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"content": "\u003cp>A new documentary about \u003ca href=\"https://www.kqed.org/news/10755111/legendary-san-francisco-stripper-carol-doda-dies\">Carol Doda\u003c/a>, the go-go dancing North Beach legend, will hit San Francisco movie theaters on March 22.\u003c/p>\n\u003cp>[aside postid='news_10755111']\u003ca href=\"https://www.imdb.com/title/tt12280494/\">\u003cem>Carol Doda Topless at the Condor\u003c/em>\u003c/a> was made by San Francisco filmmakers \u003ca href=\"https://parkerfilmcompany.com/about/\">Jonathan Parker\u003c/a> — who knew Doda personally — and \u003ca href=\"https://www.imdb.com/name/nm5464057/\">Marlo McKenzie\u003c/a>. It was produced by Metallica drummer Lars Ulrich. The film is partially based on \u003ca href=\"https://books.google.com/books/about/Three_Nights_at_the_Condor.html?id=IgO-vgEACAAJ\">\u003cem>Three Nights at the Condor\u003c/em>\u003c/a>, the 2018 memoir by Benita Mattioli whose husband Pete owned the Condor in its heyday. The documentary first premiered in the Bay Area last October at the \u003ca href=\"https://www.mvff.com/\">Mill Valley Film Festival\u003c/a>.\u003c/p>\n\u003cp>Doda became an instant legend after dancing topless at the Condor in 1964. She was quickly nicknamed “The Girl on the Piano” for her splashy entrance — she rode on stage atop a piano that was lowered from the ceiling on an elevator platform.\u003c/p>\n\u003cp>Doda’s performances, which incorporated the upbeat dance moves of the day, were such an instant sensation that many North Beach nightclubs quickly followed suit and introduced topless entertainment. For decades, Doda’s likeness — complete with blond bob, killer curves and skimpy bikini — hovered over Broadway on the Condor sign.\u003c/p>\n\u003cfigure id=\"attachment_13951081\" class=\"wp-caption aligncenter\" style=\"max-width: 1857px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951081\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-scaled.jpg\" alt=\"A beautiful blond woman wearing a white coat, miniskirt and boots under a marquee advertising Carol Doda at the Condor.\" width=\"1857\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-scaled.jpg 1857w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-800x1103.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-1020x1406.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-160x221.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-768x1059.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-1114x1536.jpg 1114w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-1485x2048.jpg 1485w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-1920x2647.jpg 1920w\" sizes=\"(max-width: 1857px) 100vw, 1857px\">\u003cfigcaption class=\"wp-caption-text\">Carol Doda poses outside the Condor in the 1970s. \u003ccite>(Tim Boxer/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Doda retired from the Condor in 1985, but went on to open her own lingerie store, Champagne and Lace, where she regularly assisted customers. Years after her 2015 death at the age of 78, she remains a much-beloved figure in the Bay.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“She’s such a complex person,” Marlo Mackenzie noted after a screening of \u003cem>Carol Doda Topless at the Condor \u003c/em>last October. “I love the way she challenges our ideas around nudity and body shame.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“She was such an important part of San Francisco’s cultural history, which had an impact on the whole country,” \u003ca href=\"https://deadline.com/2024/01/picturehouse-carol-doda-topless-at-the-condor-1235806107/\">Jonathan Parker told Deadline\u003c/a>. “At a time when there weren’t a lot of options for women, Carol created a career for herself that resonated on many levels. She had charisma. She had courage. And I believe she loved what she did.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ca href=\"https://www.imdb.com/title/tt12280494/\">\u003cem>Carol Doda Topless at the Condor\u003c/em>\u003c/a> was made by San Francisco filmmakers \u003ca href=\"https://parkerfilmcompany.com/about/\">Jonathan Parker\u003c/a> — who knew Doda personally — and \u003ca href=\"https://www.imdb.com/name/nm5464057/\">Marlo McKenzie\u003c/a>. It was produced by Metallica drummer Lars Ulrich. The film is partially based on \u003ca href=\"https://books.google.com/books/about/Three_Nights_at_the_Condor.html?id=IgO-vgEACAAJ\">\u003cem>Three Nights at the Condor\u003c/em>\u003c/a>, the 2018 memoir by Benita Mattioli whose husband Pete owned the Condor in its heyday. The documentary first premiered in the Bay Area last October at the \u003ca href=\"https://www.mvff.com/\">Mill Valley Film Festival\u003c/a>.\u003c/p>\n\u003cp>Doda became an instant legend after dancing topless at the Condor in 1964. She was quickly nicknamed “The Girl on the Piano” for her splashy entrance — she rode on stage atop a piano that was lowered from the ceiling on an elevator platform.\u003c/p>\n\u003cp>Doda’s performances, which incorporated the upbeat dance moves of the day, were such an instant sensation that many North Beach nightclubs quickly followed suit and introduced topless entertainment. For decades, Doda’s likeness — complete with blond bob, killer curves and skimpy bikini — hovered over Broadway on the Condor sign.\u003c/p>\n\u003cfigure id=\"attachment_13951081\" class=\"wp-caption aligncenter\" style=\"max-width: 1857px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951081\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-scaled.jpg\" alt=\"A beautiful blond woman wearing a white coat, miniskirt and boots under a marquee advertising Carol Doda at the Condor.\" width=\"1857\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-scaled.jpg 1857w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-800x1103.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-1020x1406.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-160x221.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-768x1059.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-1114x1536.jpg 1114w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-1485x2048.jpg 1485w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-1920x2647.jpg 1920w\" sizes=\"(max-width: 1857px) 100vw, 1857px\">\u003cfigcaption class=\"wp-caption-text\">Carol Doda poses outside the Condor in the 1970s. \u003ccite>(Tim Boxer/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Doda retired from the Condor in 1985, but went on to open her own lingerie store, Champagne and Lace, where she regularly assisted customers. Years after her 2015 death at the age of 78, she remains a much-beloved figure in the Bay.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "‘Tótem’ Invites You to a Family Birthday Party — But Death Has RSVP’d, Too",
"headTitle": "‘Tótem’ Invites You to a Family Birthday Party — But Death Has RSVP’d, Too | KQED",
"content": "\u003cp>There’s a scene in the movie adaption of \u003ca href=\"https://www.npr.org/2023/11/11/1212467268/michael-cunninghams-new-novel-is-his-first-in-almost-a-decade\">Michael Cunningham\u003c/a>‘s novel \u003cem>The Hours\u003c/em> when Virginia Woolf is talking to her husband, Leonard, about the book that would become \u003cem>Mrs. Dalloway\u003c/em>. After she tells him she’s going to kill off a major character, Leonard asks her why. “Someone has to die,” she replies, “in order that the rest of us should value life more.”\u003c/p>\n\u003cp>The same tango between life and death takes center stage in \u003cem>Tótem\u003c/em>, the radiant second feature by the terrific Mexican filmmaker Lila Avilés. Set over the course of a single, life-changing day, this ensemble film thrums with a lively, chaotic intimacy. Heartrending without being sentimental, it offers an even more touching vision of Mexican family life than you got in \u003ca href=\"https://www.npr.org/2018/12/13/676190124/in-roma-a-director-recreates-the-city-and-the-caretaker-of-his-youth\">Alfonso Cuarón\u003c/a>‘s \u003ca href=\"https://www.npr.org/2018/11/30/672194755/overly-orchestrated-roma-is-an-epic-of-everyday-life-in-mexico\">\u003cem>Roma\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13950649']Our heroine is Sol — played by Naíma Sentíes — a 7-year-old girl who, unlike most movie kids, is neither cute nor sassy but exudes a natural watchfulness and gravity. As the action begins, she’s surrounded by brightly colored balloons in a car with her mother, who tells her to hold her breath and make a wish. Sol wishes “for daddy not to die.” It’s not clear whether she knows what his dying really means.\u003c/p>\n\u003cp>We soon reach her grandfather’s, a large middle-class house where the family is preparing to have a birthday party for Sol’s father, Tona (Mateo García Elizondo), a 30-something artist who’s being devoured by a terminal disease. Sol keeps asking to see him but is told she must wait. The emaciated Tona remains sequestered with his nurse, fighting pain and mustering the energy to face the guests who keep arriving to celebrate him.\u003c/p>\n\u003cp>Sol passes the time watching the adults. While her aunt Alejandra is busy dyeing her hair, her other aunt Nuri is making a cake that looks like a Van Gogh painting, lubricating her efforts with glasses of wine. Out in the garden, grandpa is obsessively pruning a bonsai that he will give to Tona as a present, though both know this gift will outlive the recipient.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As the hours go by, the house gets fuller and rowdier — complete with family bickering and in-jokes — yet we never forget that Death is also a guest at the party. At one point, Sol takes her mom’s phone and asks Siri, “How will the world end?”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3zTLbBUJTeE\u003c/p>\n\u003cp>Whenever I tell my friends they just have to see \u003cem>Tótem\u003c/em>, they always say something like, “Wow, a movie about death. Sounds fun!” In fact, the movie isn’t remotely funereal. Avilés fills its fleeting 95 minutes with all sorts of nifty stuff. There are scorpions and drones, a scene-stealing cat, a spirited pantomime from a Donizetti opera, even a visit from a scamming psychic who Alejandra has hired to cleanse the negative spirits from the house. “I also sell Tupperware,” she announces.\u003c/p>\n\u003cp>[aside postid='arts_13950901']Avilés first came on the world scene with her 2018 feature debut, \u003cem>The Chambermaid\u003c/em>, a smart, witty story about a woman doing drudge work at a luxury hotel in Mexico City that felt as inhuman as the spaceship in \u003cem>2001\u003c/em>. She spreads her wings even wider in \u003cem>Tótem\u003c/em>, which tackles many more characters and traces more flickering emotions.\u003c/p>\n\u003cp>In following Sol’s long day’s journey into night, when the birthday boy finally appears and she finally gets to see her father, Avilés deftly juggles Sol’s childish view with the complexity of what the adults are going through. Graced with Diego Tenorio’s luminous camerawork, Avilés moves from character to character with enormous delicacy, revealing gossamer threads of personal connection and, like a crack portraitist, catching faces at their most revealing. Like Woolf, she’s attuned to the richness of the fleeting moment.\u003c/p>\n\u003cp>Even as we feel Tona’s pain, and the pain of those who yearn to forget they’re going to lose him, Avilés fills \u003cem>Tótem\u003c/em> with the pulsing fecundity of the natural order — gaudy flowers and busy insects, sly cats and dopey-faced goldfish, not to mention the human beings who have assembled to soften their grief. At the heart of it all is Sol, who comes to a piercing awareness of the thrilling and chilling polarity of being alive. In the end, \u003cem>Tótem\u003c/em> isn’t really a movie about death. It’s a movie about living.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27T%C3%B3tem%27+invites+you+to+a+family+birthday+party+%E2%80%94+but+Death+has+RSVP%27d%2C+too&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\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\u003cdiv>\u003cem>‘Tótem’ is released nationwide on Jan. 26, 2024.\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s a scene in the movie adaption of \u003ca href=\"https://www.npr.org/2023/11/11/1212467268/michael-cunninghams-new-novel-is-his-first-in-almost-a-decade\">Michael Cunningham\u003c/a>‘s novel \u003cem>The Hours\u003c/em> when Virginia Woolf is talking to her husband, Leonard, about the book that would become \u003cem>Mrs. Dalloway\u003c/em>. After she tells him she’s going to kill off a major character, Leonard asks her why. “Someone has to die,” she replies, “in order that the rest of us should value life more.”\u003c/p>\n\u003cp>The same tango between life and death takes center stage in \u003cem>Tótem\u003c/em>, the radiant second feature by the terrific Mexican filmmaker Lila Avilés. Set over the course of a single, life-changing day, this ensemble film thrums with a lively, chaotic intimacy. Heartrending without being sentimental, it offers an even more touching vision of Mexican family life than you got in \u003ca href=\"https://www.npr.org/2018/12/13/676190124/in-roma-a-director-recreates-the-city-and-the-caretaker-of-his-youth\">Alfonso Cuarón\u003c/a>‘s \u003ca href=\"https://www.npr.org/2018/11/30/672194755/overly-orchestrated-roma-is-an-epic-of-everyday-life-in-mexico\">\u003cem>Roma\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Our heroine is Sol — played by Naíma Sentíes — a 7-year-old girl who, unlike most movie kids, is neither cute nor sassy but exudes a natural watchfulness and gravity. As the action begins, she’s surrounded by brightly colored balloons in a car with her mother, who tells her to hold her breath and make a wish. Sol wishes “for daddy not to die.” It’s not clear whether she knows what his dying really means.\u003c/p>\n\u003cp>We soon reach her grandfather’s, a large middle-class house where the family is preparing to have a birthday party for Sol’s father, Tona (Mateo García Elizondo), a 30-something artist who’s being devoured by a terminal disease. Sol keeps asking to see him but is told she must wait. The emaciated Tona remains sequestered with his nurse, fighting pain and mustering the energy to face the guests who keep arriving to celebrate him.\u003c/p>\n\u003cp>Sol passes the time watching the adults. While her aunt Alejandra is busy dyeing her hair, her other aunt Nuri is making a cake that looks like a Van Gogh painting, lubricating her efforts with glasses of wine. Out in the garden, grandpa is obsessively pruning a bonsai that he will give to Tona as a present, though both know this gift will outlive the recipient.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As the hours go by, the house gets fuller and rowdier — complete with family bickering and in-jokes — yet we never forget that Death is also a guest at the party. At one point, Sol takes her mom’s phone and asks Siri, “How will the world end?”