through curtains in a kitchen\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13940438\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/TheZoneOfInterest_textless_ProRes422HQ_24p_1920x1080_178_Rec709_51-20_20230929.00_20_19_14.Still023.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/TheZoneOfInterest_textless_ProRes422HQ_24p_1920x1080_178_Rec709_51-20_20230929.00_20_19_14.Still023-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/TheZoneOfInterest_textless_ProRes422HQ_24p_1920x1080_178_Rec709_51-20_20230929.00_20_19_14.Still023-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/TheZoneOfInterest_textless_ProRes422HQ_24p_1920x1080_178_Rec709_51-20_20230929.00_20_19_14.Still023-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/TheZoneOfInterest_textless_ProRes422HQ_24p_1920x1080_178_Rec709_51-20_20230929.00_20_19_14.Still023-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/TheZoneOfInterest_textless_ProRes422HQ_24p_1920x1080_178_Rec709_51-20_20230929.00_20_19_14.Still023-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘The Zone of Interest.’ \u003ccite>(Courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Zone of Interest\u003c/em>, for its part, rarely leaves the grounds of the Höss residence. The arrival of an outsider, however, subtly pierces the bubble that encases the clan. Heddy’s mother comes to visit, taking in the house, garden and modest swimming pool with the requisite pride. Her daughter has done so well! \u003c/p>\n\u003cp>Late one night, though, staring at the orange glow in the sky on the other side of the camp wall, Mama seems to realize what’s been making her cough. And, perhaps, the price of her daughter’s good fortune. It’s emblematic of \u003cem>The Zone of Interest\u003c/em> that Glazer doesn’t spell out why Mama is gone when the household awakes, or reveal the contents of the letter she leaves for Heddy.\u003c/p>\n\u003cp>Glazer elegantly solves the problem of how to bring the Holocaust into the present with a documentary sequence of workers cleaning the museum cases at Auschwitz-Birkenau. The banality of routine impresses us, even in the most horrific location, culminating in the crematorium, thankfully still and silent. \u003c/p>\n\u003cp>I was reminded of another masterpiece, Alain Resnais and Jean Cayrol’s poetic documentary \u003cem>Night and Fog\u003c/em> (streaming on \u003ca href=\"https://www.max.com/movies/night-and-fog/808501a5-3ae2-4ce7-9a83-2e9758cf83cf\">Max\u003c/a> and \u003ca href=\"https://www.criterionchannel.com/night-and-fog-1\">The Criterion Channel\u003c/a>, and on Blu-Ray at the \u003ca href=\"https://sfpl.bibliocommons.com/v2/record/S93C5333378\">San Francisco Public Library\u003c/a>). Filmed at Auschwitz in 1955, the Nazis’ murdered millions are unseen and unheard, but the filmmakers utilize that specific killing ground to illuminate the threat of similar future horrors — and the resistance required to prevent them.\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>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Zone of Interest’ opens in Bay Area theaters on Jan. 12, 2024.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "New Jason Statham Action Movie ‘The Beekeeper’ Is Absolutely Bananas",
"headTitle": "New Jason Statham Action Movie ‘The Beekeeper’ Is Absolutely Bananas | KQED",
"content": "\u003cp>Secret agents and murderous assassins seem to lurk in increasingly mundane places.\u003c/p>\n\u003cp>Remember \u003cem>The Accountant\u003c/em> with Ben Affleck? Or \u003cem>The Tax Collector\u003c/em> with Shia LaBeouf? Or more recently, how about \u003cem>The Bricklayer\u003c/em> with Adam Eckhardt? You probably don’t — none of these films were exactly Oscar winners. But there’s probably a notary public somewhere wondering when he’s going to get his Liam Neeson treatment.\u003c/p>\n\u003cp>\u003cem>[aside postid='arts_13940341']The Beekeeper,\u003c/em> the new Jason Statham revenge thriller, may have them all beaten — or at least bee-ten. The film, directed by David Ayer (who also did \u003cem>The Tax Collector\u003c/em>) has found probably the widest disparity yet between innocuous occupation and savage killer. As bodies accrue, so do the double takes from those confused by the source of all the mayhem. Again and again they utter in disbelief: “A beekeeper?”\u003c/p>\n\u003cp>Believe it, honey. \u003cem>The Beekeeper\u003c/em> carries that ludicrous premise as far as it can, and then well beyond. If you’ve been searching for a movie where Jason Statham gravely vows to “protect the hive” an implausible number of times, you have found it.\u003c/p>\n\u003cp>The bee metaphors — there is even, rather impressively, a “To bee or not to bee” reference — come fast and furious in \u003cem>The Beekeeper\u003c/em>, a movie that flirts with a so-bad-it’s-good vibe but is too serious to quite pull it off. It can be divertingly bonkers, but ends up a rather grim and slipshod \u003cem>John Wick\u003c/em> ripoff.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The film, scripted by Kurt Wimmer, begins the action with one of the more absurd inciting incidents in recent memory. Statham is a humble beekeeper for Eloise Parker (Phylicia Rashad) on a New England farm. She soon falls victim to a phishing scam that robs her of all her money, including the $2 million charity fund she manages. Eloise calls a number that pops up on her screen and is talked into sharing her passwords by a smarmy scammer (David Witts) who’s simultaneously using the call as a lesson to a room full of hackers who cheer him on like the predatory stock brokers of \u003cem>The Wolf of Wall Street\u003c/em>.\u003c/p>\n\u003cp>Eloise doesn’t press CTRL-ALT-DELETE or even call the fraud department of her bank. She kills herself. And guess who’s mad? The beekeeper.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SzINZZ6iqxY\u003c/p>\n\u003cp>Eloise’s daughter, Verona (a good Emmy Raver-Lampman), is an FBI agent who throws herself into the case. But meanwhile Statham’s beekeeper, after a well-placed call, gets the location of the call center. He turns up with a few tanks of gasoline and some terse words about, you know, the hive, and burns down the place, killing a few people along the way.\u003c/p>\n\u003cp>That brings the attention of higher-ups. Only the guy in charge is a 28-year-old twerp named Derek Danforth (Josh Hutcherson, enjoying himself) who brashly underestimates his new enemy at every step of the way. His entitlement is owed to his rather good connections. He’s protected by the former head of the CIA, Wallace Westwyld (Jeremy Irons) and happens to be the son of the U.S. president (Jemma Redgrave).\u003c/p>\n\u003cp>Fingers get cut off and bodies accumulate as our man — his name turns out to be Adam Clay — tears through the criminal apparatus with ruthless blunt force. Statham, who has both the look and personality of a bullet, dispatches anyone in his path with the kind efficiency I dream of bringing to opening a pickle jar. A few twists of the wrist and he’s done.\u003c/p>\n\u003cp>[aside postid='arts_13940132']Clay, brace yourselves, isn’t just an actual beekeeper. He’s a retired Beekeeper, an elite, clandestine secret service that operates well off the government books and that adopts a surprising amount of its mission statements from the natural way of bees. They have a whole secret order and stuff, bringing \u003cem>The Beekeeper\u003c/em> into plainly \u003cem>Wick\u003c/em>-ian — and less fun — territory.\u003c/p>\n\u003cp>Yes, this silly beekeeper thriller goes all the way to the top. As the movie’s renegade protagonist makes his way closer and closer to the White House, with blood and chaos in his wake, \u003cem>The Beekeeper\u003c/em> begins to feel like an uncomfortable B-movie crosspollination of today’s conspiracy theory-marred political landscape, with a violent, self-appointed guardian of America slashing his way toward the president. Most of the dead bodies are secret service.\u003c/p>\n\u003cp>Disquieting thoughts, maybe, for a beekeeper movie. Ayer’s movie is mostly just having some cynical world-building fun, even if its hero feels like a part more suited to Mr. Bean. And, besides, while John Wick was first propelled into action by the death of his dog, Clay doesn’t bat an eye when his honeycombs get blown to smithereens. This guy doesn’t even really care about bees.\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>‘The Beekeper’ is released nationwide on Jan. 12, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The Beekeeper,\u003c/em> the new Jason Statham revenge thriller, may have them all beaten — or at least bee-ten. The film, directed by David Ayer (who also did \u003cem>The Tax Collector\u003c/em>) has found probably the widest disparity yet between innocuous occupation and savage killer. As bodies accrue, so do the double takes from those confused by the source of all the mayhem. Again and again they utter in disbelief: “A beekeeper?”\u003c/p>\n\u003cp>Believe it, honey. \u003cem>The Beekeeper\u003c/em> carries that ludicrous premise as far as it can, and then well beyond. If you’ve been searching for a movie where Jason Statham gravely vows to “protect the hive” an implausible number of times, you have found it.\u003c/p>\n\u003cp>The bee metaphors — there is even, rather impressively, a “To bee or not to bee” reference — come fast and furious in \u003cem>The Beekeeper\u003c/em>, a movie that flirts with a so-bad-it’s-good vibe but is too serious to quite pull it off. It can be divertingly bonkers, but ends up a rather grim and slipshod \u003cem>John Wick\u003c/em> ripoff.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The film, scripted by Kurt Wimmer, begins the action with one of the more absurd inciting incidents in recent memory. Statham is a humble beekeeper for Eloise Parker (Phylicia Rashad) on a New England farm. She soon falls victim to a phishing scam that robs her of all her money, including the $2 million charity fund she manages. Eloise calls a number that pops up on her screen and is talked into sharing her passwords by a smarmy scammer (David Witts) who’s simultaneously using the call as a lesson to a room full of hackers who cheer him on like the predatory stock brokers of \u003cem>The Wolf of Wall Street\u003c/em>.\u003c/p>\n\u003cp>Eloise doesn’t press CTRL-ALT-DELETE or even call the fraud department of her bank. She kills herself. And guess who’s mad? The beekeeper.\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/SzINZZ6iqxY'\n title='//www.youtube.com/embed/SzINZZ6iqxY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Eloise’s daughter, Verona (a good Emmy Raver-Lampman), is an FBI agent who throws herself into the case. But meanwhile Statham’s beekeeper, after a well-placed call, gets the location of the call center. He turns up with a few tanks of gasoline and some terse words about, you know, the hive, and burns down the place, killing a few people along the way.\u003c/p>\n\u003cp>That brings the attention of higher-ups. Only the guy in charge is a 28-year-old twerp named Derek Danforth (Josh Hutcherson, enjoying himself) who brashly underestimates his new enemy at every step of the way. His entitlement is owed to his rather good connections. He’s protected by the former head of the CIA, Wallace Westwyld (Jeremy Irons) and happens to be the son of the U.S. president (Jemma Redgrave).\u003c/p>\n\u003cp>Fingers get cut off and bodies accumulate as our man — his name turns out to be Adam Clay — tears through the criminal apparatus with ruthless blunt force. Statham, who has both the look and personality of a bullet, dispatches anyone in his path with the kind efficiency I dream of bringing to opening a pickle jar. A few twists of the wrist and he’s done.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Clay, brace yourselves, isn’t just an actual beekeeper. He’s a retired Beekeeper, an elite, clandestine secret service that operates well off the government books and that adopts a surprising amount of its mission statements from the natural way of bees. They have a whole secret order and stuff, bringing \u003cem>The Beekeeper\u003c/em> into plainly \u003cem>Wick\u003c/em>-ian — and less fun — territory.\u003c/p>\n\u003cp>Yes, this silly beekeeper thriller goes all the way to the top. As the movie’s renegade protagonist makes his way closer and closer to the White House, with blood and chaos in his wake, \u003cem>The Beekeeper\u003c/em> begins to feel like an uncomfortable B-movie crosspollination of today’s conspiracy theory-marred political landscape, with a violent, self-appointed guardian of America slashing his way toward the president. Most of the dead bodies are secret service.\u003c/p>\n\u003cp>Disquieting thoughts, maybe, for a beekeeper movie. Ayer’s movie is mostly just having some cynical world-building fun, even if its hero feels like a part more suited to Mr. Bean. And, besides, while John Wick was first propelled into action by the death of his dog, Clay doesn’t bat an eye when his honeycombs get blown to smithereens. This guy doesn’t even really care about bees.\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>‘The Beekeper’ is released nationwide on Jan. 12, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Selena Gomez will portray \u003ca href=\"https://www.kqed.org/arts/tag/linda-ronstadt\">Linda Ronstadt\u003c/a> in an upcoming biopic on Ronstadt’s life, multiple sources have confirmed. \u003c/p>\n\u003cp>Ronstadt, who lives in San Francisco’s Sea Cliff neighborhood, \u003ca href=\"https://www.facebook.com/lindaronstadtofficial/posts/pfbid0oxLDMxWNj6imhDh1iNNdUDSq5staooVbtAe2yGD7UTDHvBbSsw8vWZt1zZvZSuk4l\">shared the news\u003c/a> on her social media accounts Wednesday with the caption “It all started with a simple dream.” Gomez had shared an Instagram story of Ronstadt’s 2013 memoir \u003cem>\u003ca href=\"https://www.goodreads.com/en/book/show/17559245\">Simple Dreams\u003c/a>\u003c/em> the evening prior. Like Ronstadt, Gomez is of Mexican descent. \u003c/p>\n\u003cp>[aside postID='arts_13861650']According to \u003cem>\u003ca href=\"https://variety.com/2024/film/news/selena-gomez-linda-ronstadt-biopic-1235867917/\">Variety\u003c/a>\u003c/em>, producers include John Boylan, Ronstadt’s manager, and James Keach, producer of the 2019 documentary \u003cem>Linda Ronstadt: The Sound of My Voice\u003c/em>. \u003c/p>\n\u003cp>While no other casting has been announced, the sheer number of major figures in Ronstadt’s career and personal life could call for an extensive cast list.\u003c/p>\n\u003cp>Ronstadt performed with the Eagles, recorded with Dolly Parton and Emmylou Harris, toured with Neil Young and Jackson Browne, resurrected Nelson Riddle’s career and released two albums of mariachi music with Mexican legends. In the 1970s and 1980s, she maintained multi-year romantic relationships with both Governor Jerry Brown and \u003cem>Star Wars\u003c/em> director George Lucas.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13900041']Along the way, Ronstadt became a legend of country, rock, Latin music and the Great American Songbook, winning 11 Grammy Awards in an exceptionally male-dominated industry. Now 77, she is no longer able to sing due to progressive supranuclear palsy, and announced her retirement in 2011.