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"title": "Teen Dreams and Adult Nightmares in Sofia Coppola’s ‘Priscilla’",
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"content": "\u003cp>Dreamily gazing at the album covers of Elvis Presley was not, statistically speaking, a rare habit among American teen girls in the late 1950s and early ’60s.\u003c/p>\n\u003cp>[aside postid='arts_13936873']But for Priscilla Beaulieu, teenage fantasy became a strange and surreal reality. Sofia Coppola’s \u003cem>Priscilla\u003c/em>, starring Cailee Spaeny, captures all the dreaminess, the absurdity and, finally, the nightmare of falling in love with Elvis.\u003c/p>\n\u003cp>Priscilla was just 14 years-old — a 9th grader — when she first met him. It was 1959. She was living in West Germany, where her Air Force officer stepfather was stationed. The swoony early scenes of Coppola’s film find a solitary Priscilla sipping soda in a Navy base diner while Frankie Avalon’s “Venus” (“Venus, make her fair / A lovely girl with sunlight in her hair”) plays around her, as covered by the band Phoenix.\u003c/p>\n\u003cfigure id=\"attachment_13936976\" class=\"wp-caption aligncenter\" style=\"max-width: 1932px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936976\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-10.59.21-AM.png\" alt=\"A teenage girl in 1950s-style pink short-sleeved sweater and black cigarette pants lies on her belly, feet in the air, with schoolbooks laid out in front of her.\" width=\"1932\" height=\"1230\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-10.59.21-AM.png 1932w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-10.59.21-AM-800x509.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-10.59.21-AM-1020x649.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-10.59.21-AM-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-10.59.21-AM-768x489.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-10.59.21-AM-1536x978.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-10.59.21-AM-1920x1222.png 1920w\" sizes=\"(max-width: 1932px) 100vw, 1932px\">\u003cfigcaption class=\"wp-caption-text\">Cailee Spaeny in ‘Priscilla.’ \u003ccite>(A24 via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A man approaches and asks if she likes Elvis. Of course she does. Would she like to meet him? Um, what? After some negotiations with her parents, Priscilla is sitting there on the sofa at a small party when the King of Rock ‘n’ Roll, himself (Jacob Elordi), strolls down the stairs. Big, big sigh.\u003c/p>\n\u003cp>Coppola, the writer-director of \u003cem>The Virgin Suicides\u003c/em>, \u003cem>Lost in Translation\u003c/em> and \u003cem>Somewhere\u003c/em>, has always been innately attuned to the forming identities, swelling desires and intimate revelations of young women. In the story of Priscilla Presley (the film is based on her 1985 memoir, \u003cem>Elvis and Me\u003c/em>), Coppola has found a tale tailor-made for her delicately perceptive style of filmmaking.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As a movie, \u003cem>Priscilla\u003c/em> is the diametric opposite of Baz Luhrmann’s \u003cem>Elvis\u003c/em>. Where Luhrmann’s film was lurid and careening, Coppola’s is muted and textured. Her film is a kind of fairy tale that turns claustrophobic and cautionary.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DBWk6BohVXk\u003c/p>\n\u003cp>\u003cem>Priscilla\u003c/em> is, at least at first, quite funny. After Priscilla initially catches Elvis’ eye at that party, she’s back at school learning about the food groups. How could anyone possibly stomach that? Or when, after Elvis hasn’t called following his stint in the military, Priscilla’s mother asks her if there aren’t any boys in school she might be interested in, instead. Priscilla doesn’t need to say anything; just the image of lining up your average 9th grade boy against Elvis Presley is enough.\u003c/p>\n\u003cp>[aside postid='arts_13936628']Yet their courtship continues in somewhat traditional fashion. Elvis, played with relaxed magnetism by Elordi (\u003cem>The Kissing Booth\u003c/em>, \u003cem>Saltburn\u003c/em>), is drawn to Priscilla because she reminds him of home; it’s clear her purity is part of her appeal to him. It’s a long time before they have sex, though her youth remains tacitly problematic. “Wow, she’s young,” says one woman watching Elvis lead Priscilla upstairs. “Like a little girl.”\u003c/p>\n\u003cp>Their life together is initially sweet if deranged. Priscilla drifts through a dream world even if Elvis’ extremes are glaring to us. His bedroom in Graceland is comically gaudy. “I got this for you,” we hear Elvis say kindly, before a handgun is handed over.\u003c/p>\n\u003cfigure id=\"attachment_13936977\" class=\"wp-caption aligncenter\" style=\"max-width: 1896px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936977\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-11.04.42-AM.png\" alt=\"A handsome young white man with dark hair sits in a chair playing guitar with his feet up on a desk. A window with brown drapes is behind him.\" width=\"1896\" height=\"1172\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-11.04.42-AM.png 1896w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-11.04.42-AM-800x495.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-11.04.42-AM-1020x631.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-11.04.42-AM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-11.04.42-AM-768x475.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-11.04.42-AM-1536x949.png 1536w\" sizes=\"(max-width: 1896px) 100vw, 1896px\">\u003cfigcaption class=\"wp-caption-text\">Jacob Elordi in ‘Priscilla.’ \u003ccite>(Sabrina Lantos/ A24 via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No Presley songs play in \u003cem>Priscilla\u003c/em>. (While Priscilla Presley is an executive producer, the Elvis estate didn’t participate in the film.) But it does share a telling track ( Carl Orff’s “Gassenhauer” ) with Terence Malick’s \u003cem>Badlands\u003c/em>, another movie about an underage teen girl (Sissy Spacek) who throws her life in with a charismatic drifter with matinee-idol looks (Martin Sheen).\u003c/p>\n\u003cp>And like they do for Holly in \u003cem>Badlands\u003c/em>, things turn increasingly dark for Priscilla. Elvis treats her like a doll he keeps at home while he goes in and out. “It’s either me or a career, baby,” he tells her. Coppola, who dedicates the movie to her mother, Eleanor Coppola, has long specialized in gilded cages (\u003cem>Marie Antoinette\u003c/em>, \u003cem>The Bling Ring\u003c/em>). Graceland turns out to be a prison to Priscilla.\u003c/p>\n\u003cp>[aside postid='arts_13936929']There aren’t many false notes in Coppola’s richly layered film, handsomely shot by Philippe Le Sourd, with sumptuous production design from Tamara Deverell and fine, toned-down costumes by Stacey Battat.\u003c/p>\n\u003cp>But \u003cem>Priscilla\u003c/em> fades where \u003cem>Elvis\u003c/em> found its footing. When Presley’s downturn accelerates in Las Vegas, Luhrmann’s movie swelled with tragedy. In the same time period here, Priscilla awakens. Yet it feels underdeveloped, coming too quickly, in a sudden rush — albeit a terrific rush, with Dolly Parton playing.\u003c/p>\n\u003cp>A constant throughout, though, is Spaeny. This is a deft breakthrough performance perfectly poised between youthful fantasy and adult reality.\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>‘Priscilla’ is released nationwide on Nov. 3, 2023.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The much-anticipated movie captures the dreaminess, the absurdity and the nightmare of falling in love with Elvis.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dreamily gazing at the album covers of Elvis Presley was not, statistically speaking, a rare habit among American teen girls in the late 1950s and early ’60s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But for Priscilla Beaulieu, teenage fantasy became a strange and surreal reality. Sofia Coppola’s \u003cem>Priscilla\u003c/em>, starring Cailee Spaeny, captures all the dreaminess, the absurdity and, finally, the nightmare of falling in love with Elvis.\u003c/p>\n\u003cp>Priscilla was just 14 years-old — a 9th grader — when she first met him. It was 1959. She was living in West Germany, where her Air Force officer stepfather was stationed. The swoony early scenes of Coppola’s film find a solitary Priscilla sipping soda in a Navy base diner while Frankie Avalon’s “Venus” (“Venus, make her fair / A lovely girl with sunlight in her hair”) plays around her, as covered by the band Phoenix.\u003c/p>\n\u003cfigure id=\"attachment_13936976\" class=\"wp-caption aligncenter\" style=\"max-width: 1932px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936976\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-10.59.21-AM.png\" alt=\"A teenage girl in 1950s-style pink short-sleeved sweater and black cigarette pants lies on her belly, feet in the air, with schoolbooks laid out in front of her.\" width=\"1932\" height=\"1230\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-10.59.21-AM.png 1932w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-10.59.21-AM-800x509.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-10.59.21-AM-1020x649.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-10.59.21-AM-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-10.59.21-AM-768x489.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-10.59.21-AM-1536x978.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-10.59.21-AM-1920x1222.png 1920w\" sizes=\"(max-width: 1932px) 100vw, 1932px\">\u003cfigcaption class=\"wp-caption-text\">Cailee Spaeny in ‘Priscilla.’ \u003ccite>(A24 via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A man approaches and asks if she likes Elvis. Of course she does. Would she like to meet him? Um, what? After some negotiations with her parents, Priscilla is sitting there on the sofa at a small party when the King of Rock ‘n’ Roll, himself (Jacob Elordi), strolls down the stairs. Big, big sigh.\u003c/p>\n\u003cp>Coppola, the writer-director of \u003cem>The Virgin Suicides\u003c/em>, \u003cem>Lost in Translation\u003c/em> and \u003cem>Somewhere\u003c/em>, has always been innately attuned to the forming identities, swelling desires and intimate revelations of young women. In the story of Priscilla Presley (the film is based on her 1985 memoir, \u003cem>Elvis and Me\u003c/em>), Coppola has found a tale tailor-made for her delicately perceptive style of filmmaking.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As a movie, \u003cem>Priscilla\u003c/em> is the diametric opposite of Baz Luhrmann’s \u003cem>Elvis\u003c/em>. Where Luhrmann’s film was lurid and careening, Coppola’s is muted and textured. Her film is a kind of fairy tale that turns claustrophobic and cautionary.\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/DBWk6BohVXk'\n title='//www.youtube.com/embed/DBWk6BohVXk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Priscilla\u003c/em> is, at least at first, quite funny. After Priscilla initially catches Elvis’ eye at that party, she’s back at school learning about the food groups. How could anyone possibly stomach that? Or when, after Elvis hasn’t called following his stint in the military, Priscilla’s mother asks her if there aren’t any boys in school she might be interested in, instead. Priscilla doesn’t need to say anything; just the image of lining up your average 9th grade boy against Elvis Presley is enough.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Yet their courtship continues in somewhat traditional fashion. Elvis, played with relaxed magnetism by Elordi (\u003cem>The Kissing Booth\u003c/em>, \u003cem>Saltburn\u003c/em>), is drawn to Priscilla because she reminds him of home; it’s clear her purity is part of her appeal to him. It’s a long time before they have sex, though her youth remains tacitly problematic. “Wow, she’s young,” says one woman watching Elvis lead Priscilla upstairs. “Like a little girl.”\u003c/p>\n\u003cp>Their life together is initially sweet if deranged. Priscilla drifts through a dream world even if Elvis’ extremes are glaring to us. His bedroom in Graceland is comically gaudy. “I got this for you,” we hear Elvis say kindly, before a handgun is handed over.\u003c/p>\n\u003cfigure id=\"attachment_13936977\" class=\"wp-caption aligncenter\" style=\"max-width: 1896px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936977\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-11.04.42-AM.png\" alt=\"A handsome young white man with dark hair sits in a chair playing guitar with his feet up on a desk. A window with brown drapes is behind him.\" width=\"1896\" height=\"1172\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-11.04.42-AM.png 1896w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-11.04.42-AM-800x495.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-11.04.42-AM-1020x631.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-11.04.42-AM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-11.04.42-AM-768x475.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-11.04.42-AM-1536x949.png 1536w\" sizes=\"(max-width: 1896px) 100vw, 1896px\">\u003cfigcaption class=\"wp-caption-text\">Jacob Elordi in ‘Priscilla.’ \u003ccite>(Sabrina Lantos/ A24 via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No Presley songs play in \u003cem>Priscilla\u003c/em>. (While Priscilla Presley is an executive producer, the Elvis estate didn’t participate in the film.) But it does share a telling track ( Carl Orff’s “Gassenhauer” ) with Terence Malick’s \u003cem>Badlands\u003c/em>, another movie about an underage teen girl (Sissy Spacek) who throws her life in with a charismatic drifter with matinee-idol looks (Martin Sheen).\u003c/p>\n\u003cp>And like they do for Holly in \u003cem>Badlands\u003c/em>, things turn increasingly dark for Priscilla. Elvis treats her like a doll he keeps at home while he goes in and out. “It’s either me or a career, baby,” he tells her. Coppola, who dedicates the movie to her mother, Eleanor Coppola, has long specialized in gilded cages (\u003cem>Marie Antoinette\u003c/em>, \u003cem>The Bling Ring\u003c/em>). Graceland turns out to be a prison to Priscilla.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There aren’t many false notes in Coppola’s richly layered film, handsomely shot by Philippe Le Sourd, with sumptuous production design from Tamara Deverell and fine, toned-down costumes by Stacey Battat.\u003c/p>\n\u003cp>But \u003cem>Priscilla\u003c/em> fades where \u003cem>Elvis\u003c/em> found its footing. When Presley’s downturn accelerates in Las Vegas, Luhrmann’s movie swelled with tragedy. In the same time period here, Priscilla awakens. Yet it feels underdeveloped, coming too quickly, in a sudden rush — albeit a terrific rush, with Dolly Parton playing.\u003c/p>\n\u003cp>A constant throughout, though, is Spaeny. This is a deft breakthrough performance perfectly poised between youthful fantasy and adult reality.\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>‘Priscilla’ is released nationwide on Nov. 3, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A New Documentary Paints an Intimate Portrait of Chesa Boudin’s Family",