\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/3zTLbBUJTeE'\n title='//www.youtube.com/embed/3zTLbBUJTeE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Whenever I tell my friends they just have to see \u003cem>Tótem\u003c/em>, they always say something like, “Wow, a movie about death. Sounds fun!” In fact, the movie isn’t remotely funereal. Avilés fills its fleeting 95 minutes with all sorts of nifty stuff. There are scorpions and drones, a scene-stealing cat, a spirited pantomime from a Donizetti opera, even a visit from a scamming psychic who Alejandra has hired to cleanse the negative spirits from the house. “I also sell Tupperware,” she announces.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Avilés first came on the world scene with her 2018 feature debut, \u003cem>The Chambermaid\u003c/em>, a smart, witty story about a woman doing drudge work at a luxury hotel in Mexico City that felt as inhuman as the spaceship in \u003cem>2001\u003c/em>. She spreads her wings even wider in \u003cem>Tótem\u003c/em>, which tackles many more characters and traces more flickering emotions.\u003c/p>\n\u003cp>In following Sol’s long day’s journey into night, when the birthday boy finally appears and she finally gets to see her father, Avilés deftly juggles Sol’s childish view with the complexity of what the adults are going through. Graced with Diego Tenorio’s luminous camerawork, Avilés moves from character to character with enormous delicacy, revealing gossamer threads of personal connection and, like a crack portraitist, catching faces at their most revealing. Like Woolf, she’s attuned to the richness of the fleeting moment.\u003c/p>\n\u003cp>Even as we feel Tona’s pain, and the pain of those who yearn to forget they’re going to lose him, Avilés fills \u003cem>Tótem\u003c/em> with the pulsing fecundity of the natural order — gaudy flowers and busy insects, sly cats and dopey-faced goldfish, not to mention the human beings who have assembled to soften their grief. At the heart of it all is Sol, who comes to a piercing awareness of the thrilling and chilling polarity of being alive. In the end, \u003cem>Tótem\u003c/em> isn’t really a movie about death. It’s a movie about living.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27T%C3%B3tem%27+invites+you+to+a+family+birthday+party+%E2%80%94+but+Death+has+RSVP%27d%2C+too&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\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\u003cdiv>\u003cem>‘Tótem’ is released nationwide on Jan. 26, 2024.\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "How to Watch This Year’s Oscar-Nominated Movies Before the Academy Awards",
"headTitle": "How to Watch This Year’s Oscar-Nominated Movies Before the Academy Awards | KQED",
"content": "\u003cp>The winner in the Oscar nominations race Tuesday after a bruising year for the film industry was \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> with 13 nods, followed by the otherworldly \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> with 11 and the period epic \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>with 10.\u003c/p>\n\u003cp>2023 was marred by strikes and work stoppages for the cinema world, throwing production and release schedules into chaos.\u003c/p>\n\u003cp>Looking to catch up ahead of the Academy Awards on March 10? Here’s how to watch:\u003c/p>\n\u003ch2>‘Oppenheimer’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=bK6ldnjE3Y0\u003c/p>\n\u003cp>13 nominations. Digital purchase or rental. Streams on Peacock starting Feb. 16.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Christopher Nolan’s atomic opus \u003cem>Oppenheimer\u003c/em> received widespread critical acclaim and broke box office records. It’s half the Barbenheimer phenom with \u003cem>Barbie\u003c/em> from last July. The three-hour film, which is semi-trippy and flashback heavy, chronicles the trials and tribulations of the secret Manhattan Project’s J. Robert Oppenheimer (Cillian Murphy).\u003c/p>\n\u003cp>Available for pay at YouTube, Apple TV, Prime Video, Vudu, iTunes and Google Play and elsewhere.\u003c/p>\n\u003ch2>‘Poor Things’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=RlbR5N6veqw\u003c/p>\n\u003cp>11 nominations. \u003ca href=\"https://www.fandango.com/poor-things-2023-231939/movie-overview\">In theaters\u003c/a>.\u003c/p>\n\u003cp>Think Frankenstein story, and his bride. Director Yorgos Lanthimos owes a debt to Emma Stone, his childlike and highly randy Bella, in \u003cem>Poor Things\u003c/em>. The comedy is dark and the vibe Victorian fantasy. And did we mention the sex? How Bella handles that activity has been the talk of film circles. No spoilers here but rest assured her consciousness is raised. Also stars Willem Dafoe and Mark Ruffalo.\u003c/p>\n\u003ch2>‘Killers of the Flower Moon’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=EP34Yoxs3FQ&t=13s\u003c/p>\n\u003cp>10 nominations. Digital purchase. Streams on Apple TV+. Re-released in theaters on Jan. 26, 2024.\u003c/p>\n\u003cp>Martin Scorsese delves into the systematic killing of Osage Nation members for their oil-rich land in the 1920s in his drama \u003cem>Killers of the Flower Moon\u003c/em>. With a star-bright cast, including Lily Gladstone, Leonardo DiCaprio and Robert De Niro. Warning: Its running time is 3 hours and 26 minutes. There’s craft in every shot.\u003c/p>\n\u003cp>Available for pay at iTunes, Prime Video, Google Play, YouTube, Vudu and elsewhere.\u003c/p>\n\u003ch2>‘Barbie’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=pBk4NYhWNMM\u003c/p>\n\u003cp>8 nominations. Digital purchase or rental. Streams on Max.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13950821/greta-gerwig-oscars-snub\">Greta Gerwig\u003c/a>’s \u003cem>Barbie\u003c/em>, in the billion-dollar club at the box office, is a live-action musical comedy focused on the 64-year-old plastic doll in a range of iterations. It also took the globe by storm, culturally speaking. The film stars Margot Robbie and Ryan Gosling (as Just Ken). Robbie plays Stereotypical Barbie, who experiences an existential crisis but lands on the road to self-discovery.\u003c/p>\n\u003cp>Available for pay at iTunes, Apple TV, Google Play, YouTube, Vudu and elsewhere.\u003c/p>\n\u003ch2>‘Maestro’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=gJP2QblqLA0\u003c/p>\n\u003cp>7 nominations. Digital purchase or rental. Streams on Netflix.\u003c/p>\n\u003cp>With the help of a prosthetic nose, Bradley Cooper brings Leonard Bernstein alive in \u003ca href=\"https://www.kqed.org/arts/13938332/maestro-bradley-cooper-review\">\u003cem>Maestro\u003c/em>\u003c/a>, which he also directed. The famed conductor’s personal life and persona on stage benefit from Cooper’s energy, and chain smoking. Cooper got an assist from Carey Mulligan, who plays the actor Felicia Montealegre, Bernstein’s stylish wife.\u003c/p>\n\u003cp>Available for pay at Prime Video, Google Play, Vudu, YouTube and elsewhere.\u003c/p>\n\u003ch2>‘American Fiction’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=i0MbLCpYJPA&t=75s\u003c/p>\n\u003cp>5 nominations. \u003ca href=\"https://www.fandango.com/american-fiction-2023-232613/movie-overview\">In theaters\u003c/a>.\u003c/p>\n\u003cp>Cord Jefferson’s directorial debut \u003ca href=\"https://www.kqed.org/arts/13938160/american-fiction-based-on-erasure-jeffrey-wright-cord-jefferson-ross\">\u003cem>American Fiction\u003c/em>\u003c/a> is what satire should be: funny while succinctly pointing at truths. Jeffrey Wright plays a frustrated academic up against the wall of what Black books must be to sell. He takes action. The film is also about families and the weight of their struggles. Wright is joined by a great supporting cast in Leslie Uggams, Erika Alexander, Issa Rae, Sterling K. Brown and Tracee Ellis Ross.\u003c/p>\n\u003ch2>‘Anatomy of a Fall’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=FUXawkH-ONM\u003c/p>\n\u003cp>5 nominations. Digital purchase or rental.\u003c/p>\n\u003cp>Justine Triet’s \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> took the Palme d’Or at the 76th Cannes Film Festival. It stars Sandra Hüller as a writer, Sandra, trying to prove her innocence in court in her husband’s death at their chalet in the French Alps. The verdict? We won’t tell. Did she or didn’t she? Triet wrote the film with her husband, Arthur Harari. “It’s OK, he’s alive,” she told The Associated Press’ Jake Coyle.\u003c/p>\n\u003cp>Available for pay at iTunes, Prime Video, Google Play, Vudu, YouTube and elsewhere.\u003c/p>\n\u003ch2>‘The Holdovers’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=AhKLpJmHhIg\u003c/p>\n\u003cp>5 nominations. Digital purchase. Streams on Peacock.\u003c/p>\n\u003cp>The Alexander Payne offering \u003cem>The Holdovers\u003c/em> is set at Christmastime, but its themes of loneliness and belonging resonate well beyond the holiday, wrapped in a comedic package. Set in 1970 over the holiday break at a boarding school, there’s plenty of nostalgia in the details. It stars Paul Giamatti in curmudgeonly glory as the teacher stuck minding Angus (Dominic Sessa) and other students with no place to go.\u003c/p>\n\u003cp>Available for pay at iTunes, Prime Video, Google Play, Vudu and elsewhere.\u003c/p>\n\u003ch2>‘The Zone of Interest’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=GFNtVaAuVYY\u003c/p>\n\u003cp>5 nominations. In theaters.\u003c/p>\n\u003cp>There’s another meaty role for Hüller in the Holocaust story\u003ca href=\"https://www.kqed.org/arts/13940387/the-zone-of-interest-movie-review\">\u003cem> The Zone of Interest\u003c/em>\u003c/a>, directed by Jonathan Glazer. She plays Hedwig, the wife of Rudolf Höss (Christian Friedel), the real-life, bloodthirsty commandant of Auschwitz. The action largely has Rudolf and Hedwig living their everyday family lives just a few steps from the ovens and trains that were instruments in the slaughter of millions of Jews. A story worth telling, considering their status as monsters? You decide.\u003c/p>\n\u003ch2>‘Past Lives’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=kA244xewjcI&t=63s\u003c/p>\n\u003cp>2 nominations. Digital purchase or rental. Streams on Paramount+ starting Feb. 2.\u003c/p>\n\u003cp>Celine Song’s feature debut \u003ca href=\"https://www.kqed.org/arts/13930006/past-lives-is-a-gorgeous-meditation-on-love-chance-and-the-choices-we-make\">\u003cem>Past Lives\u003c/em>\u003c/a> is a triumph for her as director and writer, and for Greta Lee, one of her stars. Largely autobiographical, it tells the story of childhood companions in Seoul who reunite and rekindle in New York years later, landing in a love triangle. The other thirds of the equation are played by Teo Yoo and John Magaro. It’s understated glory, inducing the best kind of tears: those come by honestly without massive manipulation.\u003c/p>\n\u003cp>Available for pay at iTunes, Google Play and elsewhere.\u003c/p>\n\u003ch2>‘Nyad’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=3anCgVSQb3Q&t=79s\u003c/p>\n\u003cp>2 nominations. Streams on Netflix.\u003c/p>\n\u003cp>Annette Bening plays the never-say-die marathon open-water swimmer Diana Nyad and Jodie Foster portrays Nyad’s best friend and trainer, Bonnie Stoll. Enough said. \u003cem>\u003ca href=\"https://www.kqed.org/arts/13936754/nyad-movie-review-true-story-jodie-foster-swimming-annette-bening\">Nyad\u003c/a>\u003c/em> isn’t your average sports biopic. At age 60, Nyad decides to attempt as she did in her youth to swim the shark-infested ocean from Cuba to Miami. Nothing will stop her and lots of things try. A lesson in single-focus excellence.\u003c/p>\n\u003ch2>‘Society of the Snow’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=pDak4qLyF4Q\u003c/p>\n\u003cp>2 nominations. Streams on Netflix.\u003c/p>\n\u003cp>The story of an amateur Uruguay rugby team’s 1972 plane crash in the Andes as they traveled with relatives and friends to Chile for a match has been told on film many times. There were 45 on board. Sixteen survived after 72 days in the mountains. They faced biting cold, massive snowstorms, avalanches and starvation, the latter motivating them to eat the dead. In \u003cem>Society of the Snow\u003c/em>, J.A. Bayona wanted to honor the tragedy’s victims and survivors, including him. It’s bleak indeed, with a spirit of love and camaraderie.\u003c/p>\n\u003ch2>‘The Color Purple’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=wPwzBUui1GA\u003c/p>\n\u003cp>1 nomination. Digital purchase or rental. In theaters.\u003c/p>\n\u003cp>It was a book (Alice Walker). It was a dramatic film (Whoopi Goldberg as Celie). It was a Broadway musical (Fantasia Barrino as Celie). This \u003ca href=\"https://www.kqed.org/arts/13939793/the-color-purple-successfully-squeezes-popular-entertainment-out-of-art\">\u003cem>The Color Purple\u003c/em>\u003c/a> has Barrino back. It’s a musical, too, adapted from the stage version, and it’s directed by Blitz Bazawule. He squeezes the strength of Black women out of his harrowing, maximalist film. Colman Domingo is Mister, Halle Bailey is Nettie, with Taraji P. Henson and Danielle Brooks helping the story along amid all the singing and dazzle.\u003c/p>\n\u003cp>Available for pay at iTunes, Prime Video, Apple TV+ and elsewhere.\u003c/p>\n\u003ch2>‘Spider-Man: Across the Spider-Verse’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=cqGjhVJWtEg\u003c/p>\n\u003cp>1 nomination. Digital purchase or rental. Streams on Netflix. In theaters.\u003c/p>\n\u003cp>Welcome to an animated high-octane comic-book sequel that manages to work. In \u003cem>Spider Man: Across the Spider-Verse\u003c/em>, Miles Morales (voiced by Shameik Moore) is a 15-year-old better able to deal with his crime-fighting powers. Spider-Gwen is voiced by Hailee Steinfeld. By sequel, we mean the first half of the first sequel to \u003cem>Spider Man: Into the Spider-Verse\u003c/em>. There’s your cliffhanger alert.\u003c/p>\n\u003cp>Available for pay at Apple TV, Prime Video, Google Play, YouTube, Vudu and elsewhere.\u003c/p>\n\u003ch2>‘May December’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=4VdAParM4h8\u003c/p>\n\u003cp>1 nomination. In theaters. Streams on Netflix.\u003c/p>\n\u003cp>The breakout star of Todd Haynes’ tense \u003ca href=\"https://www.kqed.org/arts/13938143/may-december-movie-review-netflix-mary-kay-letourneau-julianne-moore\">\u003cem>May December\u003c/em>\u003c/a> is Charles Melton of Reggie fame on TV’s \u003cem>Riverdale\u003c/em>. He’s the May to Julianne Moore’s December, with a whole lot of Natalie Portman thrown in. Inspired by the Mary Kay Letourneau case, Moore plays a ripped-from-the-headlines woman who went to prison over an affair with a seventh-grader she later marries. Portman’s character comes for a visit as she studies how to play Moore in a movie. Things, as they say, fall apart. Although the film’s performances weren’t honored with nominations, the screenplay for \u003cem>May December\u003c/em> was.\u003c/p>\n\u003ch2>‘Rustin’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=EuZ-UONInl4\u003c/p>\n\u003cp>1 nomination. Streams on Netflix.