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Gomez, the 31-year-old star of the Hulu series \u003cem>Only Murders in the Building\u003c/em> and a Grammy-nominated pop singer in her own right, has been teasing a new album due to release in 2024. Her latest release is the Spanish-language EP \u003cem>Revelación\u003c/em>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Selena Gomez will portray \u003ca href=\"https://www.kqed.org/arts/tag/linda-ronstadt\">Linda Ronstadt\u003c/a> in an upcoming biopic on Ronstadt’s life, multiple sources have confirmed. \u003c/p>\n\u003cp>Ronstadt, who lives in San Francisco’s Sea Cliff neighborhood, \u003ca href=\"https://www.facebook.com/lindaronstadtofficial/posts/pfbid0oxLDMxWNj6imhDh1iNNdUDSq5staooVbtAe2yGD7UTDHvBbSsw8vWZt1zZvZSuk4l\">shared the news\u003c/a> on her social media accounts Wednesday with the caption “It all started with a simple dream.” Gomez had shared an Instagram story of Ronstadt’s 2013 memoir \u003cem>\u003ca href=\"https://www.goodreads.com/en/book/show/17559245\">Simple Dreams\u003c/a>\u003c/em> the evening prior. Like Ronstadt, Gomez is of Mexican descent. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Along the way, Ronstadt became a legend of country, rock, Latin music and the Great American Songbook, winning 11 Grammy Awards in an exceptionally male-dominated industry. Now 77, she is no longer able to sing due to progressive supranuclear palsy, and announced her retirement in 2011.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Gomez, the 31-year-old star of the Hulu series \u003cem>Only Murders in the Building\u003c/em> and a Grammy-nominated pop singer in her own right, has been teasing a new album due to release in 2024. Her latest release is the Spanish-language EP \u003cem>Revelación\u003c/em>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s been two decades since Judy Irving produced, directed, filmed and edited her celebrated documentary \u003ci>\u003ca href=\"https://www.shadowdistribution.com/the-wild-parrots-of-telegraph-hill-4k/\">The Wild Parrots of Telegraph Hill\u003c/a>\u003c/i>, a charming and contemplative film about one man’s relationship with a flock of wild parrots. So much has changed over those years, and yet the city she captured in 2003 is still familiar — a little softer around the edges then, with a lower skyline — and the story she tells remains a quintessential San Francisco story.\u003c/p>\n\u003cp>[aside postID='arts_13927774']Now, audiences new and old will get a chance to see the film restored in 4K. \u003ci>The Wild Parrots of Telegraph Hill\u003c/i> screens Jan. 12–18 at the \u003ca href=\"https://roxie.com/film/the-wild-parrots-of-telegraph-hill/\">Roxie\u003c/a>, Jan. 14 at the \u003ca href=\"https://rafaelfilm.cafilm.org/wild-parrots-of-telegraph-hill/\">Smith Rafael Film Center\u003c/a> and Feb. 3 at the \u003ca href=\"http://bocenter.org/\">Bolinas Community Center\u003c/a>. Mark Bittner (the film’s human star) and Irving will be in person at many of the screenings.\u003c/p>\n\u003cp>The focus of this film is now the city’s “\u003ca href=\"https://www.sfchronicle.com/bayarea/article/wild-parrots-official-animal-san-francisco-18172009.php\">Official Animal\u003c/a>” (thanks to a contest organized by the \u003ci>San Francisco Chronicle\u003c/i> last year). But in the early 2000s, the flock of non-native cherry-headed conures of unknown origin was a bit more of a novelty. (An “Urban Legends” segment in the film delivers locals’ various theories, which include pet shops, an SFO breakout, a South American ship and annoyed roommates.)\u003c/p>\n\u003cp>At the heart of it all is Bittner, a sweet and gentle man who moved to San Francisco in search of a music career and spent 15 years on the streets, doing odd jobs and sleeping in odd places, before landing in a cottage in Telegraph Hill.\u003c/p>\n\u003cp>“I haven’t really paid rent in 25 years,” he says at one point. Irving’s presence in the film arrives in periodic voiceovers, asking the questions we all have after meeting Bittner: “How does he get away with that?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“He has a lot of time,” she muses. Without a 9-to-5, without a schedule beyond his daily seed feedings of the flock, Bittner has the ability to truly focus on the things he loves. Namely, Mingus (a cherry-headed conure with a split personality), Connor (an isolated blue-crown conure) and Tupelo (a deteriorating cherry-headed conure he cradles on walks).\u003c/p>\n\u003cp>https://vimeo.com/860177562\u003c/p>\n\u003cp>It’s Bittner’s deep understanding of the parrots’ relationships and his genuine connection to them that guide us through the film, which is ultimately about love, patience, acceptance and an unwillingness to worry about pretty much anything else. In the latter half of the film, we learn that Bittner must leave his home, and the birds, due to impending renovations. He accepts this too, fully knowing the wild parrots will continue their lives — and face the dangers of those lives — without him.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For those who have not yet seen the film, I won’t spoil its delightful surprise of an ending, but suffice to say: it will be an extra treat to attend one of the upcoming screenings with Irving and Bittman in attendance, to hear what they’ve been up to separately — and together — in the years since.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Now, audiences new and old will get a chance to see the film restored in 4K. \u003ci>The Wild Parrots of Telegraph Hill\u003c/i> screens Jan. 12–18 at the \u003ca href=\"https://roxie.com/film/the-wild-parrots-of-telegraph-hill/\">Roxie\u003c/a>, Jan. 14 at the \u003ca href=\"https://rafaelfilm.cafilm.org/wild-parrots-of-telegraph-hill/\">Smith Rafael Film Center\u003c/a> and Feb. 3 at the \u003ca href=\"http://bocenter.org/\">Bolinas Community Center\u003c/a>. Mark Bittner (the film’s human star) and Irving will be in person at many of the screenings.\u003c/p>\n\u003cp>The focus of this film is now the city’s “\u003ca href=\"https://www.sfchronicle.com/bayarea/article/wild-parrots-official-animal-san-francisco-18172009.php\">Official Animal\u003c/a>” (thanks to a contest organized by the \u003ci>San Francisco Chronicle\u003c/i> last year). But in the early 2000s, the flock of non-native cherry-headed conures of unknown origin was a bit more of a novelty. (An “Urban Legends” segment in the film delivers locals’ various theories, which include pet shops, an SFO breakout, a South American ship and annoyed roommates.)\u003c/p>\n\u003cp>At the heart of it all is Bittner, a sweet and gentle man who moved to San Francisco in search of a music career and spent 15 years on the streets, doing odd jobs and sleeping in odd places, before landing in a cottage in Telegraph Hill.\u003c/p>\n\u003cp>“I haven’t really paid rent in 25 years,” he says at one point. Irving’s presence in the film arrives in periodic voiceovers, asking the questions we all have after meeting Bittner: “How does he get away with that?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "It’s Your Last Chance to See Movies at the Castro As They Were Meant to Be Seen",
"headTitle": "It’s Your Last Chance to See Movies at the Castro As They Were Meant to Be Seen | KQED",
"content": "\u003cp>\u003cem>This post has been updated as more movies have been added to the Castro Theatre’s schedule.\u003c/em>\u003c/p>\n\u003cp>The time has come: the \u003ca href=\"https://www.kqed.org/arts/tag/castro-theatre\">Castro Theatre\u003c/a> will close in early February for renovations. Over the next year or so, concert promoters Another Planet Entertainment will \u003ca href=\"https://www.kqed.org/arts/13917362/castro-theatre-seating-renovation-town-hall\">replace the historic movie palace’s classic raked theatrical seating\u003c/a> with flat tiers better suited to standing-room concerts. This is good news if you’re the type of person, say, who wishes \u003ca href=\"https://tommysjoynt.com/\">Tommy’s Joynt\u003c/a> would take all that old junk off their walls, rip out the hofbrau counter and start serving sushi instead. It’s bad news if you love movies. \u003c/p>\n\u003cp>Expect a large crowd, then, on Sunday, Jan. 14, when the Castro Theatre screens some of its final repertory films with the original and widely loved seating configuration. In a double feature, \u003cem>\u003ca href=\"https://www.midnitesformaniacs.com/event/blade-runner-the-final-cut-in-35mm-robocop-unrated-directors-cut-in-4k/\">Blade Runner\u003c/a>\u003c/em> plays on 35mm at 4:00 p.m., followed by \u003cem>\u003ca href=\"https://www.midnitesformaniacs.com/event/blade-runner-the-final-cut-in-35mm-robocop-unrated-directors-cut-in-4k/\">RoboCop\u003c/a>\u003c/em> at 6:30 p.m. Vintage sci-fi trailers run before and after, and the intermission features music by the Castro’s long-standing organist David Hegarty. \u003c/p>\n\u003cp>Then, on Jan. 26, the Castro shows \u003cem>All of Us Strangers\u003c/em>; followed by \u003cem>Stop Making Sense\u003c/em> and \u003cem>Singin’ in the Rain\u003c/em> on Jan. 27; a \u003cem>Beauty and the Beast\u003c/em> sing-along and \u003cem>2001: A Space Odyssey\u003c/em> (in 70mm) on Jan. 28; the Pet Shop Boys’ live concert film \u003cem>Dreamworld: The Greatest Hits Live at the Royal Arena Copenhagen\u003c/em> on Jan. 31; and a sing-along of \u003cem>Victor Victoria\u003c/em> on Feb. 4.\u003c/p>\n\u003cp>[aside postID='arts_13917362']For the past two years, under the Castro’s new management, Jesse Hawthorne Ficks’ monthly \u003ca href=\"https://www.midnitesformaniacs.com/\">Movies for Maniacs\u003c/a> screenings at the Castro have largely replaced the once-daily pace of films on the theater’s calendar. “I am eagerly awaiting the restored reopening in the Summer/Fall of 2025,” Ficks said in an email. “People can reasonably expect to see Movies for Maniacs monthly repertory programming at the Castro after it reopens.” Another Planet Entertainment plans to utilize \u003ca href=\"https://www.kron4.com/news/castro-theatre-seats-not-a-landmark-sf-board-of-supervisors-say/\">temporary seats\u003c/a> for movies after the renovation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Meanwhile, on Thursday, Jan. 11, a post-mortem for the \u003ca href=\"https://www.kqed.org/news/11942942/san-franciscos-castro-theatre-a-cultural-temple-facing-a-fight-for-its-future\">fight to save the seating\u003c/a> at the Castro gets underway at the Roxie Theater in San Francisco. \u003cem>\u003ca href=\"https://roxie.com/film/the-fight-for-the-castro-theatre-lessons-for-queer-preservation/\">The Fight for the Castro Theatre: Lessons for Queer Preservation\u003c/a>\u003c/em> features a panel discussion with historians, preservationists and LGBTQ+ leaders to “tell the story of the City’s refusal to save the San Francisco landmark.” \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>‘Blade Runner’ and ‘RoboCop’ screen Sunday, Jan. 14, at the Castro Theatre in San Francisco. General admission is $21.50. \u003ca href=\"https://www.midnitesformaniacs.com/event/blade-runner-the-final-cut-in-35mm-robocop-unrated-directors-cut-in-4k/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"headline": "It’s Your Last Chance to See Movies at the Castro As They Were Meant to Be Seen",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This post has been updated as more movies have been added to the Castro Theatre’s schedule.\u003c/em>\u003c/p>\n\u003cp>The time has come: the \u003ca href=\"https://www.kqed.org/arts/tag/castro-theatre\">Castro Theatre\u003c/a> will close in early February for renovations. Over the next year or so, concert promoters Another Planet Entertainment will \u003ca href=\"https://www.kqed.org/arts/13917362/castro-theatre-seating-renovation-town-hall\">replace the historic movie palace’s classic raked theatrical seating\u003c/a> with flat tiers better suited to standing-room concerts. This is good news if you’re the type of person, say, who wishes \u003ca href=\"https://tommysjoynt.com/\">Tommy’s Joynt\u003c/a> would take all that old junk off their walls, rip out the hofbrau counter and start serving sushi instead. It’s bad news if you love movies. \u003c/p>\n\u003cp>Expect a large crowd, then, on Sunday, Jan. 14, when the Castro Theatre screens some of its final repertory films with the original and widely loved seating configuration. In a double feature, \u003cem>\u003ca href=\"https://www.midnitesformaniacs.com/event/blade-runner-the-final-cut-in-35mm-robocop-unrated-directors-cut-in-4k/\">Blade Runner\u003c/a>\u003c/em> plays on 35mm at 4:00 p.m., followed by \u003cem>\u003ca href=\"https://www.midnitesformaniacs.com/event/blade-runner-the-final-cut-in-35mm-robocop-unrated-directors-cut-in-4k/\">RoboCop\u003c/a>\u003c/em> at 6:30 p.m. Vintage sci-fi trailers run before and after, and the intermission features music by the Castro’s long-standing organist David Hegarty. \u003c/p>\n\u003cp>Then, on Jan. 26, the Castro shows \u003cem>All of Us Strangers\u003c/em>; followed by \u003cem>Stop Making Sense\u003c/em> and \u003cem>Singin’ in the Rain\u003c/em> on Jan. 27; a \u003cem>Beauty and the Beast\u003c/em> sing-along and \u003cem>2001: A Space Odyssey\u003c/em> (in 70mm) on Jan. 28; the Pet Shop Boys’ live concert film \u003cem>Dreamworld: The Greatest Hits Live at the Royal Arena Copenhagen\u003c/em> on Jan. 31; and a sing-along of \u003cem>Victor Victoria\u003c/em> on Feb. 4.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For the past two years, under the Castro’s new management, Jesse Hawthorne Ficks’ monthly \u003ca href=\"https://www.midnitesformaniacs.com/\">Movies for Maniacs\u003c/a> screenings at the Castro have largely replaced the once-daily pace of films on the theater’s calendar. “I am eagerly awaiting the restored reopening in the Summer/Fall of 2025,” Ficks said in an email. “People can reasonably expect to see Movies for Maniacs monthly repertory programming at the Castro after it reopens.” Another Planet Entertainment plans to utilize \u003ca href=\"https://www.kron4.com/news/castro-theatre-seats-not-a-landmark-sf-board-of-supervisors-say/\">temporary seats\u003c/a> for movies after the renovation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Meanwhile, on Thursday, Jan. 11, a post-mortem for the \u003ca href=\"https://www.kqed.org/news/11942942/san-franciscos-castro-theatre-a-cultural-temple-facing-a-fight-for-its-future\">fight to save the seating\u003c/a> at the Castro gets underway at the Roxie Theater in San Francisco. \u003cem>\u003ca href=\"https://roxie.com/film/the-fight-for-the-castro-theatre-lessons-for-queer-preservation/\">The Fight for the Castro Theatre: Lessons for Queer Preservation\u003c/a>\u003c/em> features a panel discussion with historians, preservationists and LGBTQ+ leaders to “tell the story of the City’s refusal to save the San Francisco landmark.” \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>‘Blade Runner’ and ‘RoboCop’ screen Sunday, Jan. 14, at the Castro Theatre in San Francisco. General admission is $21.50. \u003ca href=\"https://www.midnitesformaniacs.com/event/blade-runner-the-final-cut-in-35mm-robocop-unrated-directors-cut-in-4k/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Audacious Bible-Era Story ‘The Book of Clarence’ Is Maybe Too Audacious",
"headTitle": "Audacious Bible-Era Story ‘The Book of Clarence’ Is Maybe Too Audacious | KQED",