"headTitle": "A New Documentary Paints an Intimate Portrait of Chesa Boudin’s Family | KQED",
"content": "\u003cp>On the campaign trail and news reports, Chesa Boudin has long been open about his family history — growing up with parents who were incarcerated for decades, and how the experience inspired him to become a public defender and eventually run for San Francisco district attorney.\u003c/p>\n\u003cp>Most of us know the story of Boudin’s meteoric star rise. In 2019, at a moment when progressive-minded candidates were running for district attorney’s offices across the country, he won election. He ran on a platform focused on criminal justice reforms with the goal of reducing mass incarceration. Then, just a few days after being sworn into office, he faced a million-dollar recall effort, which ultimately succeeded. Boudin only served for two years.[aside postid='news_11913102']\u003c/p>\n\u003cp>“We definitely made some mistakes and I learned an awful lot during my time in office,” Boudin told KQED. “There are no two things we could have done differently that would have prevented what happened.”\u003c/p>\n\u003cp>This political moment is revisited in the new documentary \u003cem>Beyond Bars: It’s a Movement, Not a Moment\u003c/em>, which premieres Wednesday, Oct. 25 at the main branch of the San Francisco Public Library. Directed by Robert Greenwald, the film puts in parallel Boudin’s political and personal life, featuring on-the-record interviews with his parents and adoptive parents for the first time.\u003c/p>\n\u003cfigure id=\"attachment_13936939\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/BB_Chesa_Inauguration.png\" alt=\"\" width=\"2560\" height=\"1440\" class=\"size-full wp-image-13936939\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_Chesa_Inauguration.png 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_Chesa_Inauguration-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_Chesa_Inauguration-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_Chesa_Inauguration-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_Chesa_Inauguration-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_Chesa_Inauguration-1536x864.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_Chesa_Inauguration-2048x1152.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_Chesa_Inauguration-1920x1080.png 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Chesa Boudin is seen at his inauguration in 2020 in a still from the new documentary ‘Beyond Bars.’ \u003ccite>(Courtesy of the filmmaker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This film is really about the history of racism and mass incarceration in this country. And it’s that same history that led in a circuitous way to my parents’ incarceration — to my own experience with jails and prisons since before I can remember,” Boudin said.\u003c/p>\n\u003cp>Boudin talked more about the film with KQED’s Brian Watt. Their conversation has been edited for brevity and clarity.\u003c/p>\n\u003cp>\u003cstrong>Brian Watt: Did the idea for this documentary come from you? Or did someone approach you?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Chesa Boudin:\u003c/strong> The director of the film reached out to me through my team when I was still serving as San Francisco’s district attorney, and they proposed the documentary. We had a number of similar documentary film crews reach out and ask to work with us, to essentially be embedded in the office and ultimately embedded in my family in many ways.\u003c/p>\n\u003cp>\u003cstrong>You have been open throughout your public life about your family history. When you were a toddler, your parents were arrested and went on to spend decades in prison. In this documentary, we hear from them, as well as your adoptive parents. What was going through your mind as you heard them share their story?\u003c/strong>\u003c/p>\n\u003cp>I was in the room for some of the interviews that made their way into this film. Watching my parents talk about raising me from the distance that incarceration created. Watching them talk about the transition into a new family after I was adopted. Watching them talk about their regret and remorse for the harm they caused not only to me, but also to the families that lost loved ones in ways that are totally irreparable, was a really emotional experience for me.\u003c/p>\n\u003cfigure id=\"attachment_13936940\" class=\"wp-caption aligncenter\" style=\"max-width: 1554px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/BB_JailVisit.png\" alt=\"a polaroid of a small kid with two parents in prison uniforms labeled 'Chesa visits mommy and daddy in jail'\" width=\"1554\" height=\"1112\" class=\"size-full wp-image-13936940\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_JailVisit.png 1554w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_JailVisit-800x572.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_JailVisit-1020x730.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_JailVisit-160x114.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_JailVisit-768x550.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_JailVisit-1536x1099.png 1536w\" sizes=\"(max-width: 1554px) 100vw, 1554px\">\u003cfigcaption class=\"wp-caption-text\">A photograph of young Chesa Boudin visiting his parents in prison. \u003ccite>(Courtesy of the filmmakers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Was there an emotional place – maybe one you had resisted going for a lot of your life – that you had to go that you weren’t expecting as you sat down to discuss your own personal part of this for the documentary?\u003c/strong>\u003c/p>\n\u003cp>The documentary was filmed and recorded over the course of multiple years, so we did a whole series of different interviews. Some of them were profoundly emotional for me, particularly as I lost my mother to a seven-year battle with cancer.\u003c/p>\n\u003cp>During the filming of this documentary, she died — on May 1, just almost exactly a month before my recall from office. The director of the film and his team were doing interviews with her almost right up until the week of her death. Seeing her decline, and getting to watch and listen to the interview she did as part of this project, and then see them integrated into the final film, has been a really intensely emotional experience.\u003c/p>\n\u003cp>\u003cstrong>As you are dealing with the recall effort, in the documentary, we see difficult circumstances in your family: the loss of your mother to cancer and the release of your father from prison in New York after decades inside. What was going through your mind?\u003c/strong>\u003c/p>\n\u003cp>What happened with the recall was profoundly dishonest and unfair. It was unfair to me, but more importantly, was unfair to the voters and the people of San Francisco who elected me and who did not get to choose the person who replaced me. And to have all that happen while my mother was dying, while I was trying to welcome my father home and help him with the intensely challenging transition after 40 years of incarceration — while I was learning to be a father for a newborn son — couldn’t have been more difficult. Yet I am always reminded of how lucky I am in so many ways, and of the fact that when life throws obstacles in our path, it’s in those moments that we learn what we’re capable of.\u003c/p>\n\u003cfigure id=\"attachment_13936942\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/BB_KathyBoudin.png\" alt=\"\" width=\"2560\" height=\"1440\" class=\"size-full wp-image-13936942\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_KathyBoudin.png 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_KathyBoudin-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_KathyBoudin-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_KathyBoudin-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_KathyBoudin-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_KathyBoudin-1536x864.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_KathyBoudin-2048x1152.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_KathyBoudin-1920x1080.png 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kathy Boudin is seen in a still from ‘Beyond Bars.’ \u003ccite>(Courtesy of the filmmaker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>As much as the documentary is your story, it’s also a love letter to your mom in a way. What would she make of this next phase of your life beyond the district attorney’s office?\u003c/strong>\u003c/p>\n\u003cp>[aside postid='news_11951826']My mom was always and would always be unwavering in her support, in her love and in her pride and in what I chose to do with my life, with my family. I know most of all she’d be absolutely thrilled to be a grandmother. It was one of the most important things to her in her final months. My mom, after she came home from prison, after her 22 years of incarceration, after she earned a Ph.D. from Columbia, she founded the Center for Justice at Columbia University School of Social Work.\u003c/p>\n\u003cp>And so in many ways, my work and this next chapter of my professional life is a parallel to what my mother did with the last 15 or so years of her life. And I know that we would find ways to collaborate professionally. And in fact, I’m continuing to work with people at the center at Columbia University that she founded and co-directed for so many years.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Beyond Bars: It’s a Movement, Not a Moment’ premieres Wednesday, Oct. 25 at a sold-out screening at the main branch of the San Francisco Public Library. The film will also screen in Los Angeles in December. The film is expected to be available for streaming in January.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "‘Beyond Bars: It’s a Movement, Not a Moment’ chronicles the political and private life of San Francisco’s former district attorney. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On the campaign trail and news reports, Chesa Boudin has long been open about his family history — growing up with parents who were incarcerated for decades, and how the experience inspired him to become a public defender and eventually run for San Francisco district attorney.\u003c/p>\n\u003cp>Most of us know the story of Boudin’s meteoric star rise. In 2019, at a moment when progressive-minded candidates were running for district attorney’s offices across the country, he won election. He ran on a platform focused on criminal justice reforms with the goal of reducing mass incarceration. Then, just a few days after being sworn into office, he faced a million-dollar recall effort, which ultimately succeeded. Boudin only served for two years.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We definitely made some mistakes and I learned an awful lot during my time in office,” Boudin told KQED. “There are no two things we could have done differently that would have prevented what happened.”\u003c/p>\n\u003cp>This political moment is revisited in the new documentary \u003cem>Beyond Bars: It’s a Movement, Not a Moment\u003c/em>, which premieres Wednesday, Oct. 25 at the main branch of the San Francisco Public Library. Directed by Robert Greenwald, the film puts in parallel Boudin’s political and personal life, featuring on-the-record interviews with his parents and adoptive parents for the first time.\u003c/p>\n\u003cfigure id=\"attachment_13936939\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/BB_Chesa_Inauguration.png\" alt=\"\" width=\"2560\" height=\"1440\" class=\"size-full wp-image-13936939\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_Chesa_Inauguration.png 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_Chesa_Inauguration-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_Chesa_Inauguration-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_Chesa_Inauguration-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_Chesa_Inauguration-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_Chesa_Inauguration-1536x864.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_Chesa_Inauguration-2048x1152.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_Chesa_Inauguration-1920x1080.png 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Chesa Boudin is seen at his inauguration in 2020 in a still from the new documentary ‘Beyond Bars.’ \u003ccite>(Courtesy of the filmmaker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This film is really about the history of racism and mass incarceration in this country. And it’s that same history that led in a circuitous way to my parents’ incarceration — to my own experience with jails and prisons since before I can remember,” Boudin said.\u003c/p>\n\u003cp>Boudin talked more about the film with KQED’s Brian Watt. Their conversation has been edited for brevity and clarity.