\u003c/p>\n\u003cp>Who engineered the 1963 March on Washington? Bayard Rustin, somebody lots of people knew nothing about before \u003ca href=\"https://www.kqed.org/arts/13909135/colman-domingo-strand-theater-valentines-euphoria-walking-dead-zola\">Colman Domingo\u003c/a> came along in George C. Wolfe’s \u003ca href=\"https://www.kqed.org/arts/13937499/bayard-rustin-biopic-review-colman-domingo-civil-rights\">\u003cem>Rustin\u003c/em>\u003c/a>. With verve, Domingo digs into the experience of a Black gay man in the racist and homophobic 1960s. Cameos abound: Jeffrey Wright, Adrienne Warren, Kevin Mambo, Audra McDonald, Chris Rock, Glynn Turman. Produced by former President Barack Obama and first lady Michelle Obama’s Higher Ground. Obama awarded Rustin a posthumous Presidential Medal of Freedom.\u003c/p>\n\u003ch2>‘20 Days in Mariupol’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=9H_Fg_5x4ME\u003c/p>\n\u003cp>1 nomination. Digital purchase or rental. \u003ca href=\"https://video.kqed.org/video/20-days-in-mariupol-x62itb/\">Streaming on KQED\u003c/a>. Also available in the PBS app and at \u003cem>Frontline\u003c/em> on YouTube.\u003c/p>\n\u003cp>A joint production by The Associated Press and PBS’ \u003cem>Frontline\u003c/em>, the documentary \u003ca href=\"https://www.kqed.org/arts/13931543/in-20-days-in-mariupol-documentary-the-horrors-of-war-are-illuminated\">\u003cem>20 Days in Mariupol\u003c/em>\u003c/a> has been met with critical acclaim and an audience award at the Sundance Film Festival. AP journalist Mstyslav Chernov directed the movie from 30 hours of footage shot in Mariupol in the opening days of the Ukraine war. Chernov and AP colleagues Evgeniy Maloletka, a photographer, and producer Vasilisa Stepanenko were the last international journalists in the city before escaping.\u003c/p>\n\u003cp>Available for pay at Prime Video, Google Play, Vudu and elsewhere. After screenings in dozens of cities, \u003cem>20 Days in Mariupol\u003c/em> airs on PBS stations in the U.S. beginning Tuesday.\u003c/p>\n\u003ch2>‘The Boy and the Heron’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=t5khm-VjEu4\u003c/p>\n\u003cp>1 nomination. \u003ca href=\"https://www.fandango.com/the-boy-and-the-heron-2023-232532/movie-overview\">In theaters\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Dreamy and enthralling, director Hayao Miyazaki and Studio Ghibli do it again. Well. The beautifully animated Japanese fantasy \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> has young Mahito late in World War II mourning the death of his mother and encountering a talking and ornery gray heron he can’t get rid of. And there’s a very important tower.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The winner in the Oscar nominations race Tuesday after a bruising year for the film industry was \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> with 13 nods, followed by the otherworldly \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> with 11 and the period epic \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>with 10.\u003c/p>\n\u003cp>2023 was marred by strikes and work stoppages for the cinema world, throwing production and release schedules into chaos.\u003c/p>\n\u003cp>Looking to catch up ahead of the Academy Awards on March 10? Here’s how to watch:\u003c/p>\n\u003ch2>‘Oppenheimer’\u003c/h2>\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/bK6ldnjE3Y0'\n title='//www.youtube.com/embed/bK6ldnjE3Y0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>13 nominations. Digital purchase or rental. Streams on Peacock starting Feb. 16.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Christopher Nolan’s atomic opus \u003cem>Oppenheimer\u003c/em> received widespread critical acclaim and broke box office records. It’s half the Barbenheimer phenom with \u003cem>Barbie\u003c/em> from last July. The three-hour film, which is semi-trippy and flashback heavy, chronicles the trials and tribulations of the secret Manhattan Project’s J. Robert Oppenheimer (Cillian Murphy).\u003c/p>\n\u003cp>Available for pay at YouTube, Apple TV, Prime Video, Vudu, iTunes and Google Play and elsewhere.\u003c/p>\n\u003ch2>‘Poor Things’\u003c/h2>\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/RlbR5N6veqw'\n title='//www.youtube.com/embed/RlbR5N6veqw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>11 nominations. \u003ca href=\"https://www.fandango.com/poor-things-2023-231939/movie-overview\">In theaters\u003c/a>.\u003c/p>\n\u003cp>Think Frankenstein story, and his bride. Director Yorgos Lanthimos owes a debt to Emma Stone, his childlike and highly randy Bella, in \u003cem>Poor Things\u003c/em>. The comedy is dark and the vibe Victorian fantasy. And did we mention the sex? How Bella handles that activity has been the talk of film circles. No spoilers here but rest assured her consciousness is raised. Also stars Willem Dafoe and Mark Ruffalo.\u003c/p>\n\u003ch2>‘Killers of the Flower Moon’\u003c/h2>\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/EP34Yoxs3FQ'\n title='//www.youtube.com/embed/EP34Yoxs3FQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>10 nominations. Digital purchase. Streams on Apple TV+. Re-released in theaters on Jan. 26, 2024.\u003c/p>\n\u003cp>Martin Scorsese delves into the systematic killing of Osage Nation members for their oil-rich land in the 1920s in his drama \u003cem>Killers of the Flower Moon\u003c/em>. With a star-bright cast, including Lily Gladstone, Leonardo DiCaprio and Robert De Niro. Warning: Its running time is 3 hours and 26 minutes. There’s craft in every shot.\u003c/p>\n\u003cp>Available for pay at iTunes, Prime Video, Google Play, YouTube, Vudu and elsewhere.\u003c/p>\n\u003ch2>‘Barbie’\u003c/h2>\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/pBk4NYhWNMM'\n title='//www.youtube.com/embed/pBk4NYhWNMM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>8 nominations. Digital purchase or rental. Streams on Max.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13950821/greta-gerwig-oscars-snub\">Greta Gerwig\u003c/a>’s \u003cem>Barbie\u003c/em>, in the billion-dollar club at the box office, is a live-action musical comedy focused on the 64-year-old plastic doll in a range of iterations. It also took the globe by storm, culturally speaking. The film stars Margot Robbie and Ryan Gosling (as Just Ken). Robbie plays Stereotypical Barbie, who experiences an existential crisis but lands on the road to self-discovery.\u003c/p>\n\u003cp>Available for pay at iTunes, Apple TV, Google Play, YouTube, Vudu and elsewhere.\u003c/p>\n\u003ch2>‘Maestro’\u003c/h2>\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/gJP2QblqLA0'\n title='//www.youtube.com/embed/gJP2QblqLA0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>7 nominations. Digital purchase or rental. Streams on Netflix.\u003c/p>\n\u003cp>With the help of a prosthetic nose, Bradley Cooper brings Leonard Bernstein alive in \u003ca href=\"https://www.kqed.org/arts/13938332/maestro-bradley-cooper-review\">\u003cem>Maestro\u003c/em>\u003c/a>, which he also directed. The famed conductor’s personal life and persona on stage benefit from Cooper’s energy, and chain smoking. Cooper got an assist from Carey Mulligan, who plays the actor Felicia Montealegre, Bernstein’s stylish wife.\u003c/p>\n\u003cp>Available for pay at Prime Video, Google Play, Vudu, YouTube and elsewhere.\u003c/p>\n\u003ch2>‘American Fiction’\u003c/h2>\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/i0MbLCpYJPA'\n title='//www.youtube.com/embed/i0MbLCpYJPA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>5 nominations. \u003ca href=\"https://www.fandango.com/american-fiction-2023-232613/movie-overview\">In theaters\u003c/a>.\u003c/p>\n\u003cp>Cord Jefferson’s directorial debut \u003ca href=\"https://www.kqed.org/arts/13938160/american-fiction-based-on-erasure-jeffrey-wright-cord-jefferson-ross\">\u003cem>American Fiction\u003c/em>\u003c/a> is what satire should be: funny while succinctly pointing at truths. Jeffrey Wright plays a frustrated academic up against the wall of what Black books must be to sell. He takes action. The film is also about families and the weight of their struggles. Wright is joined by a great supporting cast in Leslie Uggams, Erika Alexander, Issa Rae, Sterling K. Brown and Tracee Ellis Ross.\u003c/p>\n\u003ch2>‘Anatomy of a Fall’\u003c/h2>\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/FUXawkH-ONM'\n title='//www.youtube.com/embed/FUXawkH-ONM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>5 nominations. Digital purchase or rental.\u003c/p>\n\u003cp>Justine Triet’s \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> took the Palme d’Or at the 76th Cannes Film Festival. It stars Sandra Hüller as a writer, Sandra, trying to prove her innocence in court in her husband’s death at their chalet in the French Alps. The verdict? We won’t tell. Did she or didn’t she? Triet wrote the film with her husband, Arthur Harari. “It’s OK, he’s alive,” she told The Associated Press’ Jake Coyle.\u003c/p>\n\u003cp>Available for pay at iTunes, Prime Video, Google Play, Vudu, YouTube and elsewhere.\u003c/p>\n\u003ch2>‘The Holdovers’\u003c/h2>\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/AhKLpJmHhIg'\n title='//www.youtube.com/embed/AhKLpJmHhIg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>5 nominations. Digital purchase. Streams on Peacock.\u003c/p>\n\u003cp>The Alexander Payne offering \u003cem>The Holdovers\u003c/em> is set at Christmastime, but its themes of loneliness and belonging resonate well beyond the holiday, wrapped in a comedic package. Set in 1970 over the holiday break at a boarding school, there’s plenty of nostalgia in the details. It stars Paul Giamatti in curmudgeonly glory as the teacher stuck minding Angus (Dominic Sessa) and other students with no place to go.\u003c/p>\n\u003cp>Available for pay at iTunes, Prime Video, Google Play, Vudu and elsewhere.\u003c/p>\n\u003ch2>‘The Zone of Interest’\u003c/h2>\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/GFNtVaAuVYY'\n title='//www.youtube.com/embed/GFNtVaAuVYY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>5 nominations. In theaters.\u003c/p>\n\u003cp>There’s another meaty role for Hüller in the Holocaust story\u003ca href=\"https://www.kqed.org/arts/13940387/the-zone-of-interest-movie-review\">\u003cem> The Zone of Interest\u003c/em>\u003c/a>, directed by Jonathan Glazer. She plays Hedwig, the wife of Rudolf Höss (Christian Friedel), the real-life, bloodthirsty commandant of Auschwitz. The action largely has Rudolf and Hedwig living their everyday family lives just a few steps from the ovens and trains that were instruments in the slaughter of millions of Jews. A story worth telling, considering their status as monsters? You decide.\u003c/p>\n\u003ch2>‘Past Lives’\u003c/h2>\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/kA244xewjcI'\n title='//www.youtube.com/embed/kA244xewjcI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>2 nominations. Digital purchase or rental. Streams on Paramount+ starting Feb. 2.\u003c/p>\n\u003cp>Celine Song’s feature debut \u003ca href=\"https://www.kqed.org/arts/13930006/past-lives-is-a-gorgeous-meditation-on-love-chance-and-the-choices-we-make\">\u003cem>Past Lives\u003c/em>\u003c/a> is a triumph for her as director and writer, and for Greta Lee, one of her stars. Largely autobiographical, it tells the story of childhood companions in Seoul who reunite and rekindle in New York years later, landing in a love triangle. The other thirds of the equation are played by Teo Yoo and John Magaro. It’s understated glory, inducing the best kind of tears: those come by honestly without massive manipulation.\u003c/p>\n\u003cp>Available for pay at iTunes, Google Play and elsewhere.\u003c/p>\n\u003ch2>‘Nyad’\u003c/h2>\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/3anCgVSQb3Q'\n title='//www.youtube.com/embed/3anCgVSQb3Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>2 nominations. Streams on Netflix.\u003c/p>\n\u003cp>Annette Bening plays the never-say-die marathon open-water swimmer Diana Nyad and Jodie Foster portrays Nyad’s best friend and trainer, Bonnie Stoll. Enough said. \u003cem>\u003ca href=\"https://www.kqed.org/arts/13936754/nyad-movie-review-true-story-jodie-foster-swimming-annette-bening\">Nyad\u003c/a>\u003c/em> isn’t your average sports biopic. At age 60, Nyad decides to attempt as she did in her youth to swim the shark-infested ocean from Cuba to Miami. Nothing will stop her and lots of things try. A lesson in single-focus excellence.\u003c/p>\n\u003ch2>‘Society of the Snow’\u003c/h2>\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/pDak4qLyF4Q'\n title='//www.youtube.com/embed/pDak4qLyF4Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>2 nominations. Streams on Netflix.\u003c/p>\n\u003cp>The story of an amateur Uruguay rugby team’s 1972 plane crash in the Andes as they traveled with relatives and friends to Chile for a match has been told on film many times. There were 45 on board. Sixteen survived after 72 days in the mountains. They faced biting cold, massive snowstorms, avalanches and starvation, the latter motivating them to eat the dead. In \u003cem>Society of the Snow\u003c/em>, J.A. Bayona wanted to honor the tragedy’s victims and survivors, including him. It’s bleak indeed, with a spirit of love and camaraderie.\u003c/p>\n\u003ch2>‘The Color Purple’\u003c/h2>\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/wPwzBUui1GA'\n title='//www.youtube.com/embed/wPwzBUui1GA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>1 nomination. Digital purchase or rental. In theaters.\u003c/p>\n\u003cp>It was a book (Alice Walker). It was a dramatic film (Whoopi Goldberg as Celie). It was a Broadway musical (Fantasia Barrino as Celie). This \u003ca href=\"https://www.kqed.org/arts/13939793/the-color-purple-successfully-squeezes-popular-entertainment-out-of-art\">\u003cem>The Color Purple\u003c/em>\u003c/a> has Barrino back. It’s a musical, too, adapted from the stage version, and it’s directed by Blitz Bazawule. He squeezes the strength of Black women out of his harrowing, maximalist film. Colman Domingo is Mister, Halle Bailey is Nettie, with Taraji P. Henson and Danielle Brooks helping the story along amid all the singing and dazzle.\u003c/p>\n\u003cp>Available for pay at iTunes, Prime Video, Apple TV+ and elsewhere.\u003c/p>\n\u003ch2>‘Spider-Man: Across the Spider-Verse’\u003c/h2>\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/cqGjhVJWtEg'\n title='//www.youtube.com/embed/cqGjhVJWtEg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>1 nomination. Digital purchase or rental. Streams on Netflix. In theaters.\u003c/p>\n\u003cp>Welcome to an animated high-octane comic-book sequel that manages to work. In \u003cem>Spider Man: Across the Spider-Verse\u003c/em>, Miles Morales (voiced by Shameik Moore) is a 15-year-old better able to deal with his crime-fighting powers. Spider-Gwen is voiced by Hailee Steinfeld. By sequel, we mean the first half of the first sequel to \u003cem>Spider Man: Into the Spider-Verse\u003c/em>. There’s your cliffhanger alert.\u003c/p>\n\u003cp>Available for pay at Apple TV, Prime Video, Google Play, YouTube, Vudu and elsewhere.