"content": "\u003cp>Somewhere between the sacred and profane, comedy, drama and satire comes \u003cem>The Book of Clarence\u003c/em>, a retelling of The Greatest Story Ever Told that arrives in theaters appropriately between Christmas and Easter.\u003c/p>\n\u003cp>It’s a remarkably idiosyncratic approach by rising auteur Jeymes Samuel, who for this Biblical-era tale is director, producer, writer and composer for only his second feature. You have to kind of hand it to him: Who else would have the audacity to tackle Jesus in your second outing?\u003c/p>\n\u003cp>[aside postid='arts_13939793']\u003cem>The Book of Clarence\u003c/em> — with a stunning cast that includes LaKeith Stanfield, James McAvoy, Anna Diop, Benedict Cumberbatch, Alfre Woodard and David Oyelowo — careens through tones and sentiment, silly in one and then horrific in another. Samuel says he wants viewers to have a “wicked good time” but really it’s a bit of a muddled, unholy mess.\u003c/p>\n\u003cp>It is 33 AD in Jerusalem and Stanfield plays Clarence, a street hustler in robes who likes getting high — in one cool, surreal scene he floats into the air like a balloon — and dreams up schemes to get rich quick. He’s got the hots for a local beauty but owes a ton of coins to that beauty’s loansharking brother.\u003c/p>\n\u003cp>Clarence is called the “village’s mischief maker” and even his mother thinks he needs to get his act together. “I’m not a nobody,” he tells his twin brother, Thomas (also Stanfield, naturally). “A man who lacks honor is a nobody,” his brother replies. We know things are going to end painfully for Clarence because one of the first images in the movie is of him on a cross.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Clarence doesn’t believe in God and certainly doesn’t believe that the local guy named Jesus is capable of miracles. It’s a scam to him. He tries to become a 13th apostle to pay off his debts. When that fails he decides to pretend to be a messiah, too, and get paid for so-called tricks.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ntNS-ANoMyM\u003c/p>\n\u003cp>Samuel, whose previous movie was the all-Black Western \u003cem>The Harder They Fall\u003c/em>, has some creative ideas, like using a chariot race to honor both \u003cem>Ben Hur\u003c/em> and \u003cem>Fast & Furious\u003c/em>, as well as wonderfully capturing the Last Supper like a painting come alive. He apes biblical epics in his title fonts and the opening and closing of the camera’s iris. He mixes stilted language — “I must make haste” — with modern turns (“I’ve got the cobblestones on lock.”) This is the first Biblical epic to uses the term “dumbass.”\u003c/p>\n\u003cp>[aside postid='arts_13938160']But Samuel never stays with any idea for long and \u003cem>The Book of Clarence\u003c/em> lacks cohesion, as well as consistency, even if the acting is superb, especially from a soulful Stanfield. Is Samuel honoring sword-and-sandal epics? Updating them? Mocking them? Looking at the Jesus story through a Black lens is immensely rewarding but the pay-off is poor.\u003c/p>\n\u003cp>There are plenty of messiahs here — like Spider-Mans in the multiverse — but it is not clear what the filmmaker wants to say with them. A critique of celebrity? A message about entertainment? That faith comes even to those who have none? That we kill all our saviors? It’s not even clear if this is a pro- or anti-religious movie.\u003c/p>\n\u003cfigure id=\"attachment_13940224\" class=\"wp-caption aligncenter\" style=\"max-width: 2062px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940224\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-09-at-1.46.39-PM.png\" alt=\"A white stone room with tables arranged. It resembles the Last Supper, but with a Black messiah and disciples. \" width=\"2062\" height=\"1006\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-09-at-1.46.39-PM.png 2062w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-09-at-1.46.39-PM-800x390.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-09-at-1.46.39-PM-1020x498.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-09-at-1.46.39-PM-160x78.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-09-at-1.46.39-PM-768x375.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-09-at-1.46.39-PM-1536x749.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-09-at-1.46.39-PM-2048x999.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-09-at-1.46.39-PM-1920x937.png 1920w\" sizes=\"(max-width: 2062px) 100vw, 2062px\">\u003cfigcaption class=\"wp-caption-text\">A moment from ‘The Book of Clarence.’ \u003ccite>(Legendary Entertainment/ Sony via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Samuel comments powerfully on us today when white Roman police stop-and-frisk Black Jerusalem residents, but then wastes such a great potential vein to mine with a swanky dance party and cool choreographed moves. He makes us shudder as nails are pounded into Clarence’s flesh, yet also includes humor at the crucifixion — from the actual guys doing the dying. He has a scene with brutal rock throwing and yet also a recurring goofy bit about light bulbs appearing over Clarence’s head.\u003c/p>\n\u003cp>It’s a mind-melting piece of filmmaking, having elements of both Monty Python’s \u003cem>Life of Brian\u003c/em> and \u003cem>The Ten Commandments\u003c/em>. (Fun fact, the Italian city of Matera stands in for Jerusalem here and was also where \u003cem>The Passion of the Christ\u003c/em> was filmed.) Add to that an exciting soundtrack of more than a dozen songs by Samuel (even one with Jay-Z, also a producer on the movie) and \u003cem>The Book of Clarence\u003c/em> is worth a look simply for its sheer daring. But we wouldn’t go so far as to say its creator walks on water.\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>‘The Book of Clarence’ is out nationwide on Jan. 12, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>The Book of Clarence\u003c/em> — with a stunning cast that includes LaKeith Stanfield, James McAvoy, Anna Diop, Benedict Cumberbatch, Alfre Woodard and David Oyelowo — careens through tones and sentiment, silly in one and then horrific in another. Samuel says he wants viewers to have a “wicked good time” but really it’s a bit of a muddled, unholy mess.\u003c/p>\n\u003cp>It is 33 AD in Jerusalem and Stanfield plays Clarence, a street hustler in robes who likes getting high — in one cool, surreal scene he floats into the air like a balloon — and dreams up schemes to get rich quick. He’s got the hots for a local beauty but owes a ton of coins to that beauty’s loansharking brother.\u003c/p>\n\u003cp>Clarence is called the “village’s mischief maker” and even his mother thinks he needs to get his act together. “I’m not a nobody,” he tells his twin brother, Thomas (also Stanfield, naturally). “A man who lacks honor is a nobody,” his brother replies. We know things are going to end painfully for Clarence because one of the first images in the movie is of him on a cross.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Clarence doesn’t believe in God and certainly doesn’t believe that the local guy named Jesus is capable of miracles. It’s a scam to him. He tries to become a 13th apostle to pay off his debts. When that fails he decides to pretend to be a messiah, too, and get paid for so-called tricks.\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/ntNS-ANoMyM'\n title='//www.youtube.com/embed/ntNS-ANoMyM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Samuel, whose previous movie was the all-Black Western \u003cem>The Harder They Fall\u003c/em>, has some creative ideas, like using a chariot race to honor both \u003cem>Ben Hur\u003c/em> and \u003cem>Fast & Furious\u003c/em>, as well as wonderfully capturing the Last Supper like a painting come alive. He apes biblical epics in his title fonts and the opening and closing of the camera’s iris. He mixes stilted language — “I must make haste” — with modern turns (“I’ve got the cobblestones on lock.”) This is the first Biblical epic to uses the term “dumbass.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But Samuel never stays with any idea for long and \u003cem>The Book of Clarence\u003c/em> lacks cohesion, as well as consistency, even if the acting is superb, especially from a soulful Stanfield. Is Samuel honoring sword-and-sandal epics? Updating them? Mocking them? Looking at the Jesus story through a Black lens is immensely rewarding but the pay-off is poor.\u003c/p>\n\u003cp>There are plenty of messiahs here — like Spider-Mans in the multiverse — but it is not clear what the filmmaker wants to say with them. A critique of celebrity? A message about entertainment? That faith comes even to those who have none? That we kill all our saviors? It’s not even clear if this is a pro- or anti-religious movie.\u003c/p>\n\u003cfigure id=\"attachment_13940224\" class=\"wp-caption aligncenter\" style=\"max-width: 2062px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940224\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-09-at-1.46.39-PM.png\" alt=\"A white stone room with tables arranged. It resembles the Last Supper, but with a Black messiah and disciples. \" width=\"2062\" height=\"1006\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-09-at-1.46.39-PM.png 2062w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-09-at-1.46.39-PM-800x390.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-09-at-1.46.39-PM-1020x498.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-09-at-1.46.39-PM-160x78.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-09-at-1.46.39-PM-768x375.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-09-at-1.46.39-PM-1536x749.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-09-at-1.46.39-PM-2048x999.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-09-at-1.46.39-PM-1920x937.png 1920w\" sizes=\"(max-width: 2062px) 100vw, 2062px\">\u003cfigcaption class=\"wp-caption-text\">A moment from ‘The Book of Clarence.’ \u003ccite>(Legendary Entertainment/ Sony via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Samuel comments powerfully on us today when white Roman police stop-and-frisk Black Jerusalem residents, but then wastes such a great potential vein to mine with a swanky dance party and cool choreographed moves. He makes us shudder as nails are pounded into Clarence’s flesh, yet also includes humor at the crucifixion — from the actual guys doing the dying. He has a scene with brutal rock throwing and yet also a recurring goofy bit about light bulbs appearing over Clarence’s head.\u003c/p>\n\u003cp>It’s a mind-melting piece of filmmaking, having elements of both Monty Python’s \u003cem>Life of Brian\u003c/em> and \u003cem>The Ten Commandments\u003c/em>. (Fun fact, the Italian city of Matera stands in for Jerusalem here and was also where \u003cem>The Passion of the Christ\u003c/em> was filmed.) Add to that an exciting soundtrack of more than a dozen songs by Samuel (even one with Jay-Z, also a producer on the movie) and \u003cem>The Book of Clarence\u003c/em> is worth a look simply for its sheer daring. But we wouldn’t go so far as to say its creator walks on water.\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>‘The Book of Clarence’ is out nationwide on Jan. 12, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "In ‘The Teachers’ Lounge,’ One Middle School as Microcosm of a Troubled World | KQED",
"content": "\u003cp>What happens in the teachers’ lounge, anyway? When we were kids, that closed door seemed so tantalizingly forbidding, though it probably only hid some coffee-sipping, light chitchat and paper-grading.\u003c/p>\n\u003cp>Well, not in the brilliantly taut and absorbing \u003cem>The Teachers’ Lounge\u003c/em>, in which that room — and gradually, the whole school around it — hosts an expanding web of uneasy power dynamics, mutual suspicion and misinformation, and that’s just for starters. This film also explores cancel culture, institutional racism, privacy rights and even censorship and press freedom.\u003c/p>\n\u003cp>That’s a lot for one middle school. But writer-director Ílker Çatak pulls it off, aided by excellent performances all around and two truly superb ones: Leonie Benesch as an idealistic new teacher and a heartbreaking Leo Stettnisch as her troubled student. (The film, Germany’s submission to the Academy Awards, has justifiably made the short list for best international feature.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6YgQBGqhTcM\u003c/p>\n\u003cp>\u003cem>The Teachers’ Lounge\u003c/em> dives immediately into the controversy that will tear this modern, bustling school apart. Carla Nowak (Benesch) is called to an uncomfortable meeting between school officials and two student representatives of her sixth-grade class. The students are being grilled as to which fellow classmates may have been responsible for a series of thefts — essentially, they’re being asked to denounce friends without evidence. Carla is angry at the tactic, but lacks the confidence to speak out.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She’s even more appalled by what happens next: The principal and her colleagues come to her classroom, ask the girls to leave and force the boys to surrender their wallets for inspection (why only boys?) Of course, the adults note unconvincingly, the process is entirely voluntary — but if the students have nothing to hide, there’s nothing to fear. One boy seems to have a lot of money, but his Turkish immigrant parents, summoned to the school, explain indignantly (in a typically bristling, beautifully modulated scene) that they’d given him money to buy a video game as a gift. They argue that he’s being racially profiled.\u003c/p>\n\u003cp>[aside postid='arts_13939982']Already, back in the teachers’ lounge, Carla is clashing with her more aggressive colleagues. And then, in her misguided zeal to identify the real thief and exonerate her kids, she steps right into an ethical morass.\u003c/p>\n\u003cp>Leaving her wallet in her coat on a chair, and setting her laptop camera to record, she soon has video evidence — just an arm, in a distinctive blouse — of someone stealing from her pocket. It only takes a moment to track down the wearer of that blouse.\u003c/p>\n\u003cp>Perhaps because Benesch is such an effortlessly empathetic actor, she makes Carla’s decision to confront the person she suspects — and then, to hand over the video — feel logical, like something anyone might do. But her action raises issues of privacy rights, and puts her on a collision course with not only the accused school employee but that employee’s child, Oskar (Stettnisch), an intelligent and sensitive boy in her class.\u003c/p>\n\u003cp>At every step, it seems, Carla’s earnest efforts to do the right thing — by her students, and by her job — land her into ever hotter water. And then, she must navigate an angry group of parents on parent-teacher night, an experience so harrowing it leaves her heaving on a bathroom floor, blowing into a bag.\u003c/p>\n\u003cp>Angry parents, suspicious colleagues — can it get worse? Yes, when Carla is interviewed by the student newspaper, an intriguing subplot raising questions of censorship. Carla, rightfully concerned about how she will be portrayed, asks to see the article in advance, and when the students (also rightfully!) defy her, the principal ends up banning distribution of the paper on campus.\u003c/p>\n\u003cp>[aside postid='arts_13939701']“What happens in the teachers’ lounge, stays in the teachers’ lounge,” Carla says in that student newspaper interview, her definition of a “no comment.” That is, however, hardly what transpires, as Carla, despite her best intentions, begins to drown in a swamp of her own making, with seemingly no way out.\u003c/p>\n\u003cp>All the students have been thoughtfully cast here, and perform with a natural quality rare in movies about kids. As for Stettnisch, he darned near breaks our hearts as he ultimately loses control and threatens his own future.\u003c/p>\n\u003cfigure id=\"attachment_13940116\" class=\"wp-caption aligncenter\" style=\"max-width: 1720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940116\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-08-at-9.17.33-AM.png\" alt=\"A young boy in a striped t-shirt stands in a circle with other children. They are all holding each other's arms.