\u003c/p>\n\u003cp>\u003cstrong>Brian Watt: Did the idea for this documentary come from you? Or did someone approach you?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Chesa Boudin:\u003c/strong> The director of the film reached out to me through my team when I was still serving as San Francisco’s district attorney, and they proposed the documentary. We had a number of similar documentary film crews reach out and ask to work with us, to essentially be embedded in the office and ultimately embedded in my family in many ways.\u003c/p>\n\u003cp>\u003cstrong>You have been open throughout your public life about your family history. When you were a toddler, your parents were arrested and went on to spend decades in prison. In this documentary, we hear from them, as well as your adoptive parents. What was going through your mind as you heard them share their story?\u003c/strong>\u003c/p>\n\u003cp>I was in the room for some of the interviews that made their way into this film. Watching my parents talk about raising me from the distance that incarceration created. Watching them talk about the transition into a new family after I was adopted. Watching them talk about their regret and remorse for the harm they caused not only to me, but also to the families that lost loved ones in ways that are totally irreparable, was a really emotional experience for me.\u003c/p>\n\u003cfigure id=\"attachment_13936940\" class=\"wp-caption aligncenter\" style=\"max-width: 1554px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/BB_JailVisit.png\" alt=\"a polaroid of a small kid with two parents in prison uniforms labeled 'Chesa visits mommy and daddy in jail'\" width=\"1554\" height=\"1112\" class=\"size-full wp-image-13936940\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_JailVisit.png 1554w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_JailVisit-800x572.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_JailVisit-1020x730.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_JailVisit-160x114.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_JailVisit-768x550.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_JailVisit-1536x1099.png 1536w\" sizes=\"(max-width: 1554px) 100vw, 1554px\">\u003cfigcaption class=\"wp-caption-text\">A photograph of young Chesa Boudin visiting his parents in prison. \u003ccite>(Courtesy of the filmmakers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Was there an emotional place – maybe one you had resisted going for a lot of your life – that you had to go that you weren’t expecting as you sat down to discuss your own personal part of this for the documentary?\u003c/strong>\u003c/p>\n\u003cp>The documentary was filmed and recorded over the course of multiple years, so we did a whole series of different interviews. Some of them were profoundly emotional for me, particularly as I lost my mother to a seven-year battle with cancer.\u003c/p>\n\u003cp>During the filming of this documentary, she died — on May 1, just almost exactly a month before my recall from office. The director of the film and his team were doing interviews with her almost right up until the week of her death. Seeing her decline, and getting to watch and listen to the interview she did as part of this project, and then see them integrated into the final film, has been a really intensely emotional experience.\u003c/p>\n\u003cp>\u003cstrong>As you are dealing with the recall effort, in the documentary, we see difficult circumstances in your family: the loss of your mother to cancer and the release of your father from prison in New York after decades inside. What was going through your mind?\u003c/strong>\u003c/p>\n\u003cp>What happened with the recall was profoundly dishonest and unfair. It was unfair to me, but more importantly, was unfair to the voters and the people of San Francisco who elected me and who did not get to choose the person who replaced me. And to have all that happen while my mother was dying, while I was trying to welcome my father home and help him with the intensely challenging transition after 40 years of incarceration — while I was learning to be a father for a newborn son — couldn’t have been more difficult. Yet I am always reminded of how lucky I am in so many ways, and of the fact that when life throws obstacles in our path, it’s in those moments that we learn what we’re capable of.\u003c/p>\n\u003cfigure id=\"attachment_13936942\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/BB_KathyBoudin.png\" alt=\"\" width=\"2560\" height=\"1440\" class=\"size-full wp-image-13936942\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_KathyBoudin.png 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_KathyBoudin-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_KathyBoudin-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_KathyBoudin-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_KathyBoudin-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_KathyBoudin-1536x864.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_KathyBoudin-2048x1152.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/BB_KathyBoudin-1920x1080.png 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kathy Boudin is seen in a still from ‘Beyond Bars.’ \u003ccite>(Courtesy of the filmmaker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>As much as the documentary is your story, it’s also a love letter to your mom in a way. What would she make of this next phase of your life beyond the district attorney’s office?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>My mom was always and would always be unwavering in her support, in her love and in her pride and in what I chose to do with my life, with my family. I know most of all she’d be absolutely thrilled to be a grandmother. It was one of the most important things to her in her final months. My mom, after she came home from prison, after her 22 years of incarceration, after she earned a Ph.D. from Columbia, she founded the Center for Justice at Columbia University School of Social Work.\u003c/p>\n\u003cp>And so in many ways, my work and this next chapter of my professional life is a parallel to what my mother did with the last 15 or so years of her life. And I know that we would find ways to collaborate professionally. And in fact, I’m continuing to work with people at the center at Columbia University that she founded and co-directed for so many years.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Beyond Bars: It’s a Movement, Not a Moment’ premieres Wednesday, Oct. 25 at a sold-out screening at the main branch of the San Francisco Public Library. The film will also screen in Los Angeles in December. The film is expected to be available for streaming in January.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "‘Persian Version’ Finds Laughter, Tears in Iranian American Tale of Resilient Women",
"headTitle": "‘Persian Version’ Finds Laughter, Tears in Iranian American Tale of Resilient Women | KQED",
"content": "\u003cp>Let nobody say writer-director Maryam Keshavarz doesn’t know how to start a movie.\u003c/p>\n\u003cp>The first time we see Leila, her alter ego in the autobiographical, warm-hearted, personal, funny but also somewhat chaotic \u003cem>The Persian Version\u003c/em>, she’s walking across the Brooklyn Bridge. Headed to a Halloween party, she’s carrying a surfboard and wearing what she calls a “burkini” — a sexy bikini, but paired with a niqab, the face-covering garment worn by some Muslim women.\u003c/p>\n\u003cp>It’s surely not an accident that Leila is crossing a bridge, because her film (and Halloween costume) is about bridging two identities — her Iranian heritage, and her American life. Leila (an engaging Layla Mohammadi) is a New York born-and-raised aspiring screenwriter (she wants to be an Iranian Martin Scorsese) who, we learn, has never been fully comfortable in either world. American kids would call her names at school; Iranians saw her as too Americanized.\u003c/p>\n\u003cp>[aside postid='arts_13936363']There are other bridges to be crossed here, too. The most important is that between Leila and her formidable immigrant mother, Shireen (the wonderful Niousha Noor), who created a successful life in America out of sheer grit, educating herself and becoming an adept businesswoman while running a household full of boys and one girl. It’s the girl, Leila, with whom Shireen has the fraught relationship, because — well, if you’re a mother or a daughter you probably get it.\u003c/p>\n\u003cp>But there’s a deeper backstory behind this troubled dynamic, and to learn all that, we must take a journey — a long journey, in terms of the film’s run time — back to a remote village in 1960s rural Iran. But let’s not get ahead of ourselves, because first adult Leila, gay and newly divorced from her wife, gets pregnant with the guy in drag who plays Hedwig on Broadway.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We told you this was chaotic.\u003c/p>\n\u003cp>About that Halloween party: Leila wins the costume prize — justifiably! — and also hooks up in a back room with Maximillian (Tom Byrne, charming in a less roguish Hugh Grant way), who’s starring in \u003cem>Hedwig and the Angry Inch\u003c/em> at the Belasco Theatre (where the show did actually run). And when she gets pregnant — professing she didn’t know you could get pregnant from a one-night stand — Max says he’s all in.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PDrlpcv4vXE\u003c/p>\n\u003cp>Keshavarz, whose film won the audience prize at Sundance, likes a flashback, and one of them takes us back to Leila’s childhood summer trips to Iran, fooling guards at the airport looking for banned American music and videos, and bringing Cyndi Lauper to her Iranian relatives. Who, in turn, dance with abandon to “Girls Just Wanna Have Fun” — a joyous scene.\u003c/p>\n\u003cp>[aside postid='arts_13936754']Back in the States (the film toggles perhaps too frequently between eras, mostly 2000s New Jersey, 1980s Brooklyn and 1960s rural Iran) adult Leila’s father needs a heart transplant. And Leila is hurting from her failed marriage. In flashback, we see her bringing her wife to Thanksgiving dinner and her mother, unable to approve of the gay relationship, ultimately kicking the couple out in disgust.\u003c/p>\n\u003cp>What has made her mother’s heart so cold, particularly with her daughter? Leila’s grandmother hints that a mysterious scandal long ago brought Shireen to America. To understand, we’re taken back to that village in Iran, where Shireen was a bride at 14, coping with early motherhood and heartbreak. Luckily, this section of the film stars an extraordinary young actor, Kamand Shafieisabet in her first film, packing an emotional wallop into every scene.\u003c/p>\n\u003cp>As vividly as Keshavarz portrays the country of her heritage, she is unable to return there — her first feature, \u003cem>Circumstance\u003c/em>, about sexual desire between two girls in Iran, won her her first audience award at Sundance but also got her banned from the country.\u003c/p>\n\u003cfigure id=\"attachment_13936875\" class=\"wp-caption aligncenter\" style=\"max-width: 1788px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936875\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-24-at-10.52.26-AM.png\" alt=\"A young middle eastern woman walks on a road, between lanes of cars stuck in traffic. She looks wistful and is wearing a long brown coat with a fur collar, pale pants, a tight top and boots. She has cascading brown hair.\" width=\"1788\" height=\"1202\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-24-at-10.52.26-AM.png 1788w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-24-at-10.52.26-AM-800x538.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-24-at-10.52.26-AM-1020x686.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-24-at-10.52.26-AM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-24-at-10.52.26-AM-768x516.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-24-at-10.52.26-AM-1536x1033.png 1536w\" sizes=\"(max-width: 1788px) 100vw, 1788px\">\u003cfigcaption class=\"wp-caption-text\">Layla Mohammadi in a scene from ‘The Persian Version.‘ \u003ccite>(Yiget Eken/ Sony Pictures Classics via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In any case we end \u003cem>The Persian Version\u003c/em> not in Iran but back in the States, in a place not usually very comical but where most comedies involving a birth, even a dramatic comedy like this, eventually wind up: the maternity ward.\u003c/p>\n\u003cp>[aside postid='arts_13936628']The scene here is intentionally crowded and yes, chaotic, just like the entire film. But it ends on a note that brings easy tears.\u003c/p>\n\u003cp>The rebelliousness of each of the strong women here — mother and daughter — somehow coalesces into understanding. Such moments can be sappy, but here, as with her lovely opening shot, Keshavarz does it well. She sticks the landing.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Persian Version’ was released on Oct. 20, 2023.\u003c/em>\u003c/p>\n\n",