\u003c/p>\n\u003ch2>‘May December’\u003c/h2>\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/4VdAParM4h8'\n title='//www.youtube.com/embed/4VdAParM4h8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>1 nomination. In theaters. Streams on Netflix.\u003c/p>\n\u003cp>The breakout star of Todd Haynes’ tense \u003ca href=\"https://www.kqed.org/arts/13938143/may-december-movie-review-netflix-mary-kay-letourneau-julianne-moore\">\u003cem>May December\u003c/em>\u003c/a> is Charles Melton of Reggie fame on TV’s \u003cem>Riverdale\u003c/em>. He’s the May to Julianne Moore’s December, with a whole lot of Natalie Portman thrown in. Inspired by the Mary Kay Letourneau case, Moore plays a ripped-from-the-headlines woman who went to prison over an affair with a seventh-grader she later marries. Portman’s character comes for a visit as she studies how to play Moore in a movie. Things, as they say, fall apart. Although the film’s performances weren’t honored with nominations, the screenplay for \u003cem>May December\u003c/em> was.\u003c/p>\n\u003ch2>‘Rustin’\u003c/h2>\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/EuZ-UONInl4'\n title='//www.youtube.com/embed/EuZ-UONInl4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>1 nomination. Streams on Netflix.\u003c/p>\n\u003cp>Who engineered the 1963 March on Washington? Bayard Rustin, somebody lots of people knew nothing about before \u003ca href=\"https://www.kqed.org/arts/13909135/colman-domingo-strand-theater-valentines-euphoria-walking-dead-zola\">Colman Domingo\u003c/a> came along in George C. Wolfe’s \u003ca href=\"https://www.kqed.org/arts/13937499/bayard-rustin-biopic-review-colman-domingo-civil-rights\">\u003cem>Rustin\u003c/em>\u003c/a>. With verve, Domingo digs into the experience of a Black gay man in the racist and homophobic 1960s. Cameos abound: Jeffrey Wright, Adrienne Warren, Kevin Mambo, Audra McDonald, Chris Rock, Glynn Turman. Produced by former President Barack Obama and first lady Michelle Obama’s Higher Ground. Obama awarded Rustin a posthumous Presidential Medal of Freedom.\u003c/p>\n\u003ch2>‘20 Days in Mariupol’\u003c/h2>\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/9H_Fg_5x4ME'\n title='//www.youtube.com/embed/9H_Fg_5x4ME'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>1 nomination. Digital purchase or rental. \u003ca href=\"https://video.kqed.org/video/20-days-in-mariupol-x62itb/\">Streaming on KQED\u003c/a>. Also available in the PBS app and at \u003cem>Frontline\u003c/em> on YouTube.\u003c/p>\n\u003cp>A joint production by The Associated Press and PBS’ \u003cem>Frontline\u003c/em>, the documentary \u003ca href=\"https://www.kqed.org/arts/13931543/in-20-days-in-mariupol-documentary-the-horrors-of-war-are-illuminated\">\u003cem>20 Days in Mariupol\u003c/em>\u003c/a> has been met with critical acclaim and an audience award at the Sundance Film Festival. AP journalist Mstyslav Chernov directed the movie from 30 hours of footage shot in Mariupol in the opening days of the Ukraine war. Chernov and AP colleagues Evgeniy Maloletka, a photographer, and producer Vasilisa Stepanenko were the last international journalists in the city before escaping.\u003c/p>\n\u003cp>Available for pay at Prime Video, Google Play, Vudu and elsewhere. After screenings in dozens of cities, \u003cem>20 Days in Mariupol\u003c/em> airs on PBS stations in the U.S. beginning Tuesday.\u003c/p>\n\u003ch2>‘The Boy and the Heron’\u003c/h2>\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/t5khm-VjEu4'\n title='//www.youtube.com/embed/t5khm-VjEu4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>1 nomination. \u003ca href=\"https://www.fandango.com/the-boy-and-the-heron-2023-232532/movie-overview\">In theaters\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dreamy and enthralling, director Hayao Miyazaki and Studio Ghibli do it again. Well. The beautifully animated Japanese fantasy \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> has young Mahito late in World War II mourning the death of his mother and encountering a talking and ornery gray heron he can’t get rid of. And there’s a very important tower.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Greta Gerwig’s Oscars Snub Should Come as No Surprise",
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"content": "\u003cp>This years’ \u003ca href=\"https://www.kqed.org/arts/13950768/2024-oscar-nominations\">Oscar nominations have arrived\u003c/a>, and the most controversial snub by far is the exclusion of Greta Gerwig from the Best Director category for \u003ca href=\"https://www.kqed.org/arts/13931753/allan-doll-michael-cera-greta-gerwig-barbie-movie-review\">\u003cem>Barbie\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Last year, Gerwig pulled off the rare feat of making a movie both critically lauded and enormously commercially successful. (\u003ca href=\"https://www.kqed.org/arts/13931981/greta-gerwig-box-office-record-female-directors\">\u003cem>Barbie\u003c/em> broke the opening-weekend record for North American movie theaters\u003c/a> in 2023 with $162 million in ticket sales.) It was a visual and creative triumph which took a doll critiqued by feminists for decades and turned her into a patriarchy-smashing icon. Additionally, \u003cem>Barbie\u003c/em> contributed significantly to \u003ca href=\"https://www.npr.org/2023/08/11/1193283472/barbie-taylor-swift-beyonce\">the return of the monoculture\u003c/a> in 2023; it \u003ca href=\"https://www.kqed.org/arts/13939092/bay-area-trends-of-2023\">impacted pop culture\u003c/a> in so many indelible ways, it bordered on the obnoxious.\u003c/p>\n\u003cp>Still, it wasn’t enough for the Academy.\u003c/p>\n\u003cp>[aside postid='arts_13950768']Not only was Gerwig passed over for Best Director, but Barbie herself, Margot Robbie, was left out of the Best Actress category. This despite Ryan Gosling and America Ferrera getting nods in the Best Supporting Actor and Actress categories. Movie lovers, including MSNBC’s Jennifer Palmieri, \u003ca href=\"https://www.hollywoodreporter.com/movies/movie-news/greta-gerwig-barbie-2024-oscar-snub-backlash-1235804650/\">quickly took to social media to bemoan the snubs\u003c/a>.\u003c/p>\n\u003cp>“Both Gerwig and Robbie ignored,” \u003ca href=\"https://twitter.com/jmpalmieri/status/1749814660956828007\">Palmieri posted on X\u003c/a>. “It’s still so easy for Hollywood to overlook and discount artistic contributions of women — EVEN WHEN ITS THE POINT OF THE YEAR’S BIGGEST MOVIE! My God. It was nominated for best picture. Didn’t direct itself, friends!”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/jmpalmieri/status/1749814660956828007\u003c/p>\n\u003cp>Is this an irritating turn of events? Yes. Did the Academy miss all of the (not-even-subtly-conveyed) lessons of the film, about the quiet injustices doled out to women due to sexism? Probably. Should any of us really be surprised? Despite Gerwig previously receiving a Best Director nomination for \u003cem>Lady Bird\u003c/em>? Absolutely not.\u003c/p>\n\u003cp>The Academy has always been a law unto itself; it has historically favored white men doing white man things. When it comes to female directors getting their due, the most we can hope for is a little tokenism. Justine Triet is this year’s, for \u003cem>Anatomy of a Fall\u003c/em> — and, in the Academy Awards’ entire 95-year history, she’s only the eighth woman to be nominated in the directing category. Just three of those have ever actually taken home the trophy: Kathryn Bigelow for \u003cem>The Hurt Locker\u003c/em> in 2009, Chloé Zhao for \u003cem>Nomadland\u003c/em> in 2020 and Jane Campion for \u003cem>The Year of the Dog\u003c/em> in 2021.\u003c/p>\n\u003cp>[aside postid='pop_105648']Consider also the Academy’s maddening habit of doling out awards to established giants at the expense of younger talent. Do we really think Leonardo DiCaprio did better work in \u003cem>The Revenant\u003c/em> (the movie he finally won for) than in \u003cem>What’s Eating Gilbert Grape?\u003c/em> (the first movie he was nominated for)? Would you rather Martin Scorsese have an Oscar for \u003cem>Raging Bull\u003c/em> or \u003cem>The Departed\u003c/em>? Most would say the former, but the Academy made him wait 26 years. What we end up with are Oscars doled out because it’s time for a major figure to have one, rather than the actual work at hand or its cultural impact.\u003c/p>\n\u003cp>(Perhaps Greta Gerwig will finally get her statue 30 years from now for a movie that does moderate box office and gets film nerds talking. But there are no guarantees that even the highest echelons of female talent will get there in the end — \u003ca href=\"https://www.kqed.org/pop/105648/why-does-the-academy-keep-denying-glenn-close-an-oscar\">Glenn Close has never won an Oscar\u003c/a>, despite being nominated as an actress eight times in the past 40 years.)\u003c/p>\n\u003cp>The truth is, the Oscars have rarely — if ever — reflected the will of the people. (No, not even since they expanded the Best Picture category to 10 nominees in 2009.) For a while, it seemed, people were nearly done with the Academy Awards altogether. In 2016, the hashtag \u003ca href=\"https://www.kqed.org/arts/13895845/neither-oscarssowhite-nor-oscarssomale-what-a-difference-a-pandemic-makes\">#OscarsSoWhite\u003c/a> dominated social media after two years of every single nominee in lead and supporting acting categories being white. The fact that \u003cem>Beasts of No Nation\u003c/em>, \u003cem>Straight Outta Compton\u003c/em> and \u003cem>Creed\u003c/em> were shut out of almost every category that year caused further ire.\u003c/p>\n\u003cp>[aside postID='arts_13938908']During the many discussions around #OscarsSoWhite, Spike Lee, Will Smith and Michael Moore boycotted the Oscars. A recurring conversation emerged: Black women, in particular, were being ignored by the Academy. Only 11 Black women have ever won an Oscar, none for directing. Last year, \u003ca href=\"https://www.buzzfeednews.com/article/leylamohammed/angela-bassett-jamie-lee-curtis-oscars-snubbed\">after Angela Bassett’s loss to Jamie Lee Curtis\u003c/a>, the Academy scrambled to correct its snafu by giving Bassett an honorary award a few months later.\u003c/p>\n\u003cp>The problem is, and always has been, who makes up the Academy. Consider this: Between 1929 and 2015, on average, only 16 percent of nominees in all Oscar categories were women. Why? As late as 2022, \u003ca href=\"https://www.statista.com/statistics/321286/voters-academy-awards-gender/\">women only accounted for one third of Academy voters\u003c/a> — and the number that year was 10 percent higher than the prior year. So I ask again: Is it really all that surprising that Greta Gerwig didn’t get a Best Director nod for \u003cem>Barbie\u003c/em>?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Academy is a mess that often finds itself woefully out of touch. Despite a variety of token efforts in the past decade, the Academy will continue to slip until women and people of color are appropriately represented in its ranks. For now, \u003cem>Barbie\u003c/em> is at least nominated for Best Adapted Screenplay — a chance for Gerwig to get her Oscar. Just don’t be surprised if you find yourself throwing your cocktail at the TV on March 12. If history is to repeat itself, that award will probably go to a movie much less pink and much less female.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This years’ \u003ca href=\"https://www.kqed.org/arts/13950768/2024-oscar-nominations\">Oscar nominations have arrived\u003c/a>, and the most controversial snub by far is the exclusion of Greta Gerwig from the Best Director category for \u003ca href=\"https://www.kqed.org/arts/13931753/allan-doll-michael-cera-greta-gerwig-barbie-movie-review\">\u003cem>Barbie\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Last year, Gerwig pulled off the rare feat of making a movie both critically lauded and enormously commercially successful. (\u003ca href=\"https://www.kqed.org/arts/13931981/greta-gerwig-box-office-record-female-directors\">\u003cem>Barbie\u003c/em> broke the opening-weekend record for North American movie theaters\u003c/a> in 2023 with $162 million in ticket sales.) It was a visual and creative triumph which took a doll critiqued by feminists for decades and turned her into a patriarchy-smashing icon. Additionally, \u003cem>Barbie\u003c/em> contributed significantly to \u003ca href=\"https://www.npr.org/2023/08/11/1193283472/barbie-taylor-swift-beyonce\">the return of the monoculture\u003c/a> in 2023; it \u003ca href=\"https://www.kqed.org/arts/13939092/bay-area-trends-of-2023\">impacted pop culture\u003c/a> in so many indelible ways, it bordered on the obnoxious.\u003c/p>\n\u003cp>Still, it wasn’t enough for the Academy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Not only was Gerwig passed over for Best Director, but Barbie herself, Margot Robbie, was left out of the Best Actress category. This despite Ryan Gosling and America Ferrera getting nods in the Best Supporting Actor and Actress categories. Movie lovers, including MSNBC’s Jennifer Palmieri, \u003ca href=\"https://www.hollywoodreporter.com/movies/movie-news/greta-gerwig-barbie-2024-oscar-snub-backlash-1235804650/\">quickly took to social media to bemoan the snubs\u003c/a>.\u003c/p>\n\u003cp>“Both Gerwig and Robbie ignored,” \u003ca href=\"https://twitter.com/jmpalmieri/status/1749814660956828007\">Palmieri posted on X\u003c/a>. “It’s still so easy for Hollywood to overlook and discount artistic contributions of women — EVEN WHEN ITS THE POINT OF THE YEAR’S BIGGEST MOVIE! My God. It was nominated for best picture. Didn’t direct itself, friends!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Is this an irritating turn of events? Yes. Did the Academy miss all of the (not-even-subtly-conveyed) lessons of the film, about the quiet injustices doled out to women due to sexism? Probably. Should any of us really be surprised? Despite Gerwig previously receiving a Best Director nomination for \u003cem>Lady Bird\u003c/em>? Absolutely not.\u003c/p>\n\u003cp>The Academy has always been a law unto itself; it has historically favored white men doing white man things. When it comes to female directors getting their due, the most we can hope for is a little tokenism. Justine Triet is this year’s, for \u003cem>Anatomy of a Fall\u003c/em> — and, in the Academy Awards’ entire 95-year history, she’s only the eighth woman to be nominated in the directing category. Just three of those have ever actually taken home the trophy: Kathryn Bigelow for \u003cem>The Hurt Locker\u003c/em> in 2009, Chloé Zhao for \u003cem>Nomadland\u003c/em> in 2020 and Jane Campion for \u003cem>The Year of the Dog\u003c/em> in 2021.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Consider also the Academy’s maddening habit of doling out awards to established giants at the expense of younger talent. Do we really think Leonardo DiCaprio did better work in \u003cem>The Revenant\u003c/em> (the movie he finally won for) than in \u003cem>What’s Eating Gilbert Grape?