\" width=\"1720\" height=\"1104\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-08-at-9.17.33-AM.png 1720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-08-at-9.17.33-AM-800x513.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-08-at-9.17.33-AM-1020x655.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-08-at-9.17.33-AM-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-08-at-9.17.33-AM-768x493.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-08-at-9.17.33-AM-1536x986.png 1536w\" sizes=\"(max-width: 1720px) 100vw, 1720px\">\u003cfigcaption class=\"wp-caption-text\">(L) Leo Stettnisch in ‘The Teachers’ Lounge.’ \u003ccite>(Judith Kaufmann/ Sony Pictures Classics via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for Benesch, from whom the camera rarely departs, she has a luminous presence that carries the film. So skillfully does she draw us in, in fact, that it’s easy to forget we hardly know anything about Carla: Is she in a relationship? What is her family like? We never see her home, nor anyone’s home, nor even a glimpse of the outside world.\u003c/p>\n\u003cp>But the outside world certainly finds its way into the school. Çatan and co-writer Johannes Duncker, who in fact attended school together, are making the point that even a middle school is a microcosm of society and all its tensions and ills. Perhaps that is why their film ends without clear answers: In school, as in life, one cannot simply close a door, keep out the bad stuff, and solve everything.\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>‘The Teachers’ Lounge’ was released in select cities on Dec. 25, 2023. \u003ca href=\"https://www.sebastianitheatre.com/music/2023/12/23/the-teachers-lounge-presented-by-the-sonoma-int-film-fest\">It will screen at Sonoma’s Sebastiani Theater on Jan. 11, 2024\u003c/a>, as part of the \u003ca href=\"https://sonomafilmfest.org/\">Sonoma International Film Festival\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What happens in the teachers’ lounge, anyway? When we were kids, that closed door seemed so tantalizingly forbidding, though it probably only hid some coffee-sipping, light chitchat and paper-grading.\u003c/p>\n\u003cp>Well, not in the brilliantly taut and absorbing \u003cem>The Teachers’ Lounge\u003c/em>, in which that room — and gradually, the whole school around it — hosts an expanding web of uneasy power dynamics, mutual suspicion and misinformation, and that’s just for starters. This film also explores cancel culture, institutional racism, privacy rights and even censorship and press freedom.\u003c/p>\n\u003cp>That’s a lot for one middle school. But writer-director Ílker Çatak pulls it off, aided by excellent performances all around and two truly superb ones: Leonie Benesch as an idealistic new teacher and a heartbreaking Leo Stettnisch as her troubled student. (The film, Germany’s submission to the Academy Awards, has justifiably made the short list for best international feature.)\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/6YgQBGqhTcM'\n title='//www.youtube.com/embed/6YgQBGqhTcM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>The Teachers’ Lounge\u003c/em> dives immediately into the controversy that will tear this modern, bustling school apart. Carla Nowak (Benesch) is called to an uncomfortable meeting between school officials and two student representatives of her sixth-grade class. The students are being grilled as to which fellow classmates may have been responsible for a series of thefts — essentially, they’re being asked to denounce friends without evidence. Carla is angry at the tactic, but lacks the confidence to speak out.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She’s even more appalled by what happens next: The principal and her colleagues come to her classroom, ask the girls to leave and force the boys to surrender their wallets for inspection (why only boys?) Of course, the adults note unconvincingly, the process is entirely voluntary — but if the students have nothing to hide, there’s nothing to fear. One boy seems to have a lot of money, but his Turkish immigrant parents, summoned to the school, explain indignantly (in a typically bristling, beautifully modulated scene) that they’d given him money to buy a video game as a gift. They argue that he’s being racially profiled.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Already, back in the teachers’ lounge, Carla is clashing with her more aggressive colleagues. And then, in her misguided zeal to identify the real thief and exonerate her kids, she steps right into an ethical morass.\u003c/p>\n\u003cp>Leaving her wallet in her coat on a chair, and setting her laptop camera to record, she soon has video evidence — just an arm, in a distinctive blouse — of someone stealing from her pocket. It only takes a moment to track down the wearer of that blouse.\u003c/p>\n\u003cp>Perhaps because Benesch is such an effortlessly empathetic actor, she makes Carla’s decision to confront the person she suspects — and then, to hand over the video — feel logical, like something anyone might do. But her action raises issues of privacy rights, and puts her on a collision course with not only the accused school employee but that employee’s child, Oskar (Stettnisch), an intelligent and sensitive boy in her class.\u003c/p>\n\u003cp>At every step, it seems, Carla’s earnest efforts to do the right thing — by her students, and by her job — land her into ever hotter water. And then, she must navigate an angry group of parents on parent-teacher night, an experience so harrowing it leaves her heaving on a bathroom floor, blowing into a bag.\u003c/p>\n\u003cp>Angry parents, suspicious colleagues — can it get worse? Yes, when Carla is interviewed by the student newspaper, an intriguing subplot raising questions of censorship. Carla, rightfully concerned about how she will be portrayed, asks to see the article in advance, and when the students (also rightfully!) defy her, the principal ends up banning distribution of the paper on campus.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“What happens in the teachers’ lounge, stays in the teachers’ lounge,” Carla says in that student newspaper interview, her definition of a “no comment.” That is, however, hardly what transpires, as Carla, despite her best intentions, begins to drown in a swamp of her own making, with seemingly no way out.\u003c/p>\n\u003cp>All the students have been thoughtfully cast here, and perform with a natural quality rare in movies about kids. As for Stettnisch, he darned near breaks our hearts as he ultimately loses control and threatens his own future.\u003c/p>\n\u003cfigure id=\"attachment_13940116\" class=\"wp-caption aligncenter\" style=\"max-width: 1720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940116\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-08-at-9.17.33-AM.png\" alt=\"A young boy in a striped t-shirt stands in a circle with other children. They are all holding each other's arms.\" width=\"1720\" height=\"1104\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-08-at-9.17.33-AM.png 1720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-08-at-9.17.33-AM-800x513.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-08-at-9.17.33-AM-1020x655.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-08-at-9.17.33-AM-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-08-at-9.17.33-AM-768x493.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-08-at-9.17.33-AM-1536x986.png 1536w\" sizes=\"(max-width: 1720px) 100vw, 1720px\">\u003cfigcaption class=\"wp-caption-text\">(L) Leo Stettnisch in ‘The Teachers’ Lounge.’ \u003ccite>(Judith Kaufmann/ Sony Pictures Classics via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for Benesch, from whom the camera rarely departs, she has a luminous presence that carries the film. So skillfully does she draw us in, in fact, that it’s easy to forget we hardly know anything about Carla: Is she in a relationship? What is her family like? We never see her home, nor anyone’s home, nor even a glimpse of the outside world.\u003c/p>\n\u003cp>But the outside world certainly finds its way into the school. Çatan and co-writer Johannes Duncker, who in fact attended school together, are making the point that even a middle school is a microcosm of society and all its tensions and ills. Perhaps that is why their film ends without clear answers: In school, as in life, one cannot simply close a door, keep out the bad stuff, and solve everything.\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>‘The Teachers’ Lounge’ was released in select cities on Dec. 25, 2023. \u003ca href=\"https://www.sebastianitheatre.com/music/2023/12/23/the-teachers-lounge-presented-by-the-sonoma-int-film-fest\">It will screen at Sonoma’s Sebastiani Theater on Jan. 11, 2024\u003c/a>, as part of the \u003ca href=\"https://sonomafilmfest.org/\">Sonoma International Film Festival\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Oppenheimer’ Dominates Golden Globes as ‘Poor Things’ Upsets ‘Barbie’ in Comedy",
"headTitle": "‘Oppenheimer’ Dominates Golden Globes as ‘Poor Things’ Upsets ‘Barbie’ in Comedy | KQED",
"content": "\u003cp>Christopher Nolan’s blockbuster biopic \u003ca href=\"https://www.kqed.org/arts/13931577/in-oppenheimer-christopher-nolan-builds-a-thrilling-serious-blockbuster-for-adults\">\u003cem>Oppenheimer\u003c/em>\u003c/a> dominated the 81st Golden Globes, winning five awards including best drama, while Yorgos Lanthimos’ Frankenstein riff \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> pulled off an upset victor over \u003ca href=\"https://www.kqed.org/arts/13931753/allan-doll-michael-cera-greta-gerwig-barbie-movie-review\">\u003cem>Barbie\u003c/em>\u003c/a> to triumph in the best comedy or musical category.\u003c/p>\n\u003cp>If awards season has been building toward a second match-up of \u003ca href=\"https://www.kqed.org/arts/13931677/barbenheimer-barbie-oppenheimer-box-office-greta-gerwig-christopher-nolan\">Barbenheimer\u003c/a>, this round went to \u003cem>Oppenheimer\u003c/em>. The film also won best director for Nolan, best drama actor for Cillian Murphy, best supporting actor for Robert Downey Jr. and for Ludwig Göransson’s score.\u003c/p>\n\u003cp>[aside postid='arts_13932204']“I don’t think it was a no-brainer by any stretch of the imagination to make a three-hour talky movie — R-rated by the way — about one of the darkest developments in our history,” said producer Emma Thomas accepting the night’s final award and thanking Universal chief Donna Langley.\u003c/p>\n\u003cp>Along with best comedy or musical, \u003cem>Poor Things\u003c/em> also won for Emma Stone’s performance as Bella, a Victorian woman experiencing a surreal life and sexual awakening.\u003c/p>\n\u003cp>“I see this as a rom-com,” said Stone. “But in the sense that Bella falls in love with life itself, rather than a person. She accepts the good and the bad in equal measure, and that really made me look at life differently.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lily Gladstone won best actress in a dramatic film for Martin Scorsese’s \u003ca href=\"https://www.kqed.org/arts/13936628/killers-of-the-flower-moon-review-martin-scorsese-robert-deniro-lily-gladstone-epic\">\u003cem>Killers of the Flower Moon\u003c/em>\u003c/a>. Gladstone, who began her speech speaking the language of her native tribe, Blackfeet Nation, is the first Indigenous winner in the category.\u003c/p>\n\u003cp>“This is a historic win,” said Gladstone. “It doesn’t just belong to me.”\u003c/p>\n\u003cp>The Globes were in their 81st year but facing a new and uncertain chapter. After a tumultuous few years and heaps of scandals, the Hollywood Foreign Press Association was dissolved, leaving a new Globes, on a new network (CBS), to try to regain its perch as the third biggest award show of the year, after the Oscars and Grammys. Even the menu (sushi from Nobu) was flipped.\u003c/p>\n\u003cp>“Golden Globes journalists, thank you for changing your game, therefore changing your name,” said Downey in his acceptance speech.\u003c/p>\n\u003cfigure id=\"attachment_13940101\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940101\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/ap24008087831081-0774e3b4839a347d11d559f5ad1f49fc86793317-e1704697424135.jpg\" alt=\"A bald man in a black suit and shirt gestures while speaking into a microphone on stage.\" width=\"1920\" height=\"1440\">\u003cfigcaption class=\"wp-caption-text\">Jo Koy during the 81st Annual Golden Globe Awards in Beverly Hills, on Jan. 7, 2024. \u003ccite>(Sonja Flemming/ AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It got off to a rocky start. Host Jo Koy took the stage at the Beverly Hilton International Ballroom in Beverly Hills, California \u003ca href=\"https://apnews.com/hub/golden-globe-awards\">.\u003c/a> The Filipino American stand-up hit on some expected topics: Ozempic, Meryl Streep’s knack for winning awards and the long-running \u003cem>Oppenheimer\u003c/em>. (“I needed another hour.”)\u003c/p>\n\u003cp>After one joke flubbed, Koy, who was named host after some bigger names reportedly passed, also noted how fast he was thrust into the job.\u003c/p>\n\u003cp>“Yo, I got the gig 10 days ago. You want a perfect monologue?” said Koy. “I wrote some of these and they’re the ones you’re laughing at.”\u003c/p>\n\u003ch3>Hi, Barbie\u003c/h3>\n\u003cp>Downey’s win, his third Globe, denied one to Kenergy. Ryan Gosling had been seen as his stiffest competition, just one of the many head-to-head contests between \u003cem>Oppenheimer\u003c/em> and Greta Gerwig’s \u003cem>Barbie\u003c/em>. The filmmakers faced each other in the best director category, where Nolan triumphed.\u003c/p>\n\u003cp>[aside postid='arts_13931753']It was two hours before \u003cem>Barbie\u003c/em>, the year’s biggest hit with more than $1.4 billion in ticket sales, won an award. Billie Eilish’s \u003cem>What Was I Made For?\u003c/em> took best song, and swiftly after, \u003cem>Barbie\u003c/em> took the Globes’ new honor for “cinematic and box office achievement.” Some thought that award might go to Taylor Swift, whose \u003ca href=\"https://www.kqed.org/arts/13936368/taylor-swift-the-eras-tour-movie-review-amc-concert-film\">\u003cem>Taylor Swift: The Eras Tour\u003c/em>\u003c/a> also set box-office records.\u003c/p>\n\u003cp>Margot Robbie, star and producer of \u003cem>Barbie\u003c/em>, accepted the award in a pink gown modeled after 1977’s Superstar Barbie.\u003c/p>\n\u003cp>“We’d like to dedicate this to every single person on the planet who dressed up and went to the greatest place on Earth: the movie theaters,” said Robbie.\u003c/p>\n\u003cp>\u003cem>Barbie\u003c/em> and \u003cem>Oppenheimer\u003c/em>, two blockbusters brought together by a common release date, also faced off in the best screenplay category. But in an upset, Justine Triet and Arthur Harari won for the script to the French courtroom drama \u003ca href=\"https://www.kqed.org/arts/13936363/anatomy-of-a-fall-movie-review-sandra-huller-palme-dor-france\">\u003cem>Anatomy of a Fall\u003c/em>\u003c/a>. Later, Triet’s film picked up best international film, too.\u003c/p>\n\u003cp>Though the Globes have no direct correlation with the Academy Awards, they can boost campaigns at a crucial juncture. Oscar nomination voting starts Thursday, and the twin sensations of Barbenheimer remain frontrunners.