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"excerpt": " In this charming film, the rebellious daughter of an Iranian immigrant gets pregnant at a party and all hell breaks loose.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Let nobody say writer-director Maryam Keshavarz doesn’t know how to start a movie.\u003c/p>\n\u003cp>The first time we see Leila, her alter ego in the autobiographical, warm-hearted, personal, funny but also somewhat chaotic \u003cem>The Persian Version\u003c/em>, she’s walking across the Brooklyn Bridge. Headed to a Halloween party, she’s carrying a surfboard and wearing what she calls a “burkini” — a sexy bikini, but paired with a niqab, the face-covering garment worn by some Muslim women.\u003c/p>\n\u003cp>It’s surely not an accident that Leila is crossing a bridge, because her film (and Halloween costume) is about bridging two identities — her Iranian heritage, and her American life. Leila (an engaging Layla Mohammadi) is a New York born-and-raised aspiring screenwriter (she wants to be an Iranian Martin Scorsese) who, we learn, has never been fully comfortable in either world. American kids would call her names at school; Iranians saw her as too Americanized.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There are other bridges to be crossed here, too. The most important is that between Leila and her formidable immigrant mother, Shireen (the wonderful Niousha Noor), who created a successful life in America out of sheer grit, educating herself and becoming an adept businesswoman while running a household full of boys and one girl. It’s the girl, Leila, with whom Shireen has the fraught relationship, because — well, if you’re a mother or a daughter you probably get it.\u003c/p>\n\u003cp>But there’s a deeper backstory behind this troubled dynamic, and to learn all that, we must take a journey — a long journey, in terms of the film’s run time — back to a remote village in 1960s rural Iran. But let’s not get ahead of ourselves, because first adult Leila, gay and newly divorced from her wife, gets pregnant with the guy in drag who plays Hedwig on Broadway.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We told you this was chaotic.\u003c/p>\n\u003cp>About that Halloween party: Leila wins the costume prize — justifiably! — and also hooks up in a back room with Maximillian (Tom Byrne, charming in a less roguish Hugh Grant way), who’s starring in \u003cem>Hedwig and the Angry Inch\u003c/em> at the Belasco Theatre (where the show did actually run). And when she gets pregnant — professing she didn’t know you could get pregnant from a one-night stand — Max says he’s all in.\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/PDrlpcv4vXE'\n title='//www.youtube.com/embed/PDrlpcv4vXE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Keshavarz, whose film won the audience prize at Sundance, likes a flashback, and one of them takes us back to Leila’s childhood summer trips to Iran, fooling guards at the airport looking for banned American music and videos, and bringing Cyndi Lauper to her Iranian relatives. Who, in turn, dance with abandon to “Girls Just Wanna Have Fun” — a joyous scene.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Back in the States (the film toggles perhaps too frequently between eras, mostly 2000s New Jersey, 1980s Brooklyn and 1960s rural Iran) adult Leila’s father needs a heart transplant. And Leila is hurting from her failed marriage. In flashback, we see her bringing her wife to Thanksgiving dinner and her mother, unable to approve of the gay relationship, ultimately kicking the couple out in disgust.\u003c/p>\n\u003cp>What has made her mother’s heart so cold, particularly with her daughter? Leila’s grandmother hints that a mysterious scandal long ago brought Shireen to America. To understand, we’re taken back to that village in Iran, where Shireen was a bride at 14, coping with early motherhood and heartbreak. Luckily, this section of the film stars an extraordinary young actor, Kamand Shafieisabet in her first film, packing an emotional wallop into every scene.\u003c/p>\n\u003cp>As vividly as Keshavarz portrays the country of her heritage, she is unable to return there — her first feature, \u003cem>Circumstance\u003c/em>, about sexual desire between two girls in Iran, won her her first audience award at Sundance but also got her banned from the country.\u003c/p>\n\u003cfigure id=\"attachment_13936875\" class=\"wp-caption aligncenter\" style=\"max-width: 1788px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936875\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-24-at-10.52.26-AM.png\" alt=\"A young middle eastern woman walks on a road, between lanes of cars stuck in traffic. She looks wistful and is wearing a long brown coat with a fur collar, pale pants, a tight top and boots. She has cascading brown hair.\" width=\"1788\" height=\"1202\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-24-at-10.52.26-AM.png 1788w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-24-at-10.52.26-AM-800x538.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-24-at-10.52.26-AM-1020x686.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-24-at-10.52.26-AM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-24-at-10.52.26-AM-768x516.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-24-at-10.52.26-AM-1536x1033.png 1536w\" sizes=\"(max-width: 1788px) 100vw, 1788px\">\u003cfigcaption class=\"wp-caption-text\">Layla Mohammadi in a scene from ‘The Persian Version.‘ \u003ccite>(Yiget Eken/ Sony Pictures Classics via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In any case we end \u003cem>The Persian Version\u003c/em> not in Iran but back in the States, in a place not usually very comical but where most comedies involving a birth, even a dramatic comedy like this, eventually wind up: the maternity ward.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The scene here is intentionally crowded and yes, chaotic, just like the entire film. But it ends on a note that brings easy tears.\u003c/p>\n\u003cp>The rebelliousness of each of the strong women here — mother and daughter — somehow coalesces into understanding. Such moments can be sappy, but here, as with her lovely opening shot, Keshavarz does it well. She sticks the landing.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Persian Version’ was released on Oct. 20, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In ‘Nyad,’ Jodie Foster Swims Away With a Showcase for Annette Bening",
"headTitle": "In ‘Nyad,’ Jodie Foster Swims Away With a Showcase for Annette Bening | KQED",
"content": "\u003cp>In \u003cem>Nyad\u003c/em>, there are two feats of perseverance on display. First, there is the ceaseless determination of Diana Nyad (Annette Bening) to accomplish a marathon swim from Cuba to Florida across 103 miles of open, shark-infested waters. Then there is the mettle of Nyad’s support team to tolerate the singularly self-absorbed and stubborn Nyad. Both, in the film, are an endurance sport.\u003c/p>\n\u003cp>\u003cem>Nyad\u003c/em>, which opens in limited theaters Friday and streams Nov. 3 on Netflix, is in many ways a conventional sports drama, defined by long odds and personal triumph. But there is enough here to help the film, directed by the intrepid filmmakers Elizabeth Chai Vasarhelyi and Jimmy Chin, if not swim against the tide of sports-biopic convention then at least ride a swift current to the finish line.\u003c/p>\n\u003cp>[aside postid='arts_13936628']First and foremost there’s the fact that this is a sports drama led by two actresses in their 60s: Bening and Jodie Foster, who plays Diana’s best friend and personal trainer Bonnie Stoll. When \u003cem>Nyad\u003c/em> gets underway, the setting isn’t the 1970s, when Nyad’s record swims made her a headline-grabbing sensation. It’s Diana’s 60th birthday, which for her only marks her long distance from a real challenge. “Where’s the excellence?” she says.\u003c/p>\n\u003cp>Diana soon thereafter gets back in the pool, resolving to complete the Cuba-to-Florida swim, a route some moviegoers may associate more with the Go-Fast boats of Michael Mann’s \u003cem>Miami Vice\u003c/em> than athletic pursuit. For Diana, the 50-hour endeavor is a matter of completing a long-ago abandoned dream and a way to prove to herself (and everyone else) that age is no match for her will.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3anCgVSQb3Q\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s the rare role that could be said to be both shark and Oscar bait. Yet Bening’s performance has little vanity to it. Her Diana is obsessively single-minded to the point of unlikeable. When Diana hits the ocean, Bening turns into a ferociously forward-moving force who won’t let anything — not thunder storms, nor jelly fish stings — stop her in her quest. Just keep swimming? She’d leave Dory in the dust.\u003c/p>\n\u003cp>Diana also comes close to outswimming the people trying hardest to help her. Though the film is principally a showcase for Bening, it’s Foster’s supporting turn that lifts \u003cem>Nyad\u003c/em>. Foster is a rare screen presence these days, which only makes her warmth and ease all the more powerful here. \u003cem>Nyad\u003c/em> is balanced between Diana’s admirably insane ambition and Bonnie’s loyal (up to a point) support for her friend. In any case, it’s a reminder, like a pail of cold water, of just how good Foster can be.\u003c/p>\n\u003cp>[aside postid='arts_13936363']Other supporting characters are along for the ride, too, most notably Rhys Ifans’ crusty sea-dog navigator John Bartlett. He’s a cliche but a darn likable one. Nyad has, herself, often been a brash and savvy self-promoter less likely to share the spotlight. It’s to the movie’s credit that it pushes back against its prickly protagonist at the same time it exalts her.\u003c/p>\n\u003cp>But \u003cem>Nyad\u003c/em> does accept Nyad’s ultimate accomplishment, even if some have disputed it. Her 2013 swim to the Florida Keys was never ratified by the World Open Water Swimming Assn., and fellow marathon swimmers have cast doubts on it. Nyad has forcefully maintained she completed the swim, without assistance. At times, \u003cem>Nyad\u003c/em> bends over backwards to depict Nyad as conscientious of the rules.\u003c/p>\n\u003cfigure id=\"attachment_13936757\" class=\"wp-caption aligncenter\" style=\"max-width: 1544px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936757\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-20-at-11.32.55-AM.png\" alt=\"An athletic looking tanned woman wearing a scruffy grey t-shirt and holding a drink smiles at an older woman with very short blonde hair who is wearing a tracksuit.\" width=\"1544\" height=\"1018\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-20-at-11.32.55-AM.png 1544w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-20-at-11.32.55-AM-800x527.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-20-at-11.32.55-AM-1020x673.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-20-at-11.32.55-AM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-20-at-11.32.55-AM-768x506.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-20-at-11.32.55-AM-1536x1013.png 1536w\" sizes=\"(max-width: 1544px) 100vw, 1544px\">\u003cfigcaption class=\"wp-caption-text\">Jodie Foster and Annette Bening in a scene from ‘Nyad.’ \u003ccite>(Liz Parkinson/ Netflix via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Vasarhelyi and Chin, in their narrative debut, mix in documentary footage throughout the film, smoothly transitioning from the non-fiction world they come from. They’re the filmmaking team behind documentary standouts like the Oscar-winning \u003cem>Free Solo\u003c/em> and the Thai cave chronicle \u003cem>The Rescue\u003c/em>.\u003c/p>\n\u003cp>Those films were excellent not just due to Vasarhelyi and Chin’s own filmmaking adventurousness but because of their firm grasp of the psychology of those who push themselves to physical extremes. \u003cem>Nyad\u003c/em> relies on flashbacks to Diana’s past — including an encounter with an unnamed swim coach Nyad said sexually assaulted her and others — to dig into what fuels her.\u003c/p>\n\u003cp>And just like Alex Honnold of \u003cem>Free Solo\u003c/em> and the British cave divers of \u003cem>The Rescue\u003c/em>, \u003cem>Nyad\u003c/em> convincingly argues that to accomplish something great — to really dream big — you may need a dose of delusion, too.\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>‘Nyad’ opens in limited theaters on Oct. 20 and begins streaming on Netflix on Nov. 3.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Bening is the star, but it’s Foster’s supporting role — warm and easy throughout — that really lifts ‘Nyad.’ ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In \u003cem>Nyad\u003c/em>, there are two feats of perseverance on display. First, there is the ceaseless determination of Diana Nyad (Annette Bening) to accomplish a marathon swim from Cuba to Florida across 103 miles of open, shark-infested waters. Then there is the mettle of Nyad’s support team to tolerate the singularly self-absorbed and stubborn Nyad. Both, in the film, are an endurance sport.\u003c/p>\n\u003cp>\u003cem>Nyad\u003c/em>, which opens in limited theaters Friday and streams Nov. 3 on Netflix, is in many ways a conventional sports drama, defined by long odds and personal triumph. But there is enough here to help the film, directed by the intrepid filmmakers Elizabeth Chai Vasarhelyi and Jimmy Chin, if not swim against the tide of sports-biopic convention then at least ride a swift current to the finish line.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>First and foremost there’s the fact that this is a sports drama led by two actresses in their 60s: Bening and Jodie Foster, who plays Diana’s best friend and personal trainer Bonnie Stoll. When \u003cem>Nyad\u003c/em> gets underway, the setting isn’t the 1970s, when Nyad’s record swims made her a headline-grabbing sensation. It’s Diana’s 60th birthday, which for her only marks her long distance from a real challenge. “Where’s the excellence?” she says.\u003c/p>\n\u003cp>Diana soon thereafter gets back in the pool, resolving to complete the Cuba-to-Florida swim, a route some moviegoers may associate more with the Go-Fast boats of Michael Mann’s \u003cem>Miami Vice\u003c/em> than athletic pursuit. For Diana, the 50-hour endeavor is a matter of completing a long-ago abandoned dream and a way to prove to herself (and everyone else) that age is no match for her will.\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/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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s the rare role that could be said to be both shark and Oscar bait. Yet Bening’s performance has little vanity to it. Her Diana is obsessively single-minded to the point of unlikeable. When Diana hits the ocean, Bening turns into a ferociously forward-moving force who won’t let anything — not thunder storms, nor jelly fish stings — stop her in her quest. Just keep swimming? She’d leave Dory in the dust.