\u003c/em> (the first movie he was nominated for)? Would you rather Martin Scorsese have an Oscar for \u003cem>Raging Bull\u003c/em> or \u003cem>The Departed\u003c/em>? Most would say the former, but the Academy made him wait 26 years. What we end up with are Oscars doled out because it’s time for a major figure to have one, rather than the actual work at hand or its cultural impact.\u003c/p>\n\u003cp>(Perhaps Greta Gerwig will finally get her statue 30 years from now for a movie that does moderate box office and gets film nerds talking. But there are no guarantees that even the highest echelons of female talent will get there in the end — \u003ca href=\"https://www.kqed.org/pop/105648/why-does-the-academy-keep-denying-glenn-close-an-oscar\">Glenn Close has never won an Oscar\u003c/a>, despite being nominated as an actress eight times in the past 40 years.)\u003c/p>\n\u003cp>The truth is, the Oscars have rarely — if ever — reflected the will of the people. (No, not even since they expanded the Best Picture category to 10 nominees in 2009.) For a while, it seemed, people were nearly done with the Academy Awards altogether. In 2016, the hashtag \u003ca href=\"https://www.kqed.org/arts/13895845/neither-oscarssowhite-nor-oscarssomale-what-a-difference-a-pandemic-makes\">#OscarsSoWhite\u003c/a> dominated social media after two years of every single nominee in lead and supporting acting categories being white. The fact that \u003cem>Beasts of No Nation\u003c/em>, \u003cem>Straight Outta Compton\u003c/em> and \u003cem>Creed\u003c/em> were shut out of almost every category that year caused further ire.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>During the many discussions around #OscarsSoWhite, Spike Lee, Will Smith and Michael Moore boycotted the Oscars. A recurring conversation emerged: Black women, in particular, were being ignored by the Academy. Only 11 Black women have ever won an Oscar, none for directing. Last year, \u003ca href=\"https://www.buzzfeednews.com/article/leylamohammed/angela-bassett-jamie-lee-curtis-oscars-snubbed\">after Angela Bassett’s loss to Jamie Lee Curtis\u003c/a>, the Academy scrambled to correct its snafu by giving Bassett an honorary award a few months later.\u003c/p>\n\u003cp>The problem is, and always has been, who makes up the Academy. Consider this: Between 1929 and 2015, on average, only 16 percent of nominees in all Oscar categories were women. Why? As late as 2022, \u003ca href=\"https://www.statista.com/statistics/321286/voters-academy-awards-gender/\">women only accounted for one third of Academy voters\u003c/a> — and the number that year was 10 percent higher than the prior year. So I ask again: Is it really all that surprising that Greta Gerwig didn’t get a Best Director nod for \u003cem>Barbie\u003c/em>?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Academy is a mess that often finds itself woefully out of touch. Despite a variety of token efforts in the past decade, the Academy will continue to slip until women and people of color are appropriately represented in its ranks. For now, \u003cem>Barbie\u003c/em> is at least nominated for Best Adapted Screenplay — a chance for Gerwig to get her Oscar. Just don’t be surprised if you find yourself throwing your cocktail at the TV on March 12. If history is to repeat itself, that award will probably go to a movie much less pink and much less female.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Takeaways From the Oscar Nominations: Heavy Hitters Rewarded, Plus Some Surprises",
"headTitle": "Takeaways From the Oscar Nominations: Heavy Hitters Rewarded, Plus Some Surprises | KQED",
"content": "\u003cp>The Oscar nominations \u003ca href=\"https://www.npr.org/2024/01/23/1226291911/oscar-nominations-full-list-2024-academy-awards-oppenheimer-barbie\">were announced Tuesday morning,\u003c/a> and most of the heavy hitters were richly rewarded. A man was nominated for playing a doll; a woman was nominated for playing a baby (sort of). Ten pictures will vie to be considered best. Let’s talk about what happened.\u003c/p>\n\u003cfigure id=\"attachment_13950765\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950765\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/oppenheimer_custom-fd7831f143e8f0c1ce5b2501e075edede609f851-e1706032770529.jpg\" alt=\"A white man wearing a suit stands in the desert and gazes up at the sky.\" width=\"1920\" height=\"1342\">\u003cfigcaption class=\"wp-caption-text\">‘Oppenheimer’ received 13 Oscar nominations. Above, Cillian Murphy as J. Robert Oppenheimer. \u003ccite>(Universal Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>All hail ‘Oppenheimer’\u003c/h2>\n\u003cp>Whether Christopher Nolan is your speed or not, the Academy loves him. \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>, his drama about the man who developed the atomic bomb, led all films with 13 nominations in both what are sometimes considered “major” categories (like best picture, best director, best actor and adapted screenplay) and “technical” categories (like sound, production design, and visual effects). It’s not a record; a couple of other films, including \u003cem>Titanic\u003c/em>, have received 14. Still, it’s a very big total. In another year, \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>’ 11 nominations or \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>’s 10 might have led the nominations. But not up against this kind of — forgive the phrase — explosive acclaim.\u003c/p>\n\u003cfigure id=\"attachment_13950767\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950767\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/rev-1-tcp-05246_high_res_jpeg-39d035f3da6390febef1d0db9344ed0d5c3cab74-scaled-e1706032868144.jpe\" alt=\"Two Black women sit outdoors in the sun, their heads leaning on one another. They look dejected.\" width=\"1920\" height=\"1440\">\u003cfigcaption class=\"wp-caption-text\">Sofia (Danielle Brooks) and Celie (Fantasia Barrino) in the 2023 reincarnation of ‘The Color Purple.’ Brooks was nominated for her supporting performance. \u003ccite>(Eli Adé/ Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A couple of contenders came up empty or nearly so\u003c/h2>\n\u003cp>There were a lot of films that elbowed their way into big nominations; that’s what you get when you start with 10 best picture nominees. But both \u003ca href=\"https://www.kqed.org/arts/13950482/ava-duvernay-origin-caste-our-discontents-isabel-wilkerson\">\u003cem>Origin\u003c/em>\u003c/a>, the latest film from director Ava DuVernay, and \u003ca href=\"https://www.kqed.org/arts/13939701/all-of-us-strangers-review-andrew-scott-paul-mescal\">\u003cem>All of Us Strangers\u003c/em>\u003c/a>, the love story starring Andrew Scott and Paul Mescal, were left out of the nominations. \u003ca href=\"https://www.kqed.org/arts/13939793/the-color-purple-successfully-squeezes-popular-entertainment-out-of-art\">\u003cem>The Color Purple\u003c/em>\u003c/a> musical adaptation was nominated only for Danielle Brooks’ supporting performance — a richly deserved nod, by the way.\u003c/p>\n\u003cfigure id=\"attachment_13950772\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950772\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/killers_of_the_flower_moon_photo_0101_custom-5f825ca5758ef8a2b1dac0cf1112b1c4ed07dac7-scaled-e1706032979687.jpg\" alt=\"An Indigenous woman and a white man in a suit sit at a heavy wood dining table. China cabinets line the wall behind them.\" width=\"1920\" height=\"1202\">\u003cfigcaption class=\"wp-caption-text\">Many of the acting nominees are first-timers, including Lily Gladstone, shown here with Leonardo DiCaprio in ‘Killers of the Flower Moon.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A lot of the acting nominees are first-timers\u003c/h2>\n\u003cp>There are 10 first-time acting nominees: Emily Blunt (\u003cem>Oppenheimer\u003c/em>), Danielle Brooks (\u003cem>The Color Purple\u003c/em>), Sterling K. Brown (\u003ca href=\"https://www.kqed.org/arts/13938160\">\u003cem>American Fiction\u003c/em>\u003c/a>), \u003ca href=\"https://www.kqed.org/arts/13909135/colman-domingo-strand-theater-valentines-euphoria-walking-dead-zola\">Colman Domingo\u003c/a> (\u003ca href=\"https://www.kqed.org/arts/13937499/bayard-rustin-biopic-review-colman-domingo-civil-rights\">\u003cem>Rustin\u003c/em>\u003c/a>), America Ferrera (\u003ca href=\"https://www.kqed.org/arts/13931753/allan-doll-michael-cera-greta-gerwig-barbie-movie-review\">\u003cem>Barbie\u003c/em>\u003c/a>), Lily Gladstone (\u003cem>Killers of the Flower Moon\u003c/em>), Sandra Hüller (\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>), Cillian Murphy (\u003cem>Oppenheimer\u003c/em>), Da’Vine Joy Randolph (\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>) and Jeffrey Wright (\u003cem>American Fiction\u003c/em>). They’re a fascinating mix of familiar good actors who you might be surprised are first-timers (Blunt, Domingo, Wright, Murphy), folks who did great work on television before they got much recognition in film (Ferrera, Brown, Brooks), and people who probably feel like relative newcomers to a lot of Oscar voters even though they are emphatically not (Gladstone, Randolph, Hüller).\u003c/p>\n\u003cfigure id=\"attachment_13950774\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950774\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/anatomy-of-a-fall-cannes_custom-677310d4f9219b221154d99206c40220c5d6759a-scaled-e1706033081360.jpg\" alt=\"A white woman stands wearing warm clothing, a snow-capped mountain in the distance. A man is at her side, turned away from her.\" width=\"1920\" height=\"1079\">\u003cfigcaption class=\"wp-caption-text\">French filmmaker Justine Triet was nominated for best director for ‘Anatomy of a Fall,’ about a writer (played by Sandra Hüller, above) accused of murdering her husband. \u003ccite>(NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>One woman director is in, a couple of others are out\u003c/h2>\n\u003cp>French filmmaker Justine Triet was nominated for best director for \u003cem>Anatomy of a Fall\u003c/em>, the devastating story of a woman suspected of being responsible for the death of her husband. But both Greta Gerwig, who directed the much-nominated \u003cem>Barbie\u003c/em>, and Celine Song, who directed the beautiful best picture nominee \u003ca href=\"https://www.kqed.org/arts/13930006/past-lives-is-a-gorgeous-meditation-on-love-chance-and-the-choices-we-make\">\u003cem>Past Lives\u003c/em>\u003c/a>, were left out of the category. Both their lead actresses, Margot Robbie and Greta Lee, went without nominations in that category, too.\u003c/p>\n\u003cfigure id=\"attachment_13950775\" class=\"wp-caption aligncenter\" style=\"max-width: 2395px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950775\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948.jpg\" alt=\"Two images side by side. One of a smiling blonde white woman in a pink dress, the other of a serious man sitting squarely at a brown desk.\" width=\"2395\" height=\"1347\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948.jpg 2395w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948-1920x1080.jpg 1920w\" sizes=\"(max-width: 2395px) 100vw, 2395px\">\u003cfigcaption class=\"wp-caption-text\">Remember Barbenheimer? \u003ccite>(Jaap Buitendijk, Warner Bros. / Melinda Sue Gordon, Universal Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Barbenheimer turned out fine for everybody\u003c/h2>\n\u003cp>It’s funny to look back now and remember that \u003ca href=\"https://www.kqed.org/arts/13931677/barbenheimer-barbie-oppenheimer-box-office-greta-gerwig-christopher-nolan\">the showdown between \u003cem>Barbie\u003c/em> and \u003cem>Oppenheimer\u003c/em>\u003c/a>, because they opened the same weekend, was ever treated as any kind of either-or competition that would have a single victor. They both made a ton of money, though \u003ca href=\"https://www.kqed.org/arts/13931981/greta-gerwig-box-office-record-female-directors\">\u003cem>Barbie\u003c/em> made more\u003c/a>; they both received a bunch of Oscar nominations, though \u003cem>Oppenheimer\u003c/em> received more. (\u003cem>Barbie\u003c/em> had eight, including one for Ryan Gosling’s extraordinarily silly supporting work as Ken. More true comedy nominations, please!) They were very different kinds of “event” pictures we could stand to have more of: well-made, surprising, vibrant and memorable, in completely different ways.\u003c/p>\n\u003cfigure id=\"attachment_13950777\" class=\"wp-caption aligncenter\" style=\"max-width: 2348px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950777\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90.jpg\" alt=\"A woman in 1940-era clothing stands in a walled garden clutching a baby. A dog stands behind them.\" width=\"2348\" height=\"1306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90.jpg 2348w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90-800x445.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90-1020x567.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90-768x427.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90-1536x854.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90-2048x1139.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90-1038x576.jpg 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90-1920x1068.jpg 1920w\" sizes=\"(max-width: 2348px) 100vw, 2348px\">\u003cfigcaption class=\"wp-caption-text\">Sandra Hüller plays a mother who lives next door to Auschwitz in ‘The Zone of Interest.’ \u003ccite>(A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>International films continue to perform well\u003c/h2>\n\u003cp>In 2018, Alfonso Cuarón’s \u003cem>Roma\u003c/em> was only the fifth non-English-language film to ever be nominated for both best international film and best picture. But just since then, there have been four more: \u003cem>Parasite\u003c/em>, \u003cem>Drive My Car\u003c/em>, \u003cem>All Quiet on the Western Front\u003c/em> and now \u003ca href=\"https://www.kqed.org/arts/13940387/the-zone-of-interest-movie-review\">\u003cem>The Zone of Interest\u003c/em>\u003c/a>, the disturbing study of a family living happily just outside the walls of Auschwitz, where the father is commandant. The short version? There’s no longer any reason to suspect that a film with subtitles won’t be nominated for best picture, which is a great development.\u003c/p>\n\u003cfigure id=\"attachment_13950779\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950779\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/ij_dod_dtlr2_uhd_r709f_stills_230405.088296-1-_custom-454eb63e13f95f1d3be680076bcb27ac7f602a10-scaled-e1706033430838.jpg\" alt=\"An older white man wearing a distinctive hat sits in a vehicle looking worried. Behind him, a woman and tween child sit.\" width=\"1920\" height=\"803\">\u003cfigcaption class=\"wp-caption-text\">‘Indiana Jones and the Dial of Destiny’ starring Harrison Ford (above) brought composer John Williams his 54th Oscar nomination. \u003ccite>(Lucasfilm Ltd.