\u003c/p>\n\u003cp>Other contenders loom, though, like \u003cem>Poor Things\u003c/em> and \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>.\u003c/p>\n\u003cp>[aside postid='arts_13938158']Paul Giamatti and Da’Vine Joy Randolph both won for Alexander Payne’s \u003cem>The Holdovers\u003c/em>. Giamatti, reuniting with Payne two decades after \u003cem>Sideways\u003c/em>, won best actor and Randolph won for her supporting performance as a grieving woman in the 1970s-set boarding school drama.\u003c/p>\n\u003cp>“Oh, Mary you have changed my life,” Randolph said of her character. “You have made me feel seen in so many ways that I have never imagined.”\u003c/p>\n\u003cp>Hayao Miyazaki’s \u003ca href=\"https://www.kqed.org/arts/13934544/the-boy-and-the-heron-hayao-miyazaki-animation-anime-dream\">\u003cem>The Boy and the Heron\u003c/em>\u003c/a> won best animated film, an upset over \u003cem>Spider-Man: Across the Spider-Verse\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13940106\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940106\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-1908170005-scaled-e1704698006372.jpg\" alt=\"A woman in a partially sheer black gown poses with a gold trophy, laughing. Two men on either side of her smile, also holding trophies.\" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Matthew Macfayden won Best Performance by a Male Actor in a Supporting Role on Television, Sarah Snook won Best Performance by a Female Actor in a Television Series — Drama, and Kieran Culkin received the award for Best Performance by a Male Actor in a Television Series — Drama. \u003ccite>(ROBYN BECK/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>‘Succession’ and ‘The Bear’ lead TV winners\u003c/h3>\n\u003cp>The final season of \u003ca href=\"https://www.kqed.org/arts/13930048/succession-creator-on-finale-jesse-armstrong-shiv-tom-sarah-snook-kieran-culkin\">\u003cem>Succession\u003c/em>\u003c/a> cleaned up on the television side. It won best drama series for the third time, a mark that ties a record set by \u003cem>Mad Men\u003c/em> and \u003cem>The X-Files\u003c/em>. Three stars from the HBO series also won: Matt Macfadyen, Sarah Snook and Kieran Culkin.\u003c/p>\n\u003cp>“It is bittersweet, but things like this make it rather sweeter,” said \u003cem>Succession\u003c/em> creator Jesse Armstrong.\u003c/p>\n\u003cp>[aside postid='arts_13930853']Hulu’s \u003ca href=\"https://www.kqed.org/arts/13930853/the-bear-deftly-turns-the-corner-into-season-2\">\u003cem>The Bear\u003c/em>\u003c/a> also came away with a trio of awards, including best comedy series. Jeremy Allen White won for the second time, but this time he had company. Ayo Edebiri won her first Globe for her leading performance in the Hulu show’s second season. She thanked the assistants of her agents and managers.\u003c/p>\n\u003cp>“To the people who answer my emails, you’re the real ones,” said Edebiri.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13927211/ali-wong-steven-yeun-serve-up-epic-feud-in-netflixs-beef\">\u003cem>Beef\u003c/em>\u003c/a> won three awards: best limited series as well as acting awards for Ali Wong and Steven Yeun.\u003c/p>\n\u003cp>The Globes also added a new stand-up special award. That went, surprisingly, to Ricky Gervais, who didn’t attend the show he so often hosted. Some expected Chris Rock to win for \u003cem>Selective Outrage\u003c/em>, his stand-up response to the Will Smith slap.\u003c/p>\n\u003cfigure id=\"attachment_13940105\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940105\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-1908170352-scaled.jpg\" alt=\"An Indigenous woman smiles and holds up a gold trophy. She is wearing a black and white gown.\" width=\"2560\" height=\"1669\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-1908170352-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-1908170352-800x521.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-1908170352-1020x665.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-1908170352-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-1908170352-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-1908170352-1536x1001.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-1908170352-2048x1335.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-1908170352-1920x1252.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Lily Gladstone with her award for Best Performance by a Female Actor in a Motion Picture — Drama, for ‘Killers of the Flower Moon.’ \u003ccite>(ROBYN BECK/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The Globes comeback\u003c/h3>\n\u003cp>A few years ago, the Golden Globes were on the cusp of collapse. After \u003cem>The Los Angeles Times\u003c/em> reported that the HFPA had no Black members, Hollywood boycotted the organization. The 2022 Globes were all but canceled and taken off TV. After reforms, the \u003ca href=\"https://www.npr.org/2023/01/11/1148333222/after-2-years-of-controversy-the-golden-globe-awards-were-back-on-tv\">Globes returned to NBC last year\u003c/a> in a one-year deal, but the show was booted to Tuesday evening. With Jerrod Carmichael hosting, the telecast attracted 6.3 million viewers, a new low on NBC and a far cry from the 20 million that once tuned in.\u003c/p>\n\u003cp>The Golden Globes were acquired by Eldridge Industries and Dick Clark Productions, which Penske Media owns, and turned into a for-profit venture. The HFPA (which typically numbered around 90 voters) was dissolved and a new group of some 300 entertainment journalists from around the world now vote for the awards.\u003c/p>\n\u003cp>Questions still remain about the Globes’ long-term future, but their value to Hollywood studios remains providing a marketing boost to awards contenders. (The Oscars won’t be held until March 10.) This year, because of the actors and writers strikes, the Globes are airing ahead of the Emmys, which were postponed to Jan. 15.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>With movie ticket sales still 20% off the pre-pandemic pace and the industry facing a potentially perilous 2024 at the box office, Hollywood needed the Golden Globes as much as it ever has.\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=%27Oppenheimer%27+dominates+Golden+Globes+as+%27Poor+Things%27+upsets+%27Barbie%27+in+comedy&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Christopher Nolan’s blockbuster biopic \u003ca href=\"https://www.kqed.org/arts/13931577/in-oppenheimer-christopher-nolan-builds-a-thrilling-serious-blockbuster-for-adults\">\u003cem>Oppenheimer\u003c/em>\u003c/a> dominated the 81st Golden Globes, winning five awards including best drama, while Yorgos Lanthimos’ Frankenstein riff \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> pulled off an upset victor over \u003ca href=\"https://www.kqed.org/arts/13931753/allan-doll-michael-cera-greta-gerwig-barbie-movie-review\">\u003cem>Barbie\u003c/em>\u003c/a> to triumph in the best comedy or musical category.\u003c/p>\n\u003cp>If awards season has been building toward a second match-up of \u003ca href=\"https://www.kqed.org/arts/13931677/barbenheimer-barbie-oppenheimer-box-office-greta-gerwig-christopher-nolan\">Barbenheimer\u003c/a>, this round went to \u003cem>Oppenheimer\u003c/em>. The film also won best director for Nolan, best drama actor for Cillian Murphy, best supporting actor for Robert Downey Jr. and for Ludwig Göransson’s score.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I don’t think it was a no-brainer by any stretch of the imagination to make a three-hour talky movie — R-rated by the way — about one of the darkest developments in our history,” said producer Emma Thomas accepting the night’s final award and thanking Universal chief Donna Langley.\u003c/p>\n\u003cp>Along with best comedy or musical, \u003cem>Poor Things\u003c/em> also won for Emma Stone’s performance as Bella, a Victorian woman experiencing a surreal life and sexual awakening.\u003c/p>\n\u003cp>“I see this as a rom-com,” said Stone. “But in the sense that Bella falls in love with life itself, rather than a person. She accepts the good and the bad in equal measure, and that really made me look at life differently.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lily Gladstone won best actress in a dramatic film for Martin Scorsese’s \u003ca href=\"https://www.kqed.org/arts/13936628/killers-of-the-flower-moon-review-martin-scorsese-robert-deniro-lily-gladstone-epic\">\u003cem>Killers of the Flower Moon\u003c/em>\u003c/a>. Gladstone, who began her speech speaking the language of her native tribe, Blackfeet Nation, is the first Indigenous winner in the category.\u003c/p>\n\u003cp>“This is a historic win,” said Gladstone. “It doesn’t just belong to me.”\u003c/p>\n\u003cp>The Globes were in their 81st year but facing a new and uncertain chapter. After a tumultuous few years and heaps of scandals, the Hollywood Foreign Press Association was dissolved, leaving a new Globes, on a new network (CBS), to try to regain its perch as the third biggest award show of the year, after the Oscars and Grammys. Even the menu (sushi from Nobu) was flipped.\u003c/p>\n\u003cp>“Golden Globes journalists, thank you for changing your game, therefore changing your name,” said Downey in his acceptance speech.\u003c/p>\n\u003cfigure id=\"attachment_13940101\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940101\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/ap24008087831081-0774e3b4839a347d11d559f5ad1f49fc86793317-e1704697424135.jpg\" alt=\"A bald man in a black suit and shirt gestures while speaking into a microphone on stage.\" width=\"1920\" height=\"1440\">\u003cfigcaption class=\"wp-caption-text\">Jo Koy during the 81st Annual Golden Globe Awards in Beverly Hills, on Jan. 7, 2024. \u003ccite>(Sonja Flemming/ AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It got off to a rocky start. Host Jo Koy took the stage at the Beverly Hilton International Ballroom in Beverly Hills, California \u003ca href=\"https://apnews.com/hub/golden-globe-awards\">.\u003c/a> The Filipino American stand-up hit on some expected topics: Ozempic, Meryl Streep’s knack for winning awards and the long-running \u003cem>Oppenheimer\u003c/em>. (“I needed another hour.”)\u003c/p>\n\u003cp>After one joke flubbed, Koy, who was named host after some bigger names reportedly passed, also noted how fast he was thrust into the job.\u003c/p>\n\u003cp>“Yo, I got the gig 10 days ago. You want a perfect monologue?” said Koy. “I wrote some of these and they’re the ones you’re laughing at.”\u003c/p>\n\u003ch3>Hi, Barbie\u003c/h3>\n\u003cp>Downey’s win, his third Globe, denied one to Kenergy. Ryan Gosling had been seen as his stiffest competition, just one of the many head-to-head contests between \u003cem>Oppenheimer\u003c/em> and Greta Gerwig’s \u003cem>Barbie\u003c/em>. The filmmakers faced each other in the best director category, where Nolan triumphed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It was two hours before \u003cem>Barbie\u003c/em>, the year’s biggest hit with more than $1.4 billion in ticket sales, won an award. Billie Eilish’s \u003cem>What Was I Made For?\u003c/em> took best song, and swiftly after, \u003cem>Barbie\u003c/em> took the Globes’ new honor for “cinematic and box office achievement.” Some thought that award might go to Taylor Swift, whose \u003ca href=\"https://www.kqed.org/arts/13936368/taylor-swift-the-eras-tour-movie-review-amc-concert-film\">\u003cem>Taylor Swift: The Eras Tour\u003c/em>\u003c/a> also set box-office records.\u003c/p>\n\u003cp>Margot Robbie, star and producer of \u003cem>Barbie\u003c/em>, accepted the award in a pink gown modeled after 1977’s Superstar Barbie.\u003c/p>\n\u003cp>“We’d like to dedicate this to every single person on the planet who dressed up and went to the greatest place on Earth: the movie theaters,” said Robbie.\u003c/p>\n\u003cp>\u003cem>Barbie\u003c/em> and \u003cem>Oppenheimer\u003c/em>, two blockbusters brought together by a common release date, also faced off in the best screenplay category. But in an upset, Justine Triet and Arthur Harari won for the script to the French courtroom drama \u003ca href=\"https://www.kqed.org/arts/13936363/anatomy-of-a-fall-movie-review-sandra-huller-palme-dor-france\">\u003cem>Anatomy of a Fall\u003c/em>\u003c/a>. Later, Triet’s film picked up best international film, too.\u003c/p>\n\u003cp>Though the Globes have no direct correlation with the Academy Awards, they can boost campaigns at a crucial juncture. Oscar nomination voting starts Thursday, and the twin sensations of Barbenheimer remain frontrunners.\u003c/p>\n\u003cp>Other contenders loom, though, like \u003cem>Poor Things\u003c/em> and \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>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Paul Giamatti and Da’Vine Joy Randolph both won for Alexander Payne’s \u003cem>The Holdovers\u003c/em>. Giamatti, reuniting with Payne two decades after \u003cem>Sideways\u003c/em>, won best actor and Randolph won for her supporting performance as a grieving woman in the 1970s-set boarding school drama.\u003c/p>\n\u003cp>“Oh, Mary you have changed my life,” Randolph said of her character. “You have made me feel seen in so many ways that I have never imagined.”\u003c/p>\n\u003cp>Hayao Miyazaki’s \u003ca href=\"https://www.kqed.org/arts/13934544/the-boy-and-the-heron-hayao-miyazaki-animation-anime-dream\">\u003cem>The Boy and the Heron\u003c/em>\u003c/a> won best animated film, an upset over \u003cem>Spider-Man: Across the Spider-Verse\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13940106\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940106\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-1908170005-scaled-e1704698006372.jpg\" alt=\"A woman in a partially sheer black gown poses with a gold trophy, laughing. Two men on either side of her smile, also holding trophies.\" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Matthew Macfayden won Best Performance by a Male Actor in a Supporting Role on Television, Sarah Snook won Best Performance by a Female Actor in a Television Series — Drama, and Kieran Culkin received the award for Best Performance by a Male Actor in a Television Series — Drama. \u003ccite>(ROBYN BECK/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>‘Succession’ and ‘The Bear’ lead TV winners\u003c/h3>\n\u003cp>The final season of \u003ca href=\"https://www.kqed.org/arts/13930048/succession-creator-on-finale-jesse-armstrong-shiv-tom-sarah-snook-kieran-culkin\">\u003cem>Succession\u003c/em>\u003c/a> cleaned up on the television side. It won best drama series for the third time, a mark that ties a record set by \u003cem>Mad Men\u003c/em> and \u003cem>The X-Files\u003c/em>. Three stars from the HBO series also won: Matt Macfadyen, Sarah Snook and Kieran Culkin.\u003c/p>\n\u003cp>“It is bittersweet, but things like this make it rather sweeter,” said \u003cem>Succession\u003c/em> creator Jesse Armstrong.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Hulu’s \u003ca href=\"https://www.kqed.org/arts/13930853/the-bear-deftly-turns-the-corner-into-season-2\">\u003cem>The Bear\u003c/em>\u003c/a> also came away with a trio of awards, including best comedy series. Jeremy Allen White won for the second time, but this time he had company. Ayo Edebiri won her first Globe for her leading performance in the Hulu show’s second season. She thanked the assistants of her agents and managers.\u003c/p>\n\u003cp>“To the people who answer my emails, you’re the real ones,” said Edebiri.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13927211/ali-wong-steven-yeun-serve-up-epic-feud-in-netflixs-beef\">\u003cem>Beef\u003c/em>\u003c/a> won three awards: best limited series as well as acting awards for Ali Wong and Steven Yeun.