\u003c/p>\n\u003cp>Diana also comes close to outswimming the people trying hardest to help her. Though the film is principally a showcase for Bening, it’s Foster’s supporting turn that lifts \u003cem>Nyad\u003c/em>. Foster is a rare screen presence these days, which only makes her warmth and ease all the more powerful here. \u003cem>Nyad\u003c/em> is balanced between Diana’s admirably insane ambition and Bonnie’s loyal (up to a point) support for her friend. In any case, it’s a reminder, like a pail of cold water, of just how good Foster can be.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Other supporting characters are along for the ride, too, most notably Rhys Ifans’ crusty sea-dog navigator John Bartlett. He’s a cliche but a darn likable one. Nyad has, herself, often been a brash and savvy self-promoter less likely to share the spotlight. It’s to the movie’s credit that it pushes back against its prickly protagonist at the same time it exalts her.\u003c/p>\n\u003cp>But \u003cem>Nyad\u003c/em> does accept Nyad’s ultimate accomplishment, even if some have disputed it. Her 2013 swim to the Florida Keys was never ratified by the World Open Water Swimming Assn., and fellow marathon swimmers have cast doubts on it. Nyad has forcefully maintained she completed the swim, without assistance. At times, \u003cem>Nyad\u003c/em> bends over backwards to depict Nyad as conscientious of the rules.\u003c/p>\n\u003cfigure id=\"attachment_13936757\" class=\"wp-caption aligncenter\" style=\"max-width: 1544px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936757\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-20-at-11.32.55-AM.png\" alt=\"An athletic looking tanned woman wearing a scruffy grey t-shirt and holding a drink smiles at an older woman with very short blonde hair who is wearing a tracksuit.\" width=\"1544\" height=\"1018\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-20-at-11.32.55-AM.png 1544w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-20-at-11.32.55-AM-800x527.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-20-at-11.32.55-AM-1020x673.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-20-at-11.32.55-AM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-20-at-11.32.55-AM-768x506.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-20-at-11.32.55-AM-1536x1013.png 1536w\" sizes=\"(max-width: 1544px) 100vw, 1544px\">\u003cfigcaption class=\"wp-caption-text\">Jodie Foster and Annette Bening in a scene from ‘Nyad.’ \u003ccite>(Liz Parkinson/ Netflix via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Vasarhelyi and Chin, in their narrative debut, mix in documentary footage throughout the film, smoothly transitioning from the non-fiction world they come from. They’re the filmmaking team behind documentary standouts like the Oscar-winning \u003cem>Free Solo\u003c/em> and the Thai cave chronicle \u003cem>The Rescue\u003c/em>.\u003c/p>\n\u003cp>Those films were excellent not just due to Vasarhelyi and Chin’s own filmmaking adventurousness but because of their firm grasp of the psychology of those who push themselves to physical extremes. \u003cem>Nyad\u003c/em> relies on flashbacks to Diana’s past — including an encounter with an unnamed swim coach Nyad said sexually assaulted her and others — to dig into what fuels her.\u003c/p>\n\u003cp>And just like Alex Honnold of \u003cem>Free Solo\u003c/em> and the British cave divers of \u003cem>The Rescue\u003c/em>, \u003cem>Nyad\u003c/em> convincingly argues that to accomplish something great — to really dream big — you may need a dose of delusion, too.\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>‘Nyad’ opens in limited theaters on Oct. 20 and begins streaming on Netflix on Nov. 3.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Scorsese’s ‘Killers of the Flower Moon’ is a Sweeping Tale of Greed, Richly Told",
"headTitle": "Scorsese’s ‘Killers of the Flower Moon’ is a Sweeping Tale of Greed, Richly Told | KQED",
"content": "\u003cp>There tends to be lots of fast talking and fast moving in Martin Scorsese films, often from shifty types trying to get away with something. Or sometimes, simply because the master filmmaker has so much to pack in.\u003c/p>\n\u003cp>[aside postid='arts_13935897']But in \u003cem>Killers of the Flower Moon\u003c/em>, everything seems to slow down, and especially when the camera lands on Lily Gladstone. As Mollie, the Osage woman at the heart of this sprawling, real-life tale of greed and treachery on a scale both broad and intimate, Gladstone is the quiet, powerful center — taking her time, letting her eyes do the work, and unafraid of silence.\u003c/p>\n\u003cp>It’s a beautifully cadenced performance, all the more impressive because Gladstone’s sharing the screen with two of our most celebrated actors. Leonardo DiCaprio and Robert De Niro both turn in superb work for their legendary director, appearing together for the first time in 30 years. But Gladstone, in the rare Scorsese film that gives center stage to a female character, is the emotional core here, and it’s her face that stays etched in our memory.\u003c/p>\n\u003cfigure id=\"attachment_13936630\" class=\"wp-caption aligncenter\" style=\"max-width: 1362px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936630\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-10.58.13-AM.png\" alt=\"An Indigenous woman wearing traditional textiles sits next to a white man in a suit at a dining table. They are inside a dimly lit house.\" width=\"1362\" height=\"886\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-10.58.13-AM.png 1362w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-10.58.13-AM-800x520.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-10.58.13-AM-1020x664.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-10.58.13-AM-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-10.58.13-AM-768x500.png 768w\" sizes=\"(max-width: 1362px) 100vw, 1362px\">\u003cfigcaption class=\"wp-caption-text\">Lily Gladstone and Leonardo DiCaprio in a scene from ‘Killers of the Flower Moon.’ \u003ccite>(Melinda Sue Gordon/ Apple TV+ via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Based on David Grann’s gripping whodunit set among the Osage in 1920s Oklahoma, \u003cem>Killers\u003c/em> is a departure in other ways for the 80-year-old filmmaker. It’s his first Western, a genre he’s long wanted to explore — albeit a uniquely Scorsese Western, with an upended world of heroes and villains. And in telling this Osage story, he focuses on a people he’s never depicted before, deeply mindful of honoring their experience and their rituals, beliefs and customs.\u003c/p>\n\u003cp>It surely won’t surprise anyone that Scorsese brings his full wealth of artistic resources to this endeavor, along with his brilliant cinematographer, Rodrigo Prieto, and inspired production designer, Jack Fisk. Together, on location in Oklahoma, they’ve created an oil boomtown astonishing in its precision, detail and spirit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It may also not surprise anyone that Scorsese has taken three and a half hours (albeit three minutes less than \u003cem>The Irishman\u003c/em>) to tell his tale. This may be a source of debate, but it’s hard to argue that a story this hefty — a chronicle of a dark chapter in American history and a shocking true crime tale, all framed in a fraught love story — doesn’t deserve the length, considering the craft in every shot. And with some scenes — a boisterous prairie wedding, or a dance on a boomtown main drag — you feel you could have stayed longer still.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EP34Yoxs3FQ\u003c/p>\n\u003cp>We begin with a late 19th-century ceremony, one of many portrayals of Osage spiritual life. Then, in a memorable image, there’s a whoosh from underground: Oil, spurting from land that was supposed to be worthless.\u003c/p>\n\u003cp>[aside postid='arts_13936363']Thanks to this discovery, we learn in a terrific prologue using silent-movie title cards, the Osage become enormously wealthy. But they’re deemed “incompetent” and appointed white “guardians” who control their assets. This is how we meet Mollie, asking for her own money to pay medical bills.\u003c/p>\n\u003cp>Meanwhile, Ernest Burkhart (DiCaprio) steps off the train, a World War I vet with a taste for women and finer things, but no money, or talent to speak of. Perhaps his uncle can help. William Hale (De Niro) is a cattle rancher but more like a king around these parts — indeed, King’s his nickname — a white man who speaks the Osage language and calls himself their best friend.\u003c/p>\n\u003cp>But it’s clear from the get-go Hale has sinister motives, and De Niro’s just the guy to ooze sinister from every pore as this Godfather-like figure (he commits crimes, and they’re organized). Scorsese and co-writer Eric Roth depart here from Grann’s book, which holds us in suspense as to Hale’s motives. He wants Osage money, and tells Ernest that if he woos and marries Mollie — well, even less-than-brilliant Ernest can do the math.\u003c/p>\n\u003cfigure id=\"attachment_13936631\" class=\"wp-caption aligncenter\" style=\"max-width: 1388px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936631\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-11.04.08-AM.png\" alt=\"An older white man sitting in the passenger seat of a very early model of car taps the arm of a concerned looking younger white man wearing a cowboy hat and woven coat. \" width=\"1388\" height=\"926\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-11.04.08-AM.png 1388w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-11.04.08-AM-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-11.04.08-AM-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-11.04.08-AM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-11.04.08-AM-768x512.png 768w\" sizes=\"(max-width: 1388px) 100vw, 1388px\">\u003cfigcaption class=\"wp-caption-text\">Robert De Niro and Leonardo DiCaprio in a scene from ‘Killers of the Flower Moon.’ \u003ccite>(Melinda Sue Gordon/ Apple TV+ via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So can Mollie. Trusting but hardly naive, she knows Ernest covets her wealth, but there’s growing affection between the two, and their marriage, gorgeously rendered, is a happy occasion.\u003c/p>\n\u003cp>But then the Osage start dying, one by one, in suspicious ways — including, eventually, Mollie’s sisters and mother. As for Ernest, he’s no angel, spending time robbing and gambling. But is he doing more? DiCaprio’s mouth settles into a tortured frown as he becomes increasingly torn between marital loyalty and fealty to his venal uncle.\u003c/p>\n\u003cp>Finally, federal agent Tom White (Jesse Plemons, perfectly cast) shows up, working for J. Edgar Hoover in what became the FBI. (It’s White who figured most prominently in Grann’s book, and indeed DiCaprio was once slated to play him.) This last act finds its way to a crackling courtroom scene perhaps only Scorsese could bring together: jittery DiCaprio and menacing De Niro, joined by a bombastic Brendan Fraser and a sputtering John Lithgow.\u003c/p>\n\u003cp>[aside postid='arts_13924870']Indeed, the vast supporting cast includes countless faces you may recognize, as well as cameos of a number of musicians, and dozens of Osage actors in key parts. Scorsese’s late friend Robbie Robertson wrote the memorable score.\u003c/p>\n\u003cp>We won’t spoil the ingenious epilogue in which Scorsese ties up the loose narrative ends — with another significant cameo. But the fact that this epilogue comes after, oh, 200 minutes of expertly sustained tension is just another sign that in the latter years of his career, Scorsese is upping the ante — in terms of scale, yes, but also ambition.\u003c/p>\n\u003cp>He has called his work an offering to the Osage, and to other Native peoples. It also feels like an offering to those who love cinema, allowing us to watch a master of the craft continue to force himself, unlikely as it seems, to stretch and learn. May he keep stretching — himself, and us.\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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Killers of the Flower Moon’ is out nationwide on Oct. 20, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There tends to be lots of fast talking and fast moving in Martin Scorsese films, often from shifty types trying to get away with something. Or sometimes, simply because the master filmmaker has so much to pack in.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But in \u003cem>Killers of the Flower Moon\u003c/em>, everything seems to slow down, and especially when the camera lands on Lily Gladstone. As Mollie, the Osage woman at the heart of this sprawling, real-life tale of greed and treachery on a scale both broad and intimate, Gladstone is the quiet, powerful center — taking her time, letting her eyes do the work, and unafraid of silence.\u003c/p>\n\u003cp>It’s a beautifully cadenced performance, all the more impressive because Gladstone’s sharing the screen with two of our most celebrated actors. Leonardo DiCaprio and Robert De Niro both turn in superb work for their legendary director, appearing together for the first time in 30 years. But Gladstone, in the rare Scorsese film that gives center stage to a female character, is the emotional core here, and it’s her face that stays etched in our memory.\u003c/p>\n\u003cfigure id=\"attachment_13936630\" class=\"wp-caption aligncenter\" style=\"max-width: 1362px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936630\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-10.58.13-AM.png\" alt=\"An Indigenous woman wearing traditional textiles sits next to a white man in a suit at a dining table. They are inside a dimly lit house.\" width=\"1362\" height=\"886\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-10.58.13-AM.png 1362w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-10.58.13-AM-800x520.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-10.58.13-AM-1020x664.