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>John Williams and Thelma Schoonmaker set (or keep extending) records\u003c/h2>\n\u003cp>Williams, who has written much of the most beloved rousing movie music of the last 60 or so years, received his 54th nomination for the score of \u003cem>\u003ca href=\"https://www.kqed.org/arts/13930931/harrison-ford-gets-a-swashbuckling-sendoff-in-indiana-jones-and-the-dial-of-destiny\">Indiana Jones and the Dial of Destiny\u003c/a>\u003c/em>. It’s more nominations than any other living person has. And Schoonmaker, longtime collaborator of Martin Scorsese, became the most nominated editor ever when she was recognized for the ninth time, for his film \u003cem>Killers of the Flower Moon\u003c/em>. (She’s won for \u003cem>Raging Bull\u003c/em>, \u003cem>The Aviator\u003c/em> and \u003cem>The Departed\u003c/em>.) Both Williams and Schoonmaker are examples of essential collaborators without whom celebrated directors could not do their work, whether they’re making tragic epics or swashbuckling adventures.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2024 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "’Oppenheimer,’ Christopher Nolan’s drama about the man who developed the atomic bomb, led with 13 nominations.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Oscar nominations \u003ca href=\"https://www.npr.org/2024/01/23/1226291911/oscar-nominations-full-list-2024-academy-awards-oppenheimer-barbie\">were announced Tuesday morning,\u003c/a> and most of the heavy hitters were richly rewarded. A man was nominated for playing a doll; a woman was nominated for playing a baby (sort of). Ten pictures will vie to be considered best. Let’s talk about what happened.\u003c/p>\n\u003cfigure id=\"attachment_13950765\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950765\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/oppenheimer_custom-fd7831f143e8f0c1ce5b2501e075edede609f851-e1706032770529.jpg\" alt=\"A white man wearing a suit stands in the desert and gazes up at the sky.\" width=\"1920\" height=\"1342\">\u003cfigcaption class=\"wp-caption-text\">‘Oppenheimer’ received 13 Oscar nominations. Above, Cillian Murphy as J. Robert Oppenheimer. \u003ccite>(Universal Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>All hail ‘Oppenheimer’\u003c/h2>\n\u003cp>Whether Christopher Nolan is your speed or not, the Academy loves him. \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>, his drama about the man who developed the atomic bomb, led all films with 13 nominations in both what are sometimes considered “major” categories (like best picture, best director, best actor and adapted screenplay) and “technical” categories (like sound, production design, and visual effects). It’s not a record; a couple of other films, including \u003cem>Titanic\u003c/em>, have received 14. Still, it’s a very big total. In another year, \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>’ 11 nominations or \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>’s 10 might have led the nominations. But not up against this kind of — forgive the phrase — explosive acclaim.\u003c/p>\n\u003cfigure id=\"attachment_13950767\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950767\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/rev-1-tcp-05246_high_res_jpeg-39d035f3da6390febef1d0db9344ed0d5c3cab74-scaled-e1706032868144.jpe\" alt=\"Two Black women sit outdoors in the sun, their heads leaning on one another. They look dejected.\" width=\"1920\" height=\"1440\">\u003cfigcaption class=\"wp-caption-text\">Sofia (Danielle Brooks) and Celie (Fantasia Barrino) in the 2023 reincarnation of ‘The Color Purple.’ Brooks was nominated for her supporting performance. \u003ccite>(Eli Adé/ Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A couple of contenders came up empty or nearly so\u003c/h2>\n\u003cp>There were a lot of films that elbowed their way into big nominations; that’s what you get when you start with 10 best picture nominees. But both \u003ca href=\"https://www.kqed.org/arts/13950482/ava-duvernay-origin-caste-our-discontents-isabel-wilkerson\">\u003cem>Origin\u003c/em>\u003c/a>, the latest film from director Ava DuVernay, and \u003ca href=\"https://www.kqed.org/arts/13939701/all-of-us-strangers-review-andrew-scott-paul-mescal\">\u003cem>All of Us Strangers\u003c/em>\u003c/a>, the love story starring Andrew Scott and Paul Mescal, were left out of the nominations. \u003ca href=\"https://www.kqed.org/arts/13939793/the-color-purple-successfully-squeezes-popular-entertainment-out-of-art\">\u003cem>The Color Purple\u003c/em>\u003c/a> musical adaptation was nominated only for Danielle Brooks’ supporting performance — a richly deserved nod, by the way.\u003c/p>\n\u003cfigure id=\"attachment_13950772\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950772\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/killers_of_the_flower_moon_photo_0101_custom-5f825ca5758ef8a2b1dac0cf1112b1c4ed07dac7-scaled-e1706032979687.jpg\" alt=\"An Indigenous woman and a white man in a suit sit at a heavy wood dining table. China cabinets line the wall behind them.\" width=\"1920\" height=\"1202\">\u003cfigcaption class=\"wp-caption-text\">Many of the acting nominees are first-timers, including Lily Gladstone, shown here with Leonardo DiCaprio in ‘Killers of the Flower Moon.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A lot of the acting nominees are first-timers\u003c/h2>\n\u003cp>There are 10 first-time acting nominees: Emily Blunt (\u003cem>Oppenheimer\u003c/em>), Danielle Brooks (\u003cem>The Color Purple\u003c/em>), Sterling K. Brown (\u003ca href=\"https://www.kqed.org/arts/13938160\">\u003cem>American Fiction\u003c/em>\u003c/a>), \u003ca href=\"https://www.kqed.org/arts/13909135/colman-domingo-strand-theater-valentines-euphoria-walking-dead-zola\">Colman Domingo\u003c/a> (\u003ca href=\"https://www.kqed.org/arts/13937499/bayard-rustin-biopic-review-colman-domingo-civil-rights\">\u003cem>Rustin\u003c/em>\u003c/a>), America Ferrera (\u003ca href=\"https://www.kqed.org/arts/13931753/allan-doll-michael-cera-greta-gerwig-barbie-movie-review\">\u003cem>Barbie\u003c/em>\u003c/a>), Lily Gladstone (\u003cem>Killers of the Flower Moon\u003c/em>), Sandra Hüller (\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>), Cillian Murphy (\u003cem>Oppenheimer\u003c/em>), Da’Vine Joy Randolph (\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>) and Jeffrey Wright (\u003cem>American Fiction\u003c/em>). They’re a fascinating mix of familiar good actors who you might be surprised are first-timers (Blunt, Domingo, Wright, Murphy), folks who did great work on television before they got much recognition in film (Ferrera, Brown, Brooks), and people who probably feel like relative newcomers to a lot of Oscar voters even though they are emphatically not (Gladstone, Randolph, Hüller).\u003c/p>\n\u003cfigure id=\"attachment_13950774\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950774\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/anatomy-of-a-fall-cannes_custom-677310d4f9219b221154d99206c40220c5d6759a-scaled-e1706033081360.jpg\" alt=\"A white woman stands wearing warm clothing, a snow-capped mountain in the distance. A man is at her side, turned away from her.\" width=\"1920\" height=\"1079\">\u003cfigcaption class=\"wp-caption-text\">French filmmaker Justine Triet was nominated for best director for ‘Anatomy of a Fall,’ about a writer (played by Sandra Hüller, above) accused of murdering her husband. \u003ccite>(NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>One woman director is in, a couple of others are out\u003c/h2>\n\u003cp>French filmmaker Justine Triet was nominated for best director for \u003cem>Anatomy of a Fall\u003c/em>, the devastating story of a woman suspected of being responsible for the death of her husband. But both Greta Gerwig, who directed the much-nominated \u003cem>Barbie\u003c/em>, and Celine Song, who directed the beautiful best picture nominee \u003ca href=\"https://www.kqed.org/arts/13930006/past-lives-is-a-gorgeous-meditation-on-love-chance-and-the-choices-we-make\">\u003cem>Past Lives\u003c/em>\u003c/a>, were left out of the category. Both their lead actresses, Margot Robbie and Greta Lee, went without nominations in that category, too.\u003c/p>\n\u003cfigure id=\"attachment_13950775\" class=\"wp-caption aligncenter\" style=\"max-width: 2395px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950775\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948.jpg\" alt=\"Two images side by side. One of a smiling blonde white woman in a pink dress, the other of a serious man sitting squarely at a brown desk.\" width=\"2395\" height=\"1347\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948.jpg 2395w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948-1920x1080.jpg 1920w\" sizes=\"(max-width: 2395px) 100vw, 2395px\">\u003cfigcaption class=\"wp-caption-text\">Remember Barbenheimer? \u003ccite>(Jaap Buitendijk, Warner Bros. / Melinda Sue Gordon, Universal Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Barbenheimer turned out fine for everybody\u003c/h2>\n\u003cp>It’s funny to look back now and remember that \u003ca href=\"https://www.kqed.org/arts/13931677/barbenheimer-barbie-oppenheimer-box-office-greta-gerwig-christopher-nolan\">the showdown between \u003cem>Barbie\u003c/em> and \u003cem>Oppenheimer\u003c/em>\u003c/a>, because they opened the same weekend, was ever treated as any kind of either-or competition that would have a single victor. They both made a ton of money, though \u003ca href=\"https://www.kqed.org/arts/13931981/greta-gerwig-box-office-record-female-directors\">\u003cem>Barbie\u003c/em> made more\u003c/a>; they both received a bunch of Oscar nominations, though \u003cem>Oppenheimer\u003c/em> received more. (\u003cem>Barbie\u003c/em> had eight, including one for Ryan Gosling’s extraordinarily silly supporting work as Ken. More true comedy nominations, please!) They were very different kinds of “event” pictures we could stand to have more of: well-made, surprising, vibrant and memorable, in completely different ways.\u003c/p>\n\u003cfigure id=\"attachment_13950777\" class=\"wp-caption aligncenter\" style=\"max-width: 2348px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950777\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90.jpg\" alt=\"A woman in 1940-era clothing stands in a walled garden clutching a baby. A dog stands behind them.\" width=\"2348\" height=\"1306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90.jpg 2348w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90-800x445.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90-1020x567.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90-768x427.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90-1536x854.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90-2048x1139.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90-1038x576.jpg 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90-1920x1068.jpg 1920w\" sizes=\"(max-width: 2348px) 100vw, 2348px\">\u003cfigcaption class=\"wp-caption-text\">Sandra Hüller plays a mother who lives next door to Auschwitz in ‘The Zone of Interest.’ \u003ccite>(A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>International films continue to perform well\u003c/h2>\n\u003cp>In 2018, Alfonso Cuarón’s \u003cem>Roma\u003c/em> was only the fifth non-English-language film to ever be nominated for both best international film and best picture. But just since then, there have been four more: \u003cem>Parasite\u003c/em>, \u003cem>Drive My Car\u003c/em>, \u003cem>All Quiet on the Western Front\u003c/em> and now \u003ca href=\"https://www.kqed.org/arts/13940387/the-zone-of-interest-movie-review\">\u003cem>The Zone of Interest\u003c/em>\u003c/a>, the disturbing study of a family living happily just outside the walls of Auschwitz, where the father is commandant. The short version? There’s no longer any reason to suspect that a film with subtitles won’t be nominated for best picture, which is a great development.\u003c/p>\n\u003cfigure id=\"attachment_13950779\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950779\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/ij_dod_dtlr2_uhd_r709f_stills_230405.088296-1-_custom-454eb63e13f95f1d3be680076bcb27ac7f602a10-scaled-e1706033430838.jpg\" alt=\"An older white man wearing a distinctive hat sits in a vehicle looking worried. Behind him, a woman and tween child sit.\" width=\"1920\" height=\"803\">\u003cfigcaption class=\"wp-caption-text\">‘Indiana Jones and the Dial of Destiny’ starring Harrison Ford (above) brought composer John Williams his 54th Oscar nomination. \u003ccite>(Lucasfilm Ltd.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>John Williams and Thelma Schoonmaker set (or keep extending) records\u003c/h2>\n\u003cp>Williams, who has written much of the most beloved rousing movie music of the last 60 or so years, received his 54th nomination for the score of \u003cem>\u003ca href=\"https://www.kqed.org/arts/13930931/harrison-ford-gets-a-swashbuckling-sendoff-in-indiana-jones-and-the-dial-of-destiny\">Indiana Jones and the Dial of Destiny\u003c/a>\u003c/em>. It’s more nominations than any other living person has. And Schoonmaker, longtime collaborator of Martin Scorsese, became the most nominated editor ever when she was recognized for the ninth time, for his film \u003cem>Killers of the Flower Moon\u003c/em>. (She’s won for \u003cem>Raging Bull\u003c/em>, \u003cem>The Aviator\u003c/em> and \u003cem>The Departed\u003c/em>.) Both Williams and Schoonmaker are examples of essential collaborators without whom celebrated directors could not do their work, whether they’re making tragic epics or swashbuckling adventures.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>I try not to be too dogmatic these days about telling people that there are certain movies they should see only on the big screen. That said, if there is one movie right now that you should see in a theater if you can, it’s the transfixing new drama \u003cem>Inside the Yellow Cocoon Shell\u003c/em>, from the Vietnamese writer and director Phạm Thiên Ân.\u003c/p>\n\u003cp>It’s the kind of film that envelops you with its gorgeous images and hypnotic rhythms, and it requires close, wide-awake attention to work its peculiar magic. Give it that attention, and you may find it as overwhelming as I did — an experience that makes you feel as if you’ve been quietly transported to another world.\u003c/p>\n\u003cp>[aside postid='arts_13950482']The story begins in Saigon in 2018, at a bustling outdoor dining area next door to a soccer game. Amid the crowd, three young men are having a meal and some heavy spiritual conversation. Two of them talk about matters of faith and destiny, while a third one, named Thien, mostly remains silent and looks none too interested in the discussion. Suddenly, there’s a loud crash, and the camera pans sideways to reveal the wreckage of a fatal motorbike collision. Nearly everyone runs over to see if they can help — everyone, that is, except Thien, who remains at his table, lost in thought.