\u003c/p>\n\u003cp>The Globes also added a new stand-up special award. That went, surprisingly, to Ricky Gervais, who didn’t attend the show he so often hosted. Some expected Chris Rock to win for \u003cem>Selective Outrage\u003c/em>, his stand-up response to the Will Smith slap.\u003c/p>\n\u003cfigure id=\"attachment_13940105\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940105\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-1908170352-scaled.jpg\" alt=\"An Indigenous woman smiles and holds up a gold trophy. She is wearing a black and white gown.\" width=\"2560\" height=\"1669\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-1908170352-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-1908170352-800x521.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-1908170352-1020x665.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-1908170352-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-1908170352-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-1908170352-1536x1001.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-1908170352-2048x1335.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-1908170352-1920x1252.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Lily Gladstone with her award for Best Performance by a Female Actor in a Motion Picture — Drama, for ‘Killers of the Flower Moon.’ \u003ccite>(ROBYN BECK/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The Globes comeback\u003c/h3>\n\u003cp>A few years ago, the Golden Globes were on the cusp of collapse. After \u003cem>The Los Angeles Times\u003c/em> reported that the HFPA had no Black members, Hollywood boycotted the organization. The 2022 Globes were all but canceled and taken off TV. After reforms, the \u003ca href=\"https://www.npr.org/2023/01/11/1148333222/after-2-years-of-controversy-the-golden-globe-awards-were-back-on-tv\">Globes returned to NBC last year\u003c/a> in a one-year deal, but the show was booted to Tuesday evening. With Jerrod Carmichael hosting, the telecast attracted 6.3 million viewers, a new low on NBC and a far cry from the 20 million that once tuned in.\u003c/p>\n\u003cp>The Golden Globes were acquired by Eldridge Industries and Dick Clark Productions, which Penske Media owns, and turned into a for-profit venture. The HFPA (which typically numbered around 90 voters) was dissolved and a new group of some 300 entertainment journalists from around the world now vote for the awards.\u003c/p>\n\u003cp>Questions still remain about the Globes’ long-term future, but their value to Hollywood studios remains providing a marketing boost to awards contenders. (The Oscars won’t be held until March 10.) This year, because of the actors and writers strikes, the Globes are airing ahead of the Emmys, which were postponed to Jan. 15.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With movie ticket sales still 20% off the pre-pandemic pace and the industry facing a potentially perilous 2024 at the box office, Hollywood needed the Golden Globes as much as it ever has.\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=%27Oppenheimer%27+dominates+Golden+Globes+as+%27Poor+Things%27+upsets+%27Barbie%27+in+comedy&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The earliest iteration of Mickey Mouse is on a rampage, barely three days in the public domain.\u003c/p>\n\u003cp>Slashed free of Disney’s copyright as of Monday, the iconic character from \u003ca href=\"https://www.youtube.com/watch?v=hmzO--ox7X0\">\u003cem>Steamboat Willie\u003c/em>\u003c/a> is already the focus of two horror films. On Monday, just hours after the 1928 short entered the public domain, a trailer for \u003cem>Mickey’s Mouse Trap\u003c/em> dropped on YouTube. Another yet-to-be-titled film was announced Tuesday.\u003c/p>\n\u003cp>\u003cem>[aside postid='arts_13914736']Steamboat Willie\u003c/em> featured early versions of both Mickey and Minnie Mouse. Directed by Walt Disney and Ub Iwerks, it was the third cartoon featuring the duo they made but the first to be released. In it, a more menacing Mickey, bearing more resemblance to rat than mouse, captains a boat and makes musical instruments out of other animals.\u003c/p>\n\u003cp>It’s perhaps fitting, then, that the first projects announced are seemingly low-budget and campy slasher movies — and not unprecedented. Winnie the Pooh — sans red shirt — entered the public domain in 2022; scarcely a year later, he was notching up a heavy body count in the microbudget \u003ca href=\"https://www.youtube.com/watch?v=W3E74j_xFtg\">\u003cem>Winnie the Pooh: Blood and Honey.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>In the trailer for\u003cem> Mickey’s Mouse Trap\u003c/em>, directed by Jamie Bailey, what appears to be a human in a comically small Mickey mask terrorizes a group of young people at an arcade.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“A place for fun. A place for friends. A place for hunting,” text flashed during the trailer reads. “The mouse is out.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=u_G3kp3_61c\u003c/p>\n\u003cp>“We just wanted to have fun with it all. I mean it’s \u003cem>Steamboat Willie\u003c/em>’s Mickey Mouse murdering people,” director Jamie Bailey said in a statement cited by trade publications. “It’s ridiculous. We ran with it and had fun doing it and I think it shows.”\u003c/p>\n\u003cp>No release date has been set.\u003c/p>\n\u003cp>The second movie is from director Steven LaMorte, who previously directed a horror parody of \u003cem>The Grinch\u003c/em>, which is not in the public domain (the movie is thus called \u003ca href=\"https://www.youtube.com/watch?v=ylE1bMSf8Ck\">\u003cem>The Mean One\u003c/em>\u003c/a>).\u003c/p>\n\u003cp>“A late-night boat ride turns into a desperate fight for survival in New York City when a mischievous mouse becomes a monstrous reality,” is the logline for the untitled film, per a post on LaMorte’s Instagram.\u003c/p>\n\u003cp>[aside postid='arts_13935838']“Steamboat Willie has brought joy to generations, but beneath that cheerful exterior lies a potential for pure, unhinged terror,” LaMorte said in a release cited by the trades. The movie has yet to begin production.\u003c/p>\n\u003cp>With the expiration of the 95-year copyright, the public is allowed to use only the initial versions of Mickey and Minnie — not the more familiar character designs.\u003c/p>\n\u003cp>“We will, of course, continue to protect our rights in the more modern versions of Mickey Mouse and other works that remain subject to copyright,” Disney said in a statement ahead of the characters entering the public domain.\u003c/p>\n\u003cp>LaMorte told \u003cem>Variety\u003c/em> that the producers of his film are working with a legal team so as not to run afoul of Disney, and will call their raging rodent Steamboat Willie instead of Mickey Mouse.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We are doing our due diligence to make sure there’s no question or confusion of what we’re up to,” he said.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Steamboat Willie\u003c/em> featured early versions of both Mickey and Minnie Mouse. Directed by Walt Disney and Ub Iwerks, it was the third cartoon featuring the duo they made but the first to be released. In it, a more menacing Mickey, bearing more resemblance to rat than mouse, captains a boat and makes musical instruments out of other animals.\u003c/p>\n\u003cp>It’s perhaps fitting, then, that the first projects announced are seemingly low-budget and campy slasher movies — and not unprecedented. Winnie the Pooh — sans red shirt — entered the public domain in 2022; scarcely a year later, he was notching up a heavy body count in the microbudget \u003ca href=\"https://www.youtube.com/watch?v=W3E74j_xFtg\">\u003cem>Winnie the Pooh: Blood and Honey.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>In the trailer for\u003cem> Mickey’s Mouse Trap\u003c/em>, directed by Jamie Bailey, what appears to be a human in a comically small Mickey mask terrorizes a group of young people at an arcade.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“A place for fun. A place for friends. A place for hunting,” text flashed during the trailer reads. “The mouse is out.”\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/u_G3kp3_61c'\n title='//www.youtube.com/embed/u_G3kp3_61c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“We just wanted to have fun with it all. I mean it’s \u003cem>Steamboat Willie\u003c/em>’s Mickey Mouse murdering people,” director Jamie Bailey said in a statement cited by trade publications. “It’s ridiculous. We ran with it and had fun doing it and I think it shows.”\u003c/p>\n\u003cp>No release date has been set.\u003c/p>\n\u003cp>The second movie is from director Steven LaMorte, who previously directed a horror parody of \u003cem>The Grinch\u003c/em>, which is not in the public domain (the movie is thus called \u003ca href=\"https://www.youtube.com/watch?v=ylE1bMSf8Ck\">\u003cem>The Mean One\u003c/em>\u003c/a>).\u003c/p>\n\u003cp>“A late-night boat ride turns into a desperate fight for survival in New York City when a mischievous mouse becomes a monstrous reality,” is the logline for the untitled film, per a post on LaMorte’s Instagram.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Steamboat Willie has brought joy to generations, but beneath that cheerful exterior lies a potential for pure, unhinged terror,” LaMorte said in a release cited by the trades. The movie has yet to begin production.\u003c/p>\n\u003cp>With the expiration of the 95-year copyright, the public is allowed to use only the initial versions of Mickey and Minnie — not the more familiar character designs.\u003c/p>\n\u003cp>“We will, of course, continue to protect our rights in the more modern versions of Mickey Mouse and other works that remain subject to copyright,” Disney said in a statement ahead of the characters entering the public domain.\u003c/p>\n\u003cp>LaMorte told \u003cem>Variety\u003c/em> that the producers of his film are working with a legal team so as not to run afoul of Disney, and will call their raging rodent Steamboat Willie instead of Mickey Mouse.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We are doing our due diligence to make sure there’s no question or confusion of what we’re up to,” he said.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Jessica Chastain, Peter Sarsgaard Anchor ‘Memory,’ a Thorny Drama With a Tender Heart",
"headTitle": "Jessica Chastain, Peter Sarsgaard Anchor ‘Memory,’ a Thorny Drama With a Tender Heart | KQED",
"content": "\u003cp>Pain and trauma permeate Michel Franco’s new drama \u003cem>Memory\u003c/em>, about two lost souls who find surprising comfort in one another. Both Jessica Chastain’s Sylvia and Peter Sarsgaard’s Saul are hostage to their own minds, though in vastly different ways. Hers haunts her. His is failing rapidly. And neither are entirely trustworthy.\u003c/p>\n\u003cp>\u003cem>[aside postid='arts_13939919']Memory\u003c/em>, expanding nationwide Friday, starts as a seemingly standard issue “damaged person” movie, introducing Chastain’s Sylvia celebrating 12 years of sobriety at an Alcoholics Anonymous meeting that her 12-year-old attends with her. But there are layers to this dramatic mystery, compounded with unreliable narrators and moral grey areas. Before you know it, the film morphs from something familiar into something altogether unexpected.\u003c/p>\n\u003cp>Though it is not easily categorizable, \u003cem>Memory\u003c/em> is a thoughtful journey featuring very fine performances from both Chastain and Sarsgaard, who was rewarded with the best actor prize from the Venice Film Festival last fall. While there are moments of levity to break up the anguish, it could also come with a laundry list of trigger warnings as it explores difficult subjects from sexual abuse to mental illness in pretty unsatisfactory ways. Perhaps it’s a good thing that the holidays are over because this is not one to watch with the family, especially if they’re harboring secrets of their own that have evolved into generational trauma.\u003c/p>\n\u003cfigure id=\"attachment_13939986\" class=\"wp-caption aligncenter\" style=\"max-width: 1850px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939986\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-03-at-11.39.05-AM.png\" alt=\"A man and a woman sit with a space between them outside in a wooded area.\" width=\"1850\" height=\"998\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-03-at-11.39.05-AM.png 1850w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-03-at-11.39.05-AM-800x432.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-03-at-11.39.05-AM-1020x550.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-03-at-11.39.05-AM-160x86.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-03-at-11.39.05-AM-768x414.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-03-at-11.39.05-AM-1536x829.png 1536w\" sizes=\"(max-width: 1850px) 100vw, 1850px\">\u003cfigcaption class=\"wp-caption-text\">Peter Sarsgaard and Jessica Chastain star as Saul and Sylvia in ‘Memory.’ \u003ccite>(Ketchup Entertainment via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The film binds you at first to Sylvia, a social worker and single mother who is suspicious of everything and everyone. She always seems ready to bolt for safety and survival. She lives by a strict routine: Walking her daughter, Anna (Brooke Timber), to school, going to work at an adult day care and her AA meetings. Home is a fortress: As soon as she steps into her downtrodden apartment, she’s triple locking her door and punching in the security code to arm the place.\u003c/p>\n\u003cp>[aside postid='arts_13939701']Even knowing her this little, it’s surprising that her younger sister Olivia (Merritt Wever) is able to convince her to tag along to a high school reunion kind of event early in the film. The decision seems even more unfathomable when you learn additional details about Sylvia’s school years, but it’s clear that she is uncomfortable and unhappy at the event, which she soon leaves.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For a moment, you wonder if perhaps her fears and anxieties are warranted as she realizes that night that a man is following her home, first down the street, then onto the same subway car, then off at the same spot, right to her doorstep. It is like a nightmare as she fumbles for her keys. You hold your breath until she’s made it inside. Hours later, the man is still there outside, looking up at her. Is he imagined? A dream? An ex? A stranger?\u003c/p>\n\u003cp>The man in question is Saul, who she finds out is suffering from early onset dementia. He won’t remember that he followed her home or why but he will remember her for whatever reason. His brother, Isaac (Josh Charles), asks if Sylvia would want to work for them as a companion to Saul.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=X-0ZKLO5jPk\u003c/p>\n\u003cp>And Saul and Sylvia develop a deep bond with one another that goes beyond professional caretaker boundaries. Both are damaged and longing for connection and their friendship is like a balm, until it evolves into something else. Without going into too many details, this relationship presents an ethical quandary that the movie does not seem willing to engage with in any serious way, making \u003cem>Memory\u003c/em> feel underdeveloped at best. At worst, it’s not even sure what it’s trying to say. This movie has one of those endings that presents itself as happy but leaves you with a lingering feeling of dread and worry for all involved.