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-10.58.13-AM-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-10.58.13-AM-768x500.png 768w\" sizes=\"(max-width: 1362px) 100vw, 1362px\">\u003cfigcaption class=\"wp-caption-text\">Lily Gladstone and Leonardo DiCaprio in a scene from ‘Killers of the Flower Moon.’ \u003ccite>(Melinda Sue Gordon/ Apple TV+ via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Based on David Grann’s gripping whodunit set among the Osage in 1920s Oklahoma, \u003cem>Killers\u003c/em> is a departure in other ways for the 80-year-old filmmaker. It’s his first Western, a genre he’s long wanted to explore — albeit a uniquely Scorsese Western, with an upended world of heroes and villains. And in telling this Osage story, he focuses on a people he’s never depicted before, deeply mindful of honoring their experience and their rituals, beliefs and customs.\u003c/p>\n\u003cp>It surely won’t surprise anyone that Scorsese brings his full wealth of artistic resources to this endeavor, along with his brilliant cinematographer, Rodrigo Prieto, and inspired production designer, Jack Fisk. Together, on location in Oklahoma, they’ve created an oil boomtown astonishing in its precision, detail and spirit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It may also not surprise anyone that Scorsese has taken three and a half hours (albeit three minutes less than \u003cem>The Irishman\u003c/em>) to tell his tale. This may be a source of debate, but it’s hard to argue that a story this hefty — a chronicle of a dark chapter in American history and a shocking true crime tale, all framed in a fraught love story — doesn’t deserve the length, considering the craft in every shot. And with some scenes — a boisterous prairie wedding, or a dance on a boomtown main drag — you feel you could have stayed longer still.\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/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>We begin with a late 19th-century ceremony, one of many portrayals of Osage spiritual life. Then, in a memorable image, there’s a whoosh from underground: Oil, spurting from land that was supposed to be worthless.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Thanks to this discovery, we learn in a terrific prologue using silent-movie title cards, the Osage become enormously wealthy. But they’re deemed “incompetent” and appointed white “guardians” who control their assets. This is how we meet Mollie, asking for her own money to pay medical bills.\u003c/p>\n\u003cp>Meanwhile, Ernest Burkhart (DiCaprio) steps off the train, a World War I vet with a taste for women and finer things, but no money, or talent to speak of. Perhaps his uncle can help. William Hale (De Niro) is a cattle rancher but more like a king around these parts — indeed, King’s his nickname — a white man who speaks the Osage language and calls himself their best friend.\u003c/p>\n\u003cp>But it’s clear from the get-go Hale has sinister motives, and De Niro’s just the guy to ooze sinister from every pore as this Godfather-like figure (he commits crimes, and they’re organized). Scorsese and co-writer Eric Roth depart here from Grann’s book, which holds us in suspense as to Hale’s motives. He wants Osage money, and tells Ernest that if he woos and marries Mollie — well, even less-than-brilliant Ernest can do the math.\u003c/p>\n\u003cfigure id=\"attachment_13936631\" class=\"wp-caption aligncenter\" style=\"max-width: 1388px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936631\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-11.04.08-AM.png\" alt=\"An older white man sitting in the passenger seat of a very early model of car taps the arm of a concerned looking younger white man wearing a cowboy hat and woven coat. \" width=\"1388\" height=\"926\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-11.04.08-AM.png 1388w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-11.04.08-AM-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-11.04.08-AM-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-11.04.08-AM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-11.04.08-AM-768x512.png 768w\" sizes=\"(max-width: 1388px) 100vw, 1388px\">\u003cfigcaption class=\"wp-caption-text\">Robert De Niro and Leonardo DiCaprio in a scene from ‘Killers of the Flower Moon.’ \u003ccite>(Melinda Sue Gordon/ Apple TV+ via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So can Mollie. Trusting but hardly naive, she knows Ernest covets her wealth, but there’s growing affection between the two, and their marriage, gorgeously rendered, is a happy occasion.\u003c/p>\n\u003cp>But then the Osage start dying, one by one, in suspicious ways — including, eventually, Mollie’s sisters and mother. As for Ernest, he’s no angel, spending time robbing and gambling. But is he doing more? DiCaprio’s mouth settles into a tortured frown as he becomes increasingly torn between marital loyalty and fealty to his venal uncle.\u003c/p>\n\u003cp>Finally, federal agent Tom White (Jesse Plemons, perfectly cast) shows up, working for J. Edgar Hoover in what became the FBI. (It’s White who figured most prominently in Grann’s book, and indeed DiCaprio was once slated to play him.) This last act finds its way to a crackling courtroom scene perhaps only Scorsese could bring together: jittery DiCaprio and menacing De Niro, joined by a bombastic Brendan Fraser and a sputtering John Lithgow.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Indeed, the vast supporting cast includes countless faces you may recognize, as well as cameos of a number of musicians, and dozens of Osage actors in key parts. Scorsese’s late friend Robbie Robertson wrote the memorable score.\u003c/p>\n\u003cp>We won’t spoil the ingenious epilogue in which Scorsese ties up the loose narrative ends — with another significant cameo. But the fact that this epilogue comes after, oh, 200 minutes of expertly sustained tension is just another sign that in the latter years of his career, Scorsese is upping the ante — in terms of scale, yes, but also ambition.\u003c/p>\n\u003cp>He has called his work an offering to the Osage, and to other Native peoples. It also feels like an offering to those who love cinema, allowing us to watch a master of the craft continue to force himself, unlikely as it seems, to stretch and learn. May he keep stretching — himself, and us.\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>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Killers of the Flower Moon’ is out nationwide on Oct. 20, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In ‘Taylor Swift: The Eras Tour,’ Every Seat Is the Best Seat in the House",
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"content": "\u003cp>It opens with a clock counting down until show time — the dropped stomach, rollercoaster slowly encroaching its apex sensation — and then, a gentle fake out. Taylor Swift is heard before she is seen. “It’s been a long time…” her voice carries. Then the drop hits: an abridged performance of “Miss Americana & the Heartbreak Prince” into “Cruel Summer,” a track that TikTok breathed new life into four years after its initial release on her 2019 album \u003cem>Lover\u003c/em>.\u003c/p>\n\u003cp>This is the moment it should become clear: \u003ca href=\"https://www.kqed.org/arts/13931892/dear-city-leaders-stop-with-the-taylor-swift-pandering-already\">\u003cem>Taylor Swift: The Eras Tour\u003c/em>\u003c/a> film is a near exact replica of her blockbuster concert performance, which recaps all 10 of her studio albums across 17 years of recorded work. There will be no narrative breaks, no behind-the-scenes footage, no additional ornamentation of the monolithic set (with the exception of a few CGI effects and album title cards to introduce each epoch.) The film delivers on the promise of its title: this is the Eras Tour in full — conveniently viewable at an AMC theater near you.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KudedLV0tP0\u003c/p>\n\u003cp>For those who’ve managed to snag tickets to the Eras Tour concert, it is the ability to relive the experience, likely with loved ones who weren’t as lucky. For those who didn’t attend, it’s a chance to test expectations versus reality. But for everyone, it is the opportunity to have every seat in the house transform into the best seat in the house. \u003cem>Taylor Swift: The Eras Tour\u003c/em> is all up close and personal footage from every vantage point, courtesy of Sam Wrench, who shot and directed it.\u003c/p>\n\u003cp>Where else but in this film can you be placed inches from Swift’s moss-covered \u003cem>evermore\u003c/em> album-era piano as she introduces “Champagne Problems” — so close as to examine phalanges as they press down on the final notes of the song’s coda? And where else does it sound this good, highlighting sonic details that might’ve been missed in the stadium setting? Like guitars placed high in the mix on “Look What You Made Me Do,” differing slightly from the recording, or emphasis placed on moments fans have transformed into opportunities from insider participation, like when everyone shouts, “\u003ca href=\"https://www.tiktok.com/@emilyvalencia94/video/6952948971996286213\">1, 2, 3, let’s go, bitch\u003c/a>!” in “Delicate,” as inspired by a viral video?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Edits to the three-and-a-half-hour concert production are few on screen. Costume changes are cut down. Some songs are snipped, like “The Archer,” “Cardigan,” “Wildest Dreams,” and “no body no crime.” The \u003cem>Speak Now\u003c/em> section is just one song long: “Enchanted,” with “Long Live” soundtracking the end credits alongside images of \u003cem>Eras Tour\u003c/em> bloopers and an endless exchange of friendship bracelets. Onstage banter, too, is limited, mostly reserved for humor and exposition.\u003c/p>\n\u003cp>[aside postid='arts_13874070']As previously reported, \u003ca href=\"https://kqed.org/arts/13936189/taylor-swift-the-eras-tour-might-just-shake-up-the-movie-business-now-too\">the concert film\u003c/a>, compiled from several Swift shows at SoFi Stadium in Inglewood, a suburb of Los Angeles, is expected to launch with $100 million, or possibly more. Advance ticket sales worldwide have already surpassed $100 million.\u003c/p>\n\u003cp>AMC announced that the concert film broke its record for highest ticket sales revenue in a single day. The theater chain Cinemark reported domestic pre-sale records are more than “10 times higher pre-sales than any other cinema engagement event.”\u003c/p>\n\u003cfigure id=\"attachment_13936372\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936372\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-1730875941-scaled.jpg\" alt=\"A beautiful young white woman with short blonde hair strikes a pose, hand on hip, on a red carpet outside a movie theater. She is wearing a pale blue gown.\" width=\"2560\" height=\"1708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-1920x1281.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift attends the ‘Eras Tour’ movie premiere in Los Angeles on Oct. 11, 2023.\u003c/figcaption>\u003c/figure>\n\u003cp>It’s too early to tell, but all signs point to her usurping 2011’s \u003cem>Justin Bieber: Never Say Never\u003c/em> as the biggest concert film, ever. And for the premiere Wednesday night in Los Angeles, Swift shut down The Grove, a bustling mall just south of Hollywood, and watched her performance in an auditorium alongside a star-studded audience of Adam Sandler, Mariska Hargitay, actor Julia Garner, \u003cem>Queer Eye\u003c/em> co-host Karamo Brown, country star Maren Morris, singer Hayley Kiyoko and Bachelor Nation’s Becca Tilley.\u003c/p>\n\u003cp>[aside postid='arts_13936189']It is massive, but nothing could exactly recreate the decibel-bursting exhilaration of a live music performance, particularly one at this scale. But in this format, Swift gets as close as possible — and for her, being an exception to the rule is par for the course. In a fractured, algorithmic music industry, Swift is a final exemplar of monoculture, a figure recognizable by most. And because of that fact, she’s able to fully communicate her power in a concert film with little to no dialogue.\u003c/p>\n\u003cp>(That, admittedly, is something available to only her and Beyoncé, a superstar Swift has learned from and mirrored, in some ways. For example: Beyoncé limits traditional press appearances to instead present her own story in her own terms; Swift has begun to do the same. Relatedly, \u003ca href=\"https://www.kqed.org/arts/13935703/beyonce-renaissance-world-tour-movie-amc-documentary-december-1\">Bey will release a documentary chronicling her Renaissance World Tour\u003c/a>, premiering at AMC theaters in North America on Dec. 1 in a similar agreement to Swift.)\u003c/p>\n\u003cp>The success of Swift’s concert film, too, has something to do with the setting of a theater. Her revealing 2020 documentary, \u003ca href=\"https://www.kqed.org/arts/13874070/in-new-documentary-miss-americana-taylor-swift-shows-girls-how-to-break-free\">\u003cem>Miss Americana\u003c/em>\u003c/a>, was released to Netflix and meant to be absorbed with a kind of intimacy. The viewer is with her in the backseat of car, listening to her incredible candor about the pressures of being Swift, and in a particularly memorable moment, disordered eating.\u003c/p>\n\u003cp>A very different viewing experience, \u003cem>Taylor Swift: The Eras Tour\u003c/em> is meant to be enjoyed communally — a shout-along affair where fans in bespoke cosplay can dance and sing and film the screen on their smartphones, breaking the rules of the traditional movie-going experience. Strangers become friends. And all the while, feeling closer to Swift than ever before.\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>‘Taylor Swift: The Eras Tour’ is out nationwide now.