\u003c/p>\n\u003cp>It’s as if Thien, who’s played by the actor Le Phong Vu, doesn’t realize yet that he’s the protagonist of this movie, or that his life is about to take a major swerve. A few hours later, Thien is informed that the woman killed in the accident was none other than his sister-in-law, Teresa. Is it some cruel coincidence that he was there when it happened, but showed such indifference? Was it an act of divine grace that spared the life of Teresa’s 5-year-old son, Dao, who survived the crash with barely a scrape?\u003c/p>\n\u003cp>Either way, Thien must deal with the fallout by temporarily taking care of his nephew. And so begins a mysterious journey into the Vietnamese countryside, where Thien and Dao attend memorial services for Teresa, who was an observant Catholic.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Along the way, Thien reunites with old friends, including an old flame who’s now a nun. He tries to find his brother, Teresa’s estranged husband, who apparently hasn’t been seen for years. But it gradually becomes clear that Thien isn’t just looking for a person. He’s lost, too — and now he’s searching for himself.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IqdAUaqbhmk\u003c/p>\n\u003cp>The beauty of \u003cem>Inside the Yellow Cocoon Shell\u003c/em> is the way director Phạm invites us to search alongside Thien. Most of the movie is composed in long, unbroken takes, to quietly mesmerizing effect: By refusing to cut away or break his story into easily digestible segments, Phạm leaves you feeling as though you’re experiencing life through his characters’ eyes.\u003c/p>\n\u003cp>There’s one extraordinary shot that runs more than 20 minutes, in which Thien rides his bike down a dirt road, stops at the home of a village elder and goes inside for some conversation. You’re struck at first by the jaw-dropping virtuosity of the camerawork, but after a while, you forget about the technique and are simply caught up in the older man’s story. He talks about his lifelong efforts to perform acts of goodness and decency, in repentance for the violence he committed as a soldier during the Vietnam War.\u003c/p>\n\u003cp>\u003cem>[aside postid='arts_13940387']Inside the Yellow Cocoon Shell\u003c/em> is deeply invested in questions of good and evil, mortality and immortality. But while the movie offers a fascinating portrait of Vietnamese Christianity, unfolding in village homes crowded with Jesus paintings and figurines, it never suggests that the truth can be found within one religious tradition or doctrine. Taking in this movie, with its stunning landscapes and soundscapes, I was often reminded of the Thai filmmaker Apichatpong Weerasethakul, whose films, like \u003ca href=\"https://www.npr.org/2022/05/13/1098496509/memoria-is-a-marvelously-strange-sonic-detective-story\">\u003cem>Memoria\u003c/em> \u003c/a>or \u003cem>Syndromes and a Century\u003c/em>, are steeped in his Buddhist worldview.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As Thien’s journey continues, the narrative seems to slip between past and present, dream and reality, in ways that are baffling but also intoxicating. What matters here, finally, isn’t whether Thien finds the answers to his questions; what matters is that, after so many years of apparent apathy, he’s asking those questions at all. \u003cem>Inside the Yellow Cocoon Shell\u003c/em> is an entrancing work of art, but it’s also wise enough to leave its deepest mysteries unsolved.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Inside+the+Yellow+Cocoon+Shell%27+is+a+film+where+a+big+screen+makes+a+big+difference&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Along the way, Thien reunites with old friends, including an old flame who’s now a nun. He tries to find his brother, Teresa’s estranged husband, who apparently hasn’t been seen for years. But it gradually becomes clear that Thien isn’t just looking for a person. He’s lost, too — and now he’s searching for himself.\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/IqdAUaqbhmk'\n title='//www.youtube.com/embed/IqdAUaqbhmk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The beauty of \u003cem>Inside the Yellow Cocoon Shell\u003c/em> is the way director Phạm invites us to search alongside Thien. Most of the movie is composed in long, unbroken takes, to quietly mesmerizing effect: By refusing to cut away or break his story into easily digestible segments, Phạm leaves you feeling as though you’re experiencing life through his characters’ eyes.\u003c/p>\n\u003cp>There’s one extraordinary shot that runs more than 20 minutes, in which Thien rides his bike down a dirt road, stops at the home of a village elder and goes inside for some conversation. You’re struck at first by the jaw-dropping virtuosity of the camerawork, but after a while, you forget about the technique and are simply caught up in the older man’s story. He talks about his lifelong efforts to perform acts of goodness and decency, in repentance for the violence he committed as a soldier during the Vietnam War.\u003c/p>\n\u003cp>\u003cem>\u003c/p>\u003c/div>",
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"content": "\u003cp>Though they may not often get shine on the big screen, trans men, butch lesbians and studs have fascinating stories that span time periods and cultures. An upcoming month of screenings at Berkeley Art Museum and Pacific Film Archive (BAMPFA) offers a rare opportunity to take in a diverse selection of films with masculine-of-center, gender-nonconforming protagonists.\u003c/p>\n\u003cp>Curated by queer film historian Jenni Olson and trans critic Caden Mark Gardner, \u003ca href=\"https://bampfa.org/program/masc\">\u003ci>Masc: Trans Men, Butch Dykes, and Gender Nonconforming Heroes in Cinema\u003c/i>\u003c/a> kicks off on Jan. 19 with a screening of \u003ci>No Ordinary Man\u003c/i> (directed by Aisling Chin-Yee and Chase Joynt, 2020), a documentary about jazz pianist Billy Tipton, who was outed as assigned female at birth and slandered in the press after his death in 1989. The film not only uplifts his musical contributions, but also explores the sacrifices he made in order to pass. At the screening, Olson will host a discussion with premier trans historian Susan Stryker and GLBT Historical Society archivist Isaac Fellman. [aside postid='arts_13900522']\u003c/p>\n\u003cp>Catherine Gund and Daresha Kyi’s \u003ci>Chavela\u003c/i> (2017), screening Jan. 28, is another music documentary that spotlights the breathtakingly talented and frustratingly complicated late Mexican singer Chavela Vargas, who influenced artistic greats like Pedro Almodóvar and once dated Frida Kahlo. Marcia Ochoa, co-founder of El/La Para Trans Latinas, will accompany Olson in introducing the film.\u003c/p>\n\u003cp>Another highlight of the program, Daniel Peddle’s \u003ci>The Aggressives\u003c/i> (2005), screening Feb. 17, follows trans masculine folks in the New York ballroom scene of the 1990s and 2000s, where many queer and gender-nonconforming people turn for a creative outlet and chosen family. Mindfulness teacher and activist Fresh “Lev” White and UC Berkeley Professor Mel Y. Chen will join Olson in a discussion.\u003c/p>\n\u003cp>And Kim Longinotto and Jano Williams’ \u003ci>Shinjuku Boys\u003c/i> (1995), screening Feb. 25, follows three trans men (known as onabe in Japan) who entertain women at Tokyo host clubs. A discussion will follow with artist, filmmaker and scholar TT Takemoto and San Francisco State University provost Amy Sueyoshi.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In addition to documentaries, the five-week \u003cem>Masc\u003c/em> program includes narrative films and shorts that, taken together, uplift the many fluid gender expressions that have always been here.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Masc: Trans Men, Butch Dykes, and Gender Nonconforming Heroes’ takes place at BAMPFA in Berkeley Jan. 19–Feb. 25. \u003ca href=\"https://bampfa.org/program/masc\">Full film schedule here\u003c/a>. \u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Catherine Gund and Daresha Kyi’s \u003ci>Chavela\u003c/i> (2017), screening Jan. 28, is another music documentary that spotlights the breathtakingly talented and frustratingly complicated late Mexican singer Chavela Vargas, who influenced artistic greats like Pedro Almodóvar and once dated Frida Kahlo. Marcia Ochoa, co-founder of El/La Para Trans Latinas, will accompany Olson in introducing the film.\u003c/p>\n\u003cp>Another highlight of the program, Daniel Peddle’s \u003ci>The Aggressives\u003c/i> (2005), screening Feb. 17, follows trans masculine folks in the New York ballroom scene of the 1990s and 2000s, where many queer and gender-nonconforming people turn for a creative outlet and chosen family. Mindfulness teacher and activist Fresh “Lev” White and UC Berkeley Professor Mel Y. Chen will join Olson in a discussion.\u003c/p>\n\u003cp>And Kim Longinotto and Jano Williams’ \u003ci>Shinjuku Boys\u003c/i> (1995), screening Feb. 25, follows three trans men (known as onabe in Japan) who entertain women at Tokyo host clubs. A discussion will follow with artist, filmmaker and scholar TT Takemoto and San Francisco State University provost Amy Sueyoshi.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In addition to documentaries, the five-week \u003cem>Masc\u003c/em> program includes narrative films and shorts that, taken together, uplift the many fluid gender expressions that have always been here.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Masc: Trans Men, Butch Dykes, and Gender Nonconforming Heroes’ takes place at BAMPFA in Berkeley Jan. 19–Feb. 25. \u003ca href=\"https://bampfa.org/program/masc\">Full film schedule here\u003c/a>. \u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Words like “important” and “vital” are thrown around possibly a little too much in film criticism. It’s not that we don’t mean it — it’s just that sometimes we (ok, I) can get a bit excited. And when watching and reviewing good films in real time, it’s impossible to know what is yet to come. Will there be something else that makes that superlative seem silly in retrospect? Often times, yes.\u003c/p>\n\u003cp>Ava DuVernay’s new film \u003cem>Origin\u003c/em> is that something else. It is a powerful and artistic interpretation of an academic book that was anything but an obvious candidate for a narrative feature.\u003c/p>\n\u003cp>[aside postid='arts_13858815']The book in question is\u003cem> Caste: The Origins of Our Discontents\u003c/em>, in which Pulitzer Prize-winning author Isabel Wilkerson offers an overriding theory about power and hierarchy and systemic dehumanization in social structures, connecting the Black experience in America to the Dalits of India and Jewish people in Nazi Germany. \u003cem>The New York Times\u003c/em> reviewer called it one of the most powerful non-fiction books he’d ever encountered and “the keynote nonfiction book of the American century thus far.”\u003c/p>\n\u003cp>That \u003cem>Caste\u003c/em> was appealing to DuVernay, who has made documentaries like \u003cem>13th\u003c/em>, connecting slavery to mass incarceration of Black men, is not surprising. What’s she’s done with it is. Instead of rehashing the facts of the book, DuVernay has turned \u003cem>Caste\u003c/em> into an investigative, fictionalized drama in which we follow the character Isabel Wilkerson as she puts the pieces together while her life crumbles.\u003c/p>\n\u003cp>With an unconventional structure, in which we are often transported to different stories in different times, in the American South, Nazi Germany and early 20th century India, \u003cem>Origin\u003c/em> is nonetheless alarmingly effective, a riveting and haunting journey to a kind of enlightenment.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=s27ETxdCUqw\u003c/p>\n\u003cp>Wilkerson is played beautifully by Aunjanue Ellis-Taylor, an actor deep enough to engage with the academic and intellectual inquiries of the film, and charismatic enough to make what sounds like homework absorbing. Hers is the kind of 360-degree Black woman that we don’t see leading films very often: She is at once confident and full of doubt and vulnerability, accomplished but searching, determined and still wary. And she’s unafraid to pursue her hunch that everyone, civilians and book editors alike, seems to be telling her isn’t worth it.\u003c/p>\n\u003cp>This is a character who is surrounded by love when we meet her, with a fairly perfect and supportive husband (Jon Bernthal), her aging mother Ruby (Emily Yancy) and a cousin/confidant in Marion (Niecy Nash-Betts). She is not immediately interested in an assignment about Trayvon Martin, and is a bit stuck knowing that whatever she does, she’ll have to give herself over fully to it. In \u003cem>Origin\u003c/em>, a push comes in the form of loss and her research takes on a vital urgency to, not to be too hyperbolic, figure out why everything is rotten before she too leaves the earth.\u003c/p>\n\u003cp>[aside postid='arts_13940387']DuVernay takes us into her findings as Wilkerson learns about a group of Harvard students, two Black, two white, who integrate themselves into a segregated Southern community to study it, a Nazi party member who fell in love with a Jewish woman, and an Indian intellectual who rose out of his lowly caste and advocated for Dalit rights. They feel a bit like different movies. But while it might not be the most elegantly stitched together anthology, it works on a gut level. DuVernay and Ellis-Taylor commit to the big swing, and audiences who give it a chance may find themselves changed — or at least a little more curious, a little more alert — because of it.\u003c/p>\n\u003cp>Is it premature to say that \u003cem>Origin\u003c/em> might just be DuVernay’s magnum opus? Well, perhaps. But hopefully it’s the start of a vibrant and bold new era of storytelling for her, with those pesky wrinkles in time firmly in the rearview mirror.\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>‘Origin’ opens in the Bay Area on Jan. 17, 2024. It is released nationwide on Jan. 19.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Words like “important” and “vital” are thrown around possibly a little too much in film criticism. It’s not that we don’t mean it — it’s just that sometimes we (ok, I) can get a bit excited. And when watching and reviewing good films in real time, it’s impossible to know what is yet to come. Will there be something else that makes that superlative seem silly in retrospect? Often times, yes.\u003c/p>\n\u003cp>Ava DuVernay’s new film \u003cem>Origin\u003c/em> is that something else. It is a powerful and artistic interpretation of an academic book that was anything but an obvious candidate for a narrative feature.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The book in question is\u003cem> Caste: The Origins of Our Discontents\u003c/em>, in which Pulitzer Prize-winning author Isabel Wilkerson offers an overriding theory about power and hierarchy and systemic dehumanization in social structures, connecting the Black experience in America to the Dalits of India and Jewish people in Nazi Germany. \u003cem>The New York Times\u003c/em> reviewer called it one of the most powerful non-fiction books he’d ever encountered and “the keynote nonfiction book of the American century thus far.”\u003c/p>\n\u003cp>That \u003cem>Caste\u003c/em> was appealing to DuVernay, who has made documentaries like \u003cem>13th\u003c/em>, connecting slavery to mass incarceration of Black men, is not surprising. What’s she’s done with it is. Instead of rehashing the facts of the book, DuVernay has turned \u003cem>Caste\u003c/em> into an investigative, fictionalized drama in which we follow the character Isabel Wilkerson as she puts the pieces together while her life crumbles.\u003c/p>\n\u003cp>With an unconventional structure, in which we are often transported to different stories in different times, in the American South, Nazi Germany and early 20th century India, \u003cem>Origin\u003c/em> is nonetheless alarmingly effective, a riveting and haunting journey to a kind of enlightenment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/s27ETxdCUqw'\n title='//www.youtube.com/embed/s27ETxdCUqw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Wilkerson is played beautifully by Aunjanue Ellis-Taylor, an actor deep enough to engage with the academic and intellectual inquiries of the film, and charismatic enough to make what sounds like homework absorbing. Hers is the kind of 360-degree Black woman that we don’t see leading films very often: She is at once confident and full of doubt and vulnerability, accomplished but searching, determined and still wary. And she’s unafraid to pursue her hunch that everyone, civilians and book editors alike, seems to be telling her isn’t worth it.\u003c/p>\n\u003cp>This is a character who is surrounded by love when we meet her, with a fairly perfect and supportive husband (Jon Bernthal), her aging mother Ruby (Emily Yancy) and a cousin/confidant in Marion (Niecy Nash-Betts). She is not immediately interested in an assignment about Trayvon Martin, and is a bit stuck knowing that whatever she does, she’ll have to give herself over fully to it. In \u003cem>Origin\u003c/em>, a push comes in the form of loss and her research takes on a vital urgency to, not to be too hyperbolic, figure out why everything is rotten before she too leaves the earth.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>DuVernay takes us into her findings as Wilkerson learns about a group of Harvard students, two Black, two white, who integrate themselves into a segregated Southern community to study it, a Nazi party member who fell in love with a Jewish woman, and an Indian intellectual who rose out of his lowly caste and advocated for Dalit rights. They feel a bit like different movies. But while it might not be the most elegantly stitched together anthology, it works on a gut level. DuVernay and Ellis-Taylor commit to the big swing, and audiences who give it a chance may find themselves changed — or at least a little more curious, a little more alert — because of it.\u003c/p>\n\u003cp>Is it premature to say that \u003cem>Origin\u003c/em> might just be DuVernay’s magnum opus? Well, perhaps. But hopefully it’s the start of a vibrant and bold new era of storytelling for her, with those pesky wrinkles in time firmly in the rearview mirror.\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>‘Origin’ opens in the Bay Area on Jan. 17, 2024. It is released nationwide on Jan. 19.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Space Brawls, Flying Mice and a Zero-Gravity Cold War? Enjoy a Twisty Ride on ‘I.S.S.’",
"headTitle": "Space Brawls, Flying Mice and a Zero-Gravity Cold War? Enjoy a Twisty Ride on ‘I.S.S.’ | KQED",
"content": "\u003cp>Movies that trap a small group of people together in confined quarters, then force them to turn on each other because of some god-awful life or death situation are quantifiably friggin’ great. They just are. Think about the very essence of 1982’s \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=Esy-776wcIo\">The Thing\u003c/a>\u003c/em>. (“Nobody trusts anybody now and we’re all very tired.”) Consider 1979’s \u003cem>Alien\u003c/em>, with its invisible murder-parasites and backstabbing secret androids. Ponder all of the magnificent, close-proximity paranoia of \u003cem>10 Cloverfield Lane\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13939153']If, like me, you enjoy watching humans losing trust in those they’re cohabiting with and spiraling into violence, you’re going to get a kick out of the new thriller \u003cem>I.S.S.\u003c/em> The I.S.S. in the title, of course, refers to the International Space Station. The Earth-orbiting base stands, opening titles emphasize, as a “symbol of United States and Russian collaboration after the Cold War.” That is until World War III breaks out on Earth (with no warning whatsoever!) and a team of three American astronauts is tasked with taking the I.S.S. back “by any means necessary.” Escalating the situation is the fact that the three Russian cosmonauts on board have received the exact same instructions from Moscow. And they were all just singing “\u003ca href=\"https://www.youtube.com/watch?v=n4RjJKxsamQ\">Wind of Change\u003c/a>” by Scorpions together, like, five minutes ago! D’oh!\u003c/p>\n\u003cp>So who’s on board and frantically trying to stab each other in the back? On the American side, there’s Kira Foster (\u003cem>West Side Story\u003c/em>’s Ariana DeBose), a woman who’s married to her work, baby-talks to the mice she’s experimenting on, and happens to leave Earth the very same day the nuclear bombs start detonating. (How lucky!) Her colleagues are hardworking and affable Gordon Barrett (Chris Messina from \u003cem>The Mindy Project\u003c/em>) and Christian Campbell (John Gallagher Jr.), a man whose entire personality appears to be “I have two daughters.” (Gallagher Jr., you might recall, was in both \u003cem>10 Cloverfield Lane\u003c/em> and \u003cem>Underwater\u003c/em>, thereby making him somewhat of a specialist in crises-in-close-quarters scenarios. I would strongly advise against ever getting into an elevator with this dude.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=i48f4AvS-Pk\u003c/p>\n\u003cp>On the Russian side is Nicholai Pulov (Costa Ronin from \u003cem>The Americans\u003c/em>), Alexey Pulov (Pilou Asbæk from \u003cem>Game of Thrones\u003c/em>) and Nika Vetrov (Masha Mashkova from … Russian things). Nika is having a sweet space romance with Gordon, which I assume in real life would be terribly annoying for everyone else living in this tin can, but in movie-land makes the onboard alliances a little more complicated, so yay!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The joy of \u003cem>I.S.S.\u003c/em> is never quite being sure who’s telling the truth and who’s up to no good, so I’m not going to discuss the course of events here in any more detail. What I will say is that \u003cem>I.S.S.\u003c/em> does everything you want a space thriller to do. Does someone leave the station to fix something and end up in a precarious situation out in space? Of course! Are there a couple of zero-gravity brawls that are a little bit unintentionally funny? Yes! Is there a secret science project on board that might save humanity? Maybe, maybe not. You’ll have to wait and see. There are even floating mice. (And no one has ever even \u003cem>asked\u003c/em> for floating mice in a movie, so that’s pretty cool.)\u003c/p>\n\u003cp>[aside postid='arts_13939927']If there is a sensible lesson or moral to be gleaned from \u003cem>I.S.S.\u003c/em>, it’s that war can turn literally anywhere into a battleground and anyone into a killer — even nerdy cosmos boffins. But \u003cem>I.S.S.\u003c/em> is best enjoyed for what it is: A claustrophobic creeper of a movie designed to be its own wacky little roller coaster — a bunch of jarring twists and turns peppered with some nice views, basically.\u003c/p>\n\u003cp>In order to fully enjoy \u003cem>I.S.S.\u003c/em> on that basis, it is absolutely necessary to never, not once, even for a moment, think about how preposterous a setup it is that America and Russia would suddenly start flinging nuclear devices at one another without any tensions escalating beforehand. The concept is a stretch, at best. Don’t let that spoil the fun. \u003cem>I.S.S.\u003c/em> is 95 minutes of pure, escapist amusement and floaty hijinks. And, let’s be honest, when things are as bleak on Earth as they are right now, a little trip to space — even one in the middle of World War III — is kind of a nice respite.\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>‘I.S.S.’ is in theaters on Jan. 19, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Movies that trap a small group of people together in confined quarters, then force them to turn on each other because of some god-awful life or death situation are quantifiably friggin’ great. They just are. Think about the very essence of 1982’s \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=Esy-776wcIo\">The Thing\u003c/a>\u003c/em>. (“Nobody trusts anybody now and we’re all very tired.”) Consider 1979’s \u003cem>Alien\u003c/em>, with its invisible murder-parasites and backstabbing secret androids. Ponder all of the magnificent, close-proximity paranoia of \u003cem>10 Cloverfield Lane\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>If, like me, you enjoy watching humans losing trust in those they’re cohabiting with and spiraling into violence, you’re going to get a kick out of the new thriller \u003cem>I.S.S.\u003c/em> The I.S.S. in the title, of course, refers to the International Space Station. The Earth-orbiting base stands, opening titles emphasize, as a “symbol of United States and Russian collaboration after the Cold War.” That is until World War III breaks out on Earth (with no warning whatsoever!) and a team of three American astronauts is tasked with taking the I.S.S. back “by any means necessary.” Escalating the situation is the fact that the three Russian cosmonauts on board have received the exact same instructions from Moscow. And they were all just singing “\u003ca href=\"https://www.youtube.com/watch?v=n4RjJKxsamQ\">Wind of Change\u003c/a>” by Scorpions together, like, five minutes ago! D’oh!\u003c/p>\n\u003cp>So who’s on board and frantically trying to stab each other in the back? On the American side, there’s Kira Foster (\u003cem>West Side Story\u003c/em>’s Ariana DeBose), a woman who’s married to her work, baby-talks to the mice she’s experimenting on, and happens to leave Earth the very same day the nuclear bombs start detonating. (How lucky!) Her colleagues are hardworking and affable Gordon Barrett (Chris Messina from \u003cem>The Mindy Project\u003c/em>) and Christian Campbell (John Gallagher Jr.), a man whose entire personality appears to be “I have two daughters.” (Gallagher Jr., you might recall, was in both \u003cem>10 Cloverfield Lane\u003c/em> and \u003cem>Underwater\u003c/em>, thereby making him somewhat of a specialist in crises-in-close-quarters scenarios. I would strongly advise against ever getting into an elevator with this dude.)\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/i48f4AvS-Pk'\n title='//www.youtube.com/embed/i48f4AvS-Pk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On the Russian side is Nicholai Pulov (Costa Ronin from \u003cem>The Americans\u003c/em>), Alexey Pulov (Pilou Asbæk from \u003cem>Game of Thrones\u003c/em>) and Nika Vetrov (Masha Mashkova from … Russian things). Nika is having a sweet space romance with Gordon, which I assume in real life would be terribly annoying for everyone else living in this tin can, but in movie-land makes the onboard alliances a little more complicated, so yay!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The joy of \u003cem>I.S.S.\u003c/em> is never quite being sure who’s telling the truth and who’s up to no good, so I’m not going to discuss the course of events here in any more detail. What I will say is that \u003cem>I.S.S.\u003c/em> does everything you want a space thriller to do. Does someone leave the station to fix something and end up in a precarious situation out in space? Of course! Are there a couple of zero-gravity brawls that are a little bit unintentionally funny? Yes! Is there a secret science project on board that might save humanity? Maybe, maybe not. You’ll have to wait and see. There are even floating mice. (And no one has ever even \u003cem>asked\u003c/em> for floating mice in a movie, so that’s pretty cool.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>If there is a sensible lesson or moral to be gleaned from \u003cem>I.S.S.\u003c/em>, it’s that war can turn literally anywhere into a battleground and anyone into a killer — even nerdy cosmos boffins. But \u003cem>I.S.S.\u003c/em> is best enjoyed for what it is: A claustrophobic creeper of a movie designed to be its own wacky little roller coaster — a bunch of jarring twists and turns peppered with some nice views, basically.\u003c/p>\n\u003cp>In order to fully enjoy \u003cem>I.S.S.\u003c/em> on that basis, it is absolutely necessary to never, not once, even for a moment, think about how preposterous a setup it is that America and Russia would suddenly start flinging nuclear devices at one another without any tensions escalating beforehand. The concept is a stretch, at best. Don’t let that spoil the fun. \u003cem>I.S.S.\u003c/em> is 95 minutes of pure, escapist amusement and floaty hijinks. And, let’s be honest, when things are as bleak on Earth as they are right now, a little trip to space — even one in the middle of World War III — is kind of a nice respite.\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>‘I.S.S.’ is in theaters on Jan. 19, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "10 Reasons to Skip ‘Back to Black,’ the New Amy Winehouse Biopic",
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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’",
"headTitle": "The Path to Hell Is Paved with Executive Perks in ‘The Zone of Interest’ | KQED",
"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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}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/news/series/baycurious",
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"source": "kqed",
"order": 3
},
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"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
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}
},
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"id": "bbc-world-service",
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
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"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
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"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
"meta": {
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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}
},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"officialWebsiteLink": "/podcasts/closealltabs",
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"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
"site": "radio",
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},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
"link": "/forum",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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