\u003c/p>\n\u003cp>[aside postid='arts_13938160']Movies can be empathy machines and also a form of therapy, giving audiences permission to step into a stranger’s shoes and feel things that otherwise might seem too difficult, too transgressive, too much.\u003c/p>\n\u003cp>Sarsgaard does a beautiful job of playing this man who has been dealt an awful card, whose body still works but whose mind is untrustworthy. His isn’t the only one: Sylvia also has flawed recall, as do members of her family, like her compartmentalizing mother played brilliantly by Jessica Harper. It all compounds into misery, secrets and shame.\u003c/p>\n\u003cp>Memory may be imperfect, this movie reminds us, but feelings rarely are.\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>‘Memory’ is released nationwide on Jan. 5, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Pain and trauma permeate Michel Franco’s new drama \u003cem>Memory\u003c/em>, about two lost souls who find surprising comfort in one another. Both Jessica Chastain’s Sylvia and Peter Sarsgaard’s Saul are hostage to their own minds, though in vastly different ways. Hers haunts her. His is failing rapidly. And neither are entirely trustworthy.\u003c/p>\n\u003cp>\u003cem>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Memory\u003c/em>, expanding nationwide Friday, starts as a seemingly standard issue “damaged person” movie, introducing Chastain’s Sylvia celebrating 12 years of sobriety at an Alcoholics Anonymous meeting that her 12-year-old attends with her. But there are layers to this dramatic mystery, compounded with unreliable narrators and moral grey areas. Before you know it, the film morphs from something familiar into something altogether unexpected.\u003c/p>\n\u003cp>Though it is not easily categorizable, \u003cem>Memory\u003c/em> is a thoughtful journey featuring very fine performances from both Chastain and Sarsgaard, who was rewarded with the best actor prize from the Venice Film Festival last fall. While there are moments of levity to break up the anguish, it could also come with a laundry list of trigger warnings as it explores difficult subjects from sexual abuse to mental illness in pretty unsatisfactory ways. Perhaps it’s a good thing that the holidays are over because this is not one to watch with the family, especially if they’re harboring secrets of their own that have evolved into generational trauma.\u003c/p>\n\u003cfigure id=\"attachment_13939986\" class=\"wp-caption aligncenter\" style=\"max-width: 1850px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939986\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-03-at-11.39.05-AM.png\" alt=\"A man and a woman sit with a space between them outside in a wooded area.\" width=\"1850\" height=\"998\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-03-at-11.39.05-AM.png 1850w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-03-at-11.39.05-AM-800x432.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-03-at-11.39.05-AM-1020x550.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-03-at-11.39.05-AM-160x86.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-03-at-11.39.05-AM-768x414.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-03-at-11.39.05-AM-1536x829.png 1536w\" sizes=\"(max-width: 1850px) 100vw, 1850px\">\u003cfigcaption class=\"wp-caption-text\">Peter Sarsgaard and Jessica Chastain star as Saul and Sylvia in ‘Memory.’ \u003ccite>(Ketchup Entertainment via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The film binds you at first to Sylvia, a social worker and single mother who is suspicious of everything and everyone. She always seems ready to bolt for safety and survival. She lives by a strict routine: Walking her daughter, Anna (Brooke Timber), to school, going to work at an adult day care and her AA meetings. Home is a fortress: As soon as she steps into her downtrodden apartment, she’s triple locking her door and punching in the security code to arm the place.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Even knowing her this little, it’s surprising that her younger sister Olivia (Merritt Wever) is able to convince her to tag along to a high school reunion kind of event early in the film. The decision seems even more unfathomable when you learn additional details about Sylvia’s school years, but it’s clear that she is uncomfortable and unhappy at the event, which she soon leaves.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For a moment, you wonder if perhaps her fears and anxieties are warranted as she realizes that night that a man is following her home, first down the street, then onto the same subway car, then off at the same spot, right to her doorstep. It is like a nightmare as she fumbles for her keys. You hold your breath until she’s made it inside. Hours later, the man is still there outside, looking up at her. Is he imagined? A dream? An ex? A stranger?\u003c/p>\n\u003cp>The man in question is Saul, who she finds out is suffering from early onset dementia. He won’t remember that he followed her home or why but he will remember her for whatever reason. His brother, Isaac (Josh Charles), asks if Sylvia would want to work for them as a companion to Saul.\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/X-0ZKLO5jPk'\n title='//www.youtube.com/embed/X-0ZKLO5jPk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And Saul and Sylvia develop a deep bond with one another that goes beyond professional caretaker boundaries. Both are damaged and longing for connection and their friendship is like a balm, until it evolves into something else. Without going into too many details, this relationship presents an ethical quandary that the movie does not seem willing to engage with in any serious way, making \u003cem>Memory\u003c/em> feel underdeveloped at best. At worst, it’s not even sure what it’s trying to say. This movie has one of those endings that presents itself as happy but leaves you with a lingering feeling of dread and worry for all involved.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Movies can be empathy machines and also a form of therapy, giving audiences permission to step into a stranger’s shoes and feel things that otherwise might seem too difficult, too transgressive, too much.\u003c/p>\n\u003cp>Sarsgaard does a beautiful job of playing this man who has been dealt an awful card, whose body still works but whose mind is untrustworthy. His isn’t the only one: Sylvia also has flawed recall, as do members of her family, like her compartmentalizing mother played brilliantly by Jessica Harper. It all compounds into misery, secrets and shame.\u003c/p>\n\u003cp>Memory may be imperfect, this movie reminds us, but feelings rarely are.\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>‘Memory’ is released nationwide on Jan. 5, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Start Your Year With ‘A Boy and His Dog’: A Bonkers 1975 Movie Set in 2024",
"headTitle": "Start Your Year With ‘A Boy and His Dog’: A Bonkers 1975 Movie Set in 2024 | KQED",
"content": "\u003cp>Happy new year, America! Now that the festive season is over, the ball has dropped and we’re swinging the door open on 2024, you might be wondering what the next 12 months has in store. Maybe you’re checking astrological charts for clues. Perhaps you’re studying political forecasts. If you’re less logical, you might even be looking back through movie archives to see what the silver screen has predicted about this year.\u003c/p>\n\u003cp>Which leads us to \u003cem>A Boy and His Dog\u003c/em>, a 1975 gem* of a film set in 2024. Never heard of it? Not to worry, for I am about to tell you all about it. And you might want to strap in, kids, because if this version of 2024 is even halfway correct, we’re all in big, big trouble.\u003c/p>\n\u003cp>(*Wait. Did I say gem? I meant piece of crap. My bad.)\u003c/p>\n\u003cp>\u003cem>A Boy and His Dog\u003c/em> stars a young Don “\u003cem>Miami Vice\u003c/em>” Johnson (Dakota’s dad!) and an actress named Susanne Benton who I thought for this entire movie was a young Jessica Walter. (Walter played Lucille Bluth in \u003cem>Arrested Development\u003c/em>. Pretend it’s her. It’s more fun.)\u003c/p>\n\u003cfigure id=\"attachment_13939931\" class=\"wp-caption aligncenter\" style=\"max-width: 1648px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939931\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.02.18-PM.png\" alt=\"A young woman with shoulder-length hair gazes upwards.\" width=\"1648\" height=\"934\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.02.18-PM.png 1648w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.02.18-PM-800x453.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.02.18-PM-1020x578.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.02.18-PM-160x91.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.02.18-PM-768x435.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.02.18-PM-1536x871.png 1536w\" sizes=\"(max-width: 1648px) 100vw, 1648px\">\u003cfigcaption class=\"wp-caption-text\">Tell me you don’t see it!\u003c/figcaption>\u003c/figure>\n\u003cp>The story is set in the aftermath of World War IV, a conflict that helpful subtitles inform us “lasted 5 days” and “finally solved the problem of urban blight.” (Seems totally reasonable!) Johnson plays Vic, a feral 18-year-old whose days revolve around seeking out women to rape. (We don’t see any on-screen raping because that might make him too much of an unlikeable protagonist, right? Cool.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Vic is fairly successful at All Of The Sexual Assault because his companion is — brace yourselves! — a psychic dog named Blood who can telepathically communicate with Vic. (I did tell you to brace yourselves…) Vic rewards Blood for this service with food, since Blood lost the ability to hunt when he acquired his special abilities. And we’re already in knots from trying to get this plot to make a modicum of sense.\u003c/p>\n\u003cp>[aside postid='arts_13907576']When Blood is psychically searching his vicinity for women/marauding enemies/food to steal, he lies down and an audible radar sounds. Like, actual beeping. Every single time this happens, you have to make an active effort to not think about which part of this dog is making this noise.\u003c/p>\n\u003cp>It’s a sidenote, but the very cute shaggy dog (\u003ca href=\"https://www.imdb.com/name/nm1948753/?ref_=ttfc_fc_cl_t16\">real name: Tiger\u003c/a>) playing the misanthropic Blood is woefully miscast, looking more like the lead in a Disney movie where family pets get into cuddly japes then rescue someone from a fire. I ask you: Does this dog look like a rape apologist to you? \u003cem>Does he?!\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13939932\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939932\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.07.01-PM.png\" alt=\"A shaggy white and grey dog sits on a chair.\" width=\"1024\" height=\"654\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.07.01-PM.png 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.07.01-PM-800x511.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.07.01-PM-1020x651.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.07.01-PM-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.07.01-PM-768x491.png 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">I mean…\u003c/figcaption>\u003c/figure>\n\u003cp>When we first find Vic and Blood, Vic is demanding Blood find him a woman to attack and Blood (who sounds like the car from \u003cem>Knight Rider\u003c/em> is speaking inside a cave) is berating him with insults, correcting his grammar and laughing at Vic’s sexual frustration. “You’re not a nice person Albert,” Blood says. “You’re not a nice person at all.” (There is never an explanation about why Blood calls Vic “Albert” or why Vic hates it so much, which is not at all confusing.)\u003c/p>\n\u003cp>After Blood does an intense radar session, he declares: “I detect no living female person within my range, sir. I have sniffed and I have cast and I have a negative reading. However, I’d be delighted to tell you a suggestive story if you think that would help?” If Disney ever made a movie about a porn dog, Tiger would’ve nailed it.\u003c/p>\n\u003cp>Blood tries to make Vic a little more refined by teaching him about history. What we learn is that “World War III, hot and cold, lasted from June 1950 to March 1983.” When Blood makes Vic list former presidents, Vic says “Johnson, Nixon, Ford, Kennedy, Kennedy, Kennedy.” Man. It is startling how much no one saw Ronald Reagan coming.\u003c/p>\n\u003cp>[aside postid='arts_13890789']Out in the deserts of what apparently used to be Phoenix, Vic and Blood run into two types of people. The first I’m calling Bands of Burners (I know you can already picture what \u003cem>that\u003c/em> looks like). The second are referred to as “screamers” — some kind of monstrous humanoids we never see on camera. Vic says Blood saved him from the screamers once, describing them only as “oozing and eyelashes.” One gets the sense that \u003cem>A Boy and His Dog\u003c/em>’s budget ran out before anyone could get around to making these monsters.\u003c/p>\n\u003cp>To break up the monotony of their existence, one night Vic and Blood head to their local porn movie theater because every single human in this movie is obsessed with sex. At the outdoor ramshackle space, you can also get a haircut, popcorn, a shower, fire in a barrel and the use of some kind of gun coat-check manned by a boy in a box. Hopefully by the end of real-life 2024, these types of establishments will be everywhere.\u003c/p>\n\u003cp>Blood’s radar locates a woman at the dusty public porn hub. She’s disguised as a man but, under Blood’s direction, Vic manages to follow her into an underground pit where she stands completely naked, surrounded by cobwebs, casually brushing her hair into a bouffant. This is presumably how director L. Q. Jones thinks all women groom themselves in the privacy of their own pits. Vic tries to get all rapey with her but the girl starts a conversation instead, introducing herself as Quilla. Then a Band of Burners shows up and everyone has an incredibly confusing shootout. Blood gets injured by the Burners’ dog and starts limping about the place.\u003c/p>\n\u003cp>What even is this movie?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mTck2RnpPy4\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>After the shootout, Vic, Quilla and Blood all find a secure place to hide. Vic and Quilla do some consensual lovin’, during which Blood bounces up and down on a mattress and mutters “Once more into the breach, dear friend.” After a bunch of enthusiastic humping has taken place, Blood announces “I’m not going to keep pretending I am asleep, Albert.” (We’ve all been there, Blood…)\u003c/p>\n\u003cp>In the morning, Blood calls Vic into a separate room and suggests they ditch Quilla. This is bizarre, given that keeping her around would actually save Blood from having to find women for Vic to rape all the live long day. Isn’t it better for \u003ci>literally everyone\u003c/i> if Vic has a girlfriend? This movie makes no sense.\u003c/p>\n\u003cp>Quilla tries to persuade Vic to go to “Downunder,” where she lives. Vic vehemently objects to this proposal, tells her she must stay with him, so she knocks him out and escapes. This is the first sensible thing that has happened.