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It opens with a clock counting down until show time — the dropped stomach, rollercoaster slowly encroaching its apex sensation — and then, a gentle fake out. Taylor Swift is heard before she is seen. “It’s been a long time…” her voice carries. Then the drop hits: an abridged performance of “Miss Americana & the Heartbreak Prince” into “Cruel Summer,” a track that TikTok breathed new life into four years after its initial release on her 2019 album \u003cem>Lover\u003c/em>.\u003c/p>\n\u003cp>This is the moment it should become clear: \u003ca href=\"https://www.kqed.org/arts/13931892/dear-city-leaders-stop-with-the-taylor-swift-pandering-already\">\u003cem>Taylor Swift: The Eras Tour\u003c/em>\u003c/a> film is a near exact replica of her blockbuster concert performance, which recaps all 10 of her studio albums across 17 years of recorded work. There will be no narrative breaks, no behind-the-scenes footage, no additional ornamentation of the monolithic set (with the exception of a few CGI effects and album title cards to introduce each epoch.) The film delivers on the promise of its title: this is the Eras Tour in full — conveniently viewable at an AMC theater near you.\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/KudedLV0tP0'\n title='//www.youtube.com/embed/KudedLV0tP0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For those who’ve managed to snag tickets to the Eras Tour concert, it is the ability to relive the experience, likely with loved ones who weren’t as lucky. For those who didn’t attend, it’s a chance to test expectations versus reality. But for everyone, it is the opportunity to have every seat in the house transform into the best seat in the house. \u003cem>Taylor Swift: The Eras Tour\u003c/em> is all up close and personal footage from every vantage point, courtesy of Sam Wrench, who shot and directed it.\u003c/p>\n\u003cp>Where else but in this film can you be placed inches from Swift’s moss-covered \u003cem>evermore\u003c/em> album-era piano as she introduces “Champagne Problems” — so close as to examine phalanges as they press down on the final notes of the song’s coda? And where else does it sound this good, highlighting sonic details that might’ve been missed in the stadium setting? Like guitars placed high in the mix on “Look What You Made Me Do,” differing slightly from the recording, or emphasis placed on moments fans have transformed into opportunities from insider participation, like when everyone shouts, “\u003ca href=\"https://www.tiktok.com/@emilyvalencia94/video/6952948971996286213\">1, 2, 3, let’s go, bitch\u003c/a>!” in “Delicate,” as inspired by a viral video?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Edits to the three-and-a-half-hour concert production are few on screen. Costume changes are cut down. Some songs are snipped, like “The Archer,” “Cardigan,” “Wildest Dreams,” and “no body no crime.” The \u003cem>Speak Now\u003c/em> section is just one song long: “Enchanted,” with “Long Live” soundtracking the end credits alongside images of \u003cem>Eras Tour\u003c/em> bloopers and an endless exchange of friendship bracelets. Onstage banter, too, is limited, mostly reserved for humor and exposition.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As previously reported, \u003ca href=\"https://kqed.org/arts/13936189/taylor-swift-the-eras-tour-might-just-shake-up-the-movie-business-now-too\">the concert film\u003c/a>, compiled from several Swift shows at SoFi Stadium in Inglewood, a suburb of Los Angeles, is expected to launch with $100 million, or possibly more. Advance ticket sales worldwide have already surpassed $100 million.\u003c/p>\n\u003cp>AMC announced that the concert film broke its record for highest ticket sales revenue in a single day. The theater chain Cinemark reported domestic pre-sale records are more than “10 times higher pre-sales than any other cinema engagement event.”\u003c/p>\n\u003cfigure id=\"attachment_13936372\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936372\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-1730875941-scaled.jpg\" alt=\"A beautiful young white woman with short blonde hair strikes a pose, hand on hip, on a red carpet outside a movie theater. She is wearing a pale blue gown.\" width=\"2560\" height=\"1708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-1920x1281.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift attends the ‘Eras Tour’ movie premiere in Los Angeles on Oct. 11, 2023.\u003c/figcaption>\u003c/figure>\n\u003cp>It’s too early to tell, but all signs point to her usurping 2011’s \u003cem>Justin Bieber: Never Say Never\u003c/em> as the biggest concert film, ever. And for the premiere Wednesday night in Los Angeles, Swift shut down The Grove, a bustling mall just south of Hollywood, and watched her performance in an auditorium alongside a star-studded audience of Adam Sandler, Mariska Hargitay, actor Julia Garner, \u003cem>Queer Eye\u003c/em> co-host Karamo Brown, country star Maren Morris, singer Hayley Kiyoko and Bachelor Nation’s Becca Tilley.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It is massive, but nothing could exactly recreate the decibel-bursting exhilaration of a live music performance, particularly one at this scale. But in this format, Swift gets as close as possible — and for her, being an exception to the rule is par for the course. In a fractured, algorithmic music industry, Swift is a final exemplar of monoculture, a figure recognizable by most. And because of that fact, she’s able to fully communicate her power in a concert film with little to no dialogue.\u003c/p>\n\u003cp>(That, admittedly, is something available to only her and Beyoncé, a superstar Swift has learned from and mirrored, in some ways. For example: Beyoncé limits traditional press appearances to instead present her own story in her own terms; Swift has begun to do the same. Relatedly, \u003ca href=\"https://www.kqed.org/arts/13935703/beyonce-renaissance-world-tour-movie-amc-documentary-december-1\">Bey will release a documentary chronicling her Renaissance World Tour\u003c/a>, premiering at AMC theaters in North America on Dec. 1 in a similar agreement to Swift.)\u003c/p>\n\u003cp>The success of Swift’s concert film, too, has something to do with the setting of a theater. Her revealing 2020 documentary, \u003ca href=\"https://www.kqed.org/arts/13874070/in-new-documentary-miss-americana-taylor-swift-shows-girls-how-to-break-free\">\u003cem>Miss Americana\u003c/em>\u003c/a>, was released to Netflix and meant to be absorbed with a kind of intimacy. The viewer is with her in the backseat of car, listening to her incredible candor about the pressures of being Swift, and in a particularly memorable moment, disordered eating.\u003c/p>\n\u003cp>A very different viewing experience, \u003cem>Taylor Swift: The Eras Tour\u003c/em> is meant to be enjoyed communally — a shout-along affair where fans in bespoke cosplay can dance and sing and film the screen on their smartphones, breaking the rules of the traditional movie-going experience. Strangers become friends. And all the while, feeling closer to Swift than ever before.\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>‘Taylor Swift: The Eras Tour’ is out nationwide now.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Anatomy of a Fall’ Dissects a Marriage and, Maybe, a Murder",
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"content": "\u003cp>One reason Sandra Hüller is one of the best actors working today, is that unlike many performers, she doesn’t seem to care if you like her characters or not. Whether she’s playing a tightly wound corporate climber in the brilliant comedy \u003ca href=\"https://www.npr.org/2016/12/28/507227395/toni-erdmann-a-practical-joking-dad-and-his-too-practical-daughter\">\u003cem>Toni Erdmann \u003c/em>\u003c/a>or a Nazi commandant’s wife in the upcoming drama \u003cem>The Zone of Interest, \u003c/em>you never once catch her pleading for the audience’s sympathy.\u003c/p>\n\u003cp>[aside postid='arts_13935857']That fearlessness is partly what makes her so compelling to watch in \u003cem>Anatomy of a Fall\u003c/em>, the absorbingly intricate psychological thriller that won the Palme d’Or at Cannes this year. Hüller plays a successful German-born writer, also named Sandra, who finds herself on trial for her husband’s murder.\u003c/p>\n\u003cp>The movie begins at a chalet in the French Alps, where Sandra and her French husband, Samuel, live with their 11-year-old son, Daniel. Things are tense between Sandra and Samuel, as we can sense from the way he blasts his music while she’s being interviewed by a journalist. The interview gets cut short and the journalist leaves; sometime later, Samuel is found dead outside in the snow, bleeding heavily from a head wound.\u003c/p>\n\u003cp>Did he fall or jump from one of the chalet’s upper stories? Or was he pushed? The director Justine Triet, who wrote the script with Arthur Harari, never reveals the answer. The story is full of intriguing forensic details; Samuel’s fatal fall is diagrammed from every possible angle, and every spatter of blood is analyzed obsessively. But ultimately, Triet is less interested in explaining whodunit — or if anyone dun it — than in conducting an autopsy on Sandra and Samuel’s marriage.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MJlpGZuE4R4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When Sandra is tried for Samuel’s murder, the history of their troubled relationship comes to light. We learn that Samuel never forgave himself for his role in the accident years ago that left Daniel severely visually impaired. That took an obvious toll on the couple.\u003c/p>\n\u003cp>At one point, Samuel’s therapist takes the stand and testifies that Samuel had described his wife as cold and controlling. But Sandra pushes back against this assessment, saying, “If I’d been seeing a therapist, he could stand here, too, and say very ugly things about Samuel. But would those things be true?”\u003c/p>\n\u003cp>[aside postid='arts_13935897']I don’t know how accurate \u003cem>Anatomy of a Fall\u003c/em> is in its portrayal of the French legal system. But here, as in last year’s excellent courtroom drama \u003ca href=\"https://www.npr.org/2023/01/18/1149654068/saint-omer-movie-review-alice-diop\">\u003cem>Saint Omer\u003c/em>\u003c/a>, it appears to be an extremely different system from ours, more tolerant of extended discussion. At one point, in a scene that even the movie seems to find hilarious, the overly aggressive prosecutor starts mining Sandra’s own books for evidence, briefly turning a criminal trial into a literary debate. Still, Sandra’s career is hardly incidental to the case. Samuel was also a writer, but a much less accomplished one than Sandra, which may have made him jealous.\u003c/p>\n\u003cp>Could Samuel have killed himself in despair? That’s the possibility put forth to the court by Sandra’s attorney — well played by Swann Arlaud — who doesn’t seem entirely convinced of his client’s innocence. Daniel, piercingly played by Milo Machado Graner, also doesn’t know what to believe, as he’s torn apart by the loss of his dad and possibly the loss of his mom.\u003c/p>\n\u003cp>The movie’s emotional centerpiece is a stunningly written and acted flashback to a furious marital argument that took place shortly before Samuel’s death — one of those knock-down, drag-out fights where every source of tension and resentment gets dragged to the surface. They clash over their finances, their differing approaches to parenting, their unsatisfying sex life and Sandra’s past infidelity. Sandra expresses her frustration at the many sacrifices she’s quietly made, including agreeing to live in France.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Anatomy of a Fall\u003c/em> persuasively suggests that every marriage is ultimately something of a mystery. The fact that Samuel is no longer alive to defend himself makes it even harder to determine who here is telling the truth. Even so, I couldn’t help but gravitate toward Sandra’s side. There’s something refreshing about the cool pragmatism she shows in the face of Samuel’s insecurity, the way she refuses to short-change her career or coddle her husband for his failures. I left admiring Sandra’s steely resolve, while still wondering if that resolve might have led her to do the unthinkable.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2023 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=%27Anatomy+of+a+Fall%27+dissects+a+marriage+and%2C+maybe%2C+a+murder&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One reason Sandra Hüller is one of the best actors working today, is that unlike many performers, she doesn’t seem to care if you like her characters or not. Whether she’s playing a tightly wound corporate climber in the brilliant comedy \u003ca href=\"https://www.npr.org/2016/12/28/507227395/toni-erdmann-a-practical-joking-dad-and-his-too-practical-daughter\">\u003cem>Toni Erdmann \u003c/em>\u003c/a>or a Nazi commandant’s wife in the upcoming drama \u003cem>The Zone of Interest, \u003c/em>you never once catch her pleading for the audience’s sympathy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That fearlessness is partly what makes her so compelling to watch in \u003cem>Anatomy of a Fall\u003c/em>, the absorbingly intricate psychological thriller that won the Palme d’Or at Cannes this year. Hüller plays a successful German-born writer, also named Sandra, who finds herself on trial for her husband’s murder.\u003c/p>\n\u003cp>The movie begins at a chalet in the French Alps, where Sandra and her French husband, Samuel, live with their 11-year-old son, Daniel. Things are tense between Sandra and Samuel, as we can sense from the way he blasts his music while she’s being interviewed by a journalist. The interview gets cut short and the journalist leaves; sometime later, Samuel is found dead outside in the snow, bleeding heavily from a head wound.\u003c/p>\n\u003cp>Did he fall or jump from one of the chalet’s upper stories? Or was he pushed? The director Justine Triet, who wrote the script with Arthur Harari, never reveals the answer. The story is full of intriguing forensic details; Samuel’s fatal fall is diagrammed from every possible angle, and every spatter of blood is analyzed obsessively. But ultimately, Triet is less interested in explaining whodunit — or if anyone dun it — than in conducting an autopsy on Sandra and Samuel’s marriage.\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/MJlpGZuE4R4'\n title='//www.youtube.com/embed/MJlpGZuE4R4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When Sandra is tried for Samuel’s murder, the history of their troubled relationship comes to light. We learn that Samuel never forgave himself for his role in the accident years ago that left Daniel severely visually impaired. That took an obvious toll on the couple.\u003c/p>\n\u003cp>At one point, Samuel’s therapist takes the stand and testifies that Samuel had described his wife as cold and controlling. But Sandra pushes back against this assessment, saying, “If I’d been seeing a therapist, he could stand here, too, and say very ugly things about Samuel. But would those things be true?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I don’t know how accurate \u003cem>Anatomy of a Fall\u003c/em> is in its portrayal of the French legal system. But here, as in last year’s excellent courtroom drama \u003ca href=\"https://www.npr.org/2023/01/18/1149654068/saint-omer-movie-review-alice-diop\">\u003cem>Saint Omer\u003c/em>\u003c/a>, it appears to be an extremely different system from ours, more tolerant of extended discussion. At one point, in a scene that even the movie seems to find hilarious, the overly aggressive prosecutor starts mining Sandra’s own books for evidence, briefly turning a criminal trial into a literary debate. Still, Sandra’s career is hardly incidental to the case. Samuel was also a writer, but a much less accomplished one than Sandra, which may have made him jealous.\u003c/p>\n\u003cp>Could Samuel have killed himself in despair? That’s the possibility put forth to the court by Sandra’s attorney — well played by Swann Arlaud — who doesn’t seem entirely convinced of his client’s innocence. Daniel, piercingly played by Milo Machado Graner, also doesn’t know what to believe, as he’s torn apart by the loss of his dad and possibly the loss of his mom.\u003c/p>\n\u003cp>The movie’s emotional centerpiece is a stunningly written and acted flashback to a furious marital argument that took place shortly before Samuel’s death — one of those knock-down, drag-out fights where every source of tension and resentment gets dragged to the surface. They clash over their finances, their differing approaches to parenting, their unsatisfying sex life and Sandra’s past infidelity. Sandra expresses her frustration at the many sacrifices she’s quietly made, including agreeing to live in France.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Anatomy of a Fall\u003c/em> persuasively suggests that every marriage is ultimately something of a mystery. The fact that Samuel is no longer alive to defend himself makes it even harder to determine who here is telling the truth. Even so, I couldn’t help but gravitate toward Sandra’s side. There’s something refreshing about the cool pragmatism she shows in the face of Samuel’s insecurity, the way she refuses to short-change her career or coddle her husband for his failures. I left admiring Sandra’s steely resolve, while still wondering if that resolve might have led her to do the unthinkable.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2023 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=%27Anatomy+of+a+Fall%27+dissects+a+marriage+and%2C+maybe%2C+a+murder&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13936154\" class=\"wp-caption aligncenter\" style=\"max-width: 2108px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936154\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-12.06.43-AM.png\" alt=\"A young, attractive Latina stands on the edge of a dessert landscape. She is wearing a structured blue top against a blue sky.\" width=\"2108\" height=\"1300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-12.06.43-AM.png 2108w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-12.06.43-AM-800x493.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-12.06.43-AM-1020x629.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-12.06.43-AM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-12.06.43-AM-768x474.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-12.06.43-AM-1536x947.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-12.06.43-AM-2048x1263.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-12.06.43-AM-1920x1184.png 1920w\" sizes=\"auto, (max-width: 2108px) 100vw, 2108px\">\u003cfigcaption class=\"wp-caption-text\">Joan Baez in a scene from ‘I Am a Noise.’ \u003ccite>(Albert Baez/ Magnolia Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bob Dylan called it her “heart-stopping soprano,” and it’s true that when Joan Baez unleashed that pure, angelic voice on the protest song “We Shall Overcome,” you could believe we would, indeed, overcome.\u003c/p>\n\u003cp>The celebrated folk singer and activist was singing about civil rights, of course. But what we learn in the thoughtful, thorough and sometimes harrowingly intimate \u003cem>Joan Baez: I Am a Noise\u003c/em> is that Baez was also seeking to overcome much on a personal scale: anxiety, depression, loneliness and, late in life, troubling repressed memories about her own father.\u003c/p>\n\u003cp>[aside postid='arts_13933809']If that sounds like a lot to cover in 113 minutes, it is — especially because the new documentary, directed by Maeve O’Boyle, Miri Navasky and Karen O’Connor, also recaps a 60-year performing career, with the singer telling her story through interviews and an incredible wealth of archival material. We see Baez entering for the very first time a storage unit filled to the ceiling by her late mother with photos, home films, audio recordings, letters, drawings and even tapes of therapy sessions.\u003c/p>\n\u003cp>And she gave her directors the key. The film was originally intended simply to cover Baez’s last, 2018 “Fare Thee Well” tour, but Baez decided to leave a more thorough legacy.\u003c/p>\n\u003cp>The film begins with novelist Gabriel Garcia Marquez’s quote about how everyone has three lives: public, private and secret. Well, this is certainly apt for Baez, who emerged as a sudden star in 1959, an 18-year-old with a guitar and that bell-like voice, and went on to make some 40 albums, with a 2017 induction into the Rock & Roll Hall of Fame. As we see from her own anguished drawings and letters beginning in youth, her intensely public life masked both a difficult private one and some dark secrets as well.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And then there was Dylan, the same age as Baez, that inscrutable genius who stole her heart and then broke it. It was intoxicating being together, recounts Baez, who introduced him lovingly to her audiences, until a painful UK tour when his fame blossomed and “it was horrible.” Then, staring into the camera, she says: “Hi, Bob!” It’s a welcome and rare opportunity to laugh with her.\u003c/p>\n\u003cp>[aside postid='arts_13935703']But back to the beginning, where Baez, on the cusp of 80, is preparing for the tour, rehearsing at home in northern California. Her hair is fully gray; her face has not changed much. “I know I look good for my age, but there is a limit,” she quips of upcoming retirement. As for her voice, it’s there, but definitely lower and more ragged.\u003c/p>\n\u003cp>Amid concert footage, we toggle to scenes of Baez’s youth. We also hear, on and off, a strange (and rather distracting) male voice sounding like a hypnotist. It turns out to be her therapist.\u003c/p>\n\u003cp>The story begins with lovely, black-and-white footage of Joan as a child, dancing in a field with her parents and sisters. Her Mexican-born father was dashing. The scenes look idyllic, but there are signs of trouble ahead when, in an interview from the present, Joan notes mysteriously: “I’m way too conflicted to just have a bunch of happy memories.”\u003c/p>\n\u003cp>We see pages from young Joan’s journal, its copious sketches brought to life by wonderfully inventive animation, and hear how white kids called her “the dumb Mexican” in school. Panic attacks and anxiety set in. Even when she becomes a star, breaking out at the Newport Folk Festival in 1959, her self-image doesn’t seem to thrive. Nestled among the many letters to her parents is a drawing of a very small girl: “This is how I felt on the Carnegie Hall stage.”\u003c/p>\n\u003cp>And then a charismatic singer-songwriter invades her life.\u003c/p>\n\u003cp>”I was just stoned on that talent,” she says of Dylan. One of the best moments of the film has Baez at the mic, during good times, imitating Dylan imitating her.\u003c/p>\n\u003cp>But later, on that tour to Britain, he leaves her in his wake. “Dylan broke my heart,” she says.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dhcV1gEat_c\u003c/p>\n\u003cp>A new phase sees Baez deeply engaged in protests against the Vietnam War — even going to jail. There, young activist David Harris visits her. The two will marry, she’ll become pregnant, and then HE will go to jail. When he comes out, the marriage is troubled and doesn’t last. “He was too young and I was too crazy,” she says. Gabriel, her son, plays drums in his mother’s band on the farewell tour.\u003c/p>\n\u003cp>Later scenes have Baez discussing a phase of reliance on Quaaludes, which cause her to make some questionable decisions, including posing for an album cover in huge aviator goggles.\u003c/p>\n\u003cp>[aside postid='arts_13933824']The final act deals with accusations against her father of inappropriate sexual behavior with Joan and one of her sisters, Mimi. Her parents, both deceased, denied it, and Joan’s own memories lack detail. She has said she could not have told this story while her parents were still alive.\u003c/p>\n\u003cp>There’s an excruciating tape of a phone message from her accused dad, and then a tender scene where Baez comforts her aging and dying mother.\u003c/p>\n\u003cp>And then, after footage of a final concert at New York’s Beacon Theater, we see the now-retired Baez dancing in a field near her home. A nod perhaps to the childhood scenes — but also maybe a statement that while she hasn’t overcome it all, she’s overcome a heckuva lot.\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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Joan Baez: I Am a Noise’ opens in wide release on Oct. 13.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But back to the beginning, where Baez, on the cusp of 80, is preparing for the tour, rehearsing at home in northern California. Her hair is fully gray; her face has not changed much. “I know I look good for my age, but there is a limit,” she quips of upcoming retirement. As for her voice, it’s there, but definitely lower and more ragged.\u003c/p>\n\u003cp>Amid concert footage, we toggle to scenes of Baez’s youth. We also hear, on and off, a strange (and rather distracting) male voice sounding like a hypnotist. It turns out to be her therapist.\u003c/p>\n\u003cp>The story begins with lovely, black-and-white footage of Joan as a child, dancing in a field with her parents and sisters. Her Mexican-born father was dashing. The scenes look idyllic, but there are signs of trouble ahead when, in an interview from the present, Joan notes mysteriously: “I’m way too conflicted to just have a bunch of happy memories.”\u003c/p>\n\u003cp>We see pages from young Joan’s journal, its copious sketches brought to life by wonderfully inventive animation, and hear how white kids called her “the dumb Mexican” in school. Panic attacks and anxiety set in. Even when she becomes a star, breaking out at the Newport Folk Festival in 1959, her self-image doesn’t seem to thrive. Nestled among the many letters to her parents is a drawing of a very small girl: “This is how I felt on the Carnegie Hall stage.”\u003c/p>\n\u003cp>And then a charismatic singer-songwriter invades her life.\u003c/p>\n\u003cp>”I was just stoned on that talent,” she says of Dylan. One of the best moments of the film has Baez at the mic, during good times, imitating Dylan imitating her.\u003c/p>\n\u003cp>But later, on that tour to Britain, he leaves her in his wake. “Dylan broke my heart,” she says.\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/dhcV1gEat_c'\n title='//www.youtube.com/embed/dhcV1gEat_c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A new phase sees Baez deeply engaged in protests against the Vietnam War — even going to jail. There, young activist David Harris visits her. The two will marry, she’ll become pregnant, and then HE will go to jail. When he comes out, the marriage is troubled and doesn’t last. “He was too young and I was too crazy,” she says. Gabriel, her son, plays drums in his mother’s band on the farewell tour.\u003c/p>\n\u003cp>Later scenes have Baez discussing a phase of reliance on Quaaludes, which cause her to make some questionable decisions, including posing for an album cover in huge aviator goggles.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The final act deals with accusations against her father of inappropriate sexual behavior with Joan and one of her sisters, Mimi. Her parents, both deceased, denied it, and Joan’s own memories lack detail. She has said she could not have told this story while her parents were still alive.\u003c/p>\n\u003cp>There’s an excruciating tape of a phone message from her accused dad, and then a tender scene where Baez comforts her aging and dying mother.\u003c/p>\n\u003cp>And then, after footage of a final concert at New York’s Beacon Theater, we see the now-retired Baez dancing in a field near her home. A nod perhaps to the childhood scenes — but also maybe a statement that while she hasn’t overcome it all, she’s overcome a heckuva lot.\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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Joan Baez: I Am a Noise’ opens in wide release on Oct. 13.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Taylor