\u003c/p>\n\u003cp>[aside postid='arts_13939003']When Vic comes to, he decides to go in search of Quilla, abandoning Blood next to the metal door that leads to Downunder (Quilla said dogs aren’t particularly welcome there). And with that, Vic and Blood are suddenly rule followers!\u003c/p>\n\u003cp>Once in Downunder, Vic runs into a group of farmer-looking dudes who, for some reason, are all wearing — in addition to plaid red shirts and overalls — white face paint, cartoon rosy cheeks and lipstick. Naturally, they force Vic into a bubble bath and scrub him with a brush.\u003c/p>\n\u003cp>\u003cem>What. Is. Happening?\u003c/em>\u003c/p>\n\u003cp>After bath time, Vic witnesses marching bands, wholesome family gatherings and a frankly terrifying barbershop quartet. Everyone has the same goddamn makeup on.\u003c/p>\n\u003cfigure id=\"attachment_13939928\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939928\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/scary-barbershop-quartet-e1704134946423.png\" alt=\"Four men in matching facepaint and grey and yellow suits sing together. They are all wearing glasses.\" width=\"1920\" height=\"1075\">\u003cfigcaption class=\"wp-caption-text\">Yes, they do want to eat your soul. Thanks for asking.\u003c/figcaption>\u003c/figure>\n\u003cp>Vic winds up in a strange courtroom where the granddad from the 1989 classic \u003cem>Parenthood\u003c/em> sentences everyone (including another psychic dog!) to death for minor infractions. We then find out that Quilla lured Vic to her underground community in exchange for a place on the court. Despite getting what he wanted, \u003cem>Parenthood\u003c/em> granddad denies Quilla her reward, scoffs at her ambition and arranges to have her married off, along with every other young woman in town. Because, okay!\u003c/p>\n\u003cp>[aside postid='pop_107664']We learn that \u003cem>Parenthood\u003c/em> granddad wanted Vic lured into his domain because Downunder men are sterile from living underground for too long. (Apparently, these exact same conditions haven’t had as much impact on female reproductive organs, which is all terribly convenient.) Vic is to be held against his will so that he might help repopulate the Earth. Unfortunately for him, that doesn’t involve more doin’ it. Rather, Vic is strapped down, gagged and attached to a mysterious sperm extraction machine and I must ask again: \u003cem>WHAT EVEN IS THIS MOVIE?\u003c/em>\u003c/p>\n\u003cp>Quilla shows up in a wedding dress and helps get Vic free. She is aided by a group of other rebellious teens who subsequently get their necks snapped by a farmer-looking robot dude, because \u003ca href=\"https://www.kqed.org/pop/107664/missing-hbos-westworld-watch-the-amazing-1973-original\">there is always a robot trying to kill people in 1970s sci-fi movies\u003c/a>. By the time Vic and Quilla escape to the desert upstairs, the still-waiting Blood is half-dead, weary from his injuries and starving. Vic, unwilling to lose his longtime psychic companion, concludes that the best way to solve this problem is to get Blood a good, hearty meal right then and there. So he kills Quilla (off camera of course!) and Blood eats her.\u003c/p>\n\u003cp>And that’s the end.\u003c/p>\n\u003cp>I’m not joking. That’s the whole movie. Someone actually made this. And it’s what some people in 1975 thought 2024 might look like.\u003c/p>\n\u003cp>Please try and take comfort in the fact that whatever really happens this year, it probably won’t be as stupid as \u003cem>A Boy and His Dog\u003c/em>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Good luck out there.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Happy new year, America! Now that the festive season is over, the ball has dropped and we’re swinging the door open on 2024, you might be wondering what the next 12 months has in store. Maybe you’re checking astrological charts for clues. Perhaps you’re studying political forecasts. If you’re less logical, you might even be looking back through movie archives to see what the silver screen has predicted about this year.\u003c/p>\n\u003cp>Which leads us to \u003cem>A Boy and His Dog\u003c/em>, a 1975 gem* of a film set in 2024. Never heard of it? Not to worry, for I am about to tell you all about it. And you might want to strap in, kids, because if this version of 2024 is even halfway correct, we’re all in big, big trouble.\u003c/p>\n\u003cp>(*Wait. Did I say gem? I meant piece of crap. My bad.)\u003c/p>\n\u003cp>\u003cem>A Boy and His Dog\u003c/em> stars a young Don “\u003cem>Miami Vice\u003c/em>” Johnson (Dakota’s dad!) and an actress named Susanne Benton who I thought for this entire movie was a young Jessica Walter. (Walter played Lucille Bluth in \u003cem>Arrested Development\u003c/em>. Pretend it’s her. It’s more fun.)\u003c/p>\n\u003cfigure id=\"attachment_13939931\" class=\"wp-caption aligncenter\" style=\"max-width: 1648px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939931\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.02.18-PM.png\" alt=\"A young woman with shoulder-length hair gazes upwards.\" width=\"1648\" height=\"934\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.02.18-PM.png 1648w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.02.18-PM-800x453.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.02.18-PM-1020x578.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.02.18-PM-160x91.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.02.18-PM-768x435.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.02.18-PM-1536x871.png 1536w\" sizes=\"(max-width: 1648px) 100vw, 1648px\">\u003cfigcaption class=\"wp-caption-text\">Tell me you don’t see it!\u003c/figcaption>\u003c/figure>\n\u003cp>The story is set in the aftermath of World War IV, a conflict that helpful subtitles inform us “lasted 5 days” and “finally solved the problem of urban blight.” (Seems totally reasonable!) Johnson plays Vic, a feral 18-year-old whose days revolve around seeking out women to rape. (We don’t see any on-screen raping because that might make him too much of an unlikeable protagonist, right? Cool.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Vic is fairly successful at All Of The Sexual Assault because his companion is — brace yourselves! — a psychic dog named Blood who can telepathically communicate with Vic. (I did tell you to brace yourselves…) Vic rewards Blood for this service with food, since Blood lost the ability to hunt when he acquired his special abilities. And we’re already in knots from trying to get this plot to make a modicum of sense.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>When Blood is psychically searching his vicinity for women/marauding enemies/food to steal, he lies down and an audible radar sounds. Like, actual beeping. Every single time this happens, you have to make an active effort to not think about which part of this dog is making this noise.\u003c/p>\n\u003cp>It’s a sidenote, but the very cute shaggy dog (\u003ca href=\"https://www.imdb.com/name/nm1948753/?ref_=ttfc_fc_cl_t16\">real name: Tiger\u003c/a>) playing the misanthropic Blood is woefully miscast, looking more like the lead in a Disney movie where family pets get into cuddly japes then rescue someone from a fire. I ask you: Does this dog look like a rape apologist to you? \u003cem>Does he?!\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13939932\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939932\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.07.01-PM.png\" alt=\"A shaggy white and grey dog sits on a chair.\" width=\"1024\" height=\"654\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.07.01-PM.png 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.07.01-PM-800x511.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.07.01-PM-1020x651.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.07.01-PM-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.07.01-PM-768x491.png 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">I mean…\u003c/figcaption>\u003c/figure>\n\u003cp>When we first find Vic and Blood, Vic is demanding Blood find him a woman to attack and Blood (who sounds like the car from \u003cem>Knight Rider\u003c/em> is speaking inside a cave) is berating him with insults, correcting his grammar and laughing at Vic’s sexual frustration. “You’re not a nice person Albert,” Blood says. “You’re not a nice person at all.” (There is never an explanation about why Blood calls Vic “Albert” or why Vic hates it so much, which is not at all confusing.)\u003c/p>\n\u003cp>After Blood does an intense radar session, he declares: “I detect no living female person within my range, sir. I have sniffed and I have cast and I have a negative reading. However, I’d be delighted to tell you a suggestive story if you think that would help?” If Disney ever made a movie about a porn dog, Tiger would’ve nailed it.\u003c/p>\n\u003cp>Blood tries to make Vic a little more refined by teaching him about history. What we learn is that “World War III, hot and cold, lasted from June 1950 to March 1983.” When Blood makes Vic list former presidents, Vic says “Johnson, Nixon, Ford, Kennedy, Kennedy, Kennedy.” Man. It is startling how much no one saw Ronald Reagan coming.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Out in the deserts of what apparently used to be Phoenix, Vic and Blood run into two types of people. The first I’m calling Bands of Burners (I know you can already picture what \u003cem>that\u003c/em> looks like). The second are referred to as “screamers” — some kind of monstrous humanoids we never see on camera. Vic says Blood saved him from the screamers once, describing them only as “oozing and eyelashes.” One gets the sense that \u003cem>A Boy and His Dog\u003c/em>’s budget ran out before anyone could get around to making these monsters.\u003c/p>\n\u003cp>To break up the monotony of their existence, one night Vic and Blood head to their local porn movie theater because every single human in this movie is obsessed with sex. At the outdoor ramshackle space, you can also get a haircut, popcorn, a shower, fire in a barrel and the use of some kind of gun coat-check manned by a boy in a box. Hopefully by the end of real-life 2024, these types of establishments will be everywhere.\u003c/p>\n\u003cp>Blood’s radar locates a woman at the dusty public porn hub. She’s disguised as a man but, under Blood’s direction, Vic manages to follow her into an underground pit where she stands completely naked, surrounded by cobwebs, casually brushing her hair into a bouffant. This is presumably how director L. Q. Jones thinks all women groom themselves in the privacy of their own pits. Vic tries to get all rapey with her but the girl starts a conversation instead, introducing herself as Quilla. Then a Band of Burners shows up and everyone has an incredibly confusing shootout. Blood gets injured by the Burners’ dog and starts limping about the place.\u003c/p>\n\u003cp>What even is this movie?\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/mTck2RnpPy4'\n title='//www.youtube.com/embed/mTck2RnpPy4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>After the shootout, Vic, Quilla and Blood all find a secure place to hide. Vic and Quilla do some consensual lovin’, during which Blood bounces up and down on a mattress and mutters “Once more into the breach, dear friend.” After a bunch of enthusiastic humping has taken place, Blood announces “I’m not going to keep pretending I am asleep, Albert.” (We’ve all been there, Blood…)\u003c/p>\n\u003cp>In the morning, Blood calls Vic into a separate room and suggests they ditch Quilla. This is bizarre, given that keeping her around would actually save Blood from having to find women for Vic to rape all the live long day. Isn’t it better for \u003ci>literally everyone\u003c/i> if Vic has a girlfriend? This movie makes no sense.\u003c/p>\n\u003cp>Quilla tries to persuade Vic to go to “Downunder,” where she lives. Vic vehemently objects to this proposal, tells her she must stay with him, so she knocks him out and escapes. This is the first sensible thing that has happened.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>When Vic comes to, he decides to go in search of Quilla, abandoning Blood next to the metal door that leads to Downunder (Quilla said dogs aren’t particularly welcome there). And with that, Vic and Blood are suddenly rule followers!\u003c/p>\n\u003cp>Once in Downunder, Vic runs into a group of farmer-looking dudes who, for some reason, are all wearing — in addition to plaid red shirts and overalls — white face paint, cartoon rosy cheeks and lipstick. Naturally, they force Vic into a bubble bath and scrub him with a brush.\u003c/p>\n\u003cp>\u003cem>What. Is. Happening?\u003c/em>\u003c/p>\n\u003cp>After bath time, Vic witnesses marching bands, wholesome family gatherings and a frankly terrifying barbershop quartet. Everyone has the same goddamn makeup on.\u003c/p>\n\u003cfigure id=\"attachment_13939928\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939928\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/scary-barbershop-quartet-e1704134946423.png\" alt=\"Four men in matching facepaint and grey and yellow suits sing together. They are all wearing glasses.\" width=\"1920\" height=\"1075\">\u003cfigcaption class=\"wp-caption-text\">Yes, they do want to eat your soul. Thanks for asking.\u003c/figcaption>\u003c/figure>\n\u003cp>Vic winds up in a strange courtroom where the granddad from the 1989 classic \u003cem>Parenthood\u003c/em> sentences everyone (including another psychic dog!) to death for minor infractions. We then find out that Quilla lured Vic to her underground community in exchange for a place on the court. Despite getting what he wanted, \u003cem>Parenthood\u003c/em> granddad denies Quilla her reward, scoffs at her ambition and arranges to have her married off, along with every other young woman in town. Because, okay!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>We learn that \u003cem>Parenthood\u003c/em> granddad wanted Vic lured into his domain because Downunder men are sterile from living underground for too long. (Apparently, these exact same conditions haven’t had as much impact on female reproductive organs, which is all terribly convenient.) Vic is to be held against his will so that he might help repopulate the Earth. Unfortunately for him, that doesn’t involve more doin’ it. Rather, Vic is strapped down, gagged and attached to a mysterious sperm extraction machine and I must ask again: \u003cem>WHAT EVEN IS THIS MOVIE?\u003c/em>\u003c/p>\n\u003cp>Quilla shows up in a wedding dress and helps get Vic free. She is aided by a group of other rebellious teens who subsequently get their necks snapped by a farmer-looking robot dude, because \u003ca href=\"https://www.kqed.org/pop/107664/missing-hbos-westworld-watch-the-amazing-1973-original\">there is always a robot trying to kill people in 1970s sci-fi movies\u003c/a>. By the time Vic and Quilla escape to the desert upstairs, the still-waiting Blood is half-dead, weary from his injuries and starving. Vic, unwilling to lose his longtime psychic companion, concludes that the best way to solve this problem is to get Blood a good, hearty meal right then and there. So he kills Quilla (off camera of course!) and Blood eats her.\u003c/p>\n\u003cp>And that’s the end.\u003c/p>\n\u003cp>I’m not joking. That’s the whole movie. Someone actually made this. And it’s what some people in 1975 thought 2024 might look like.\u003c/p>\n\u003cp>Please try and take comfort in the fact that whatever really happens this year, it probably won’t be as stupid as \u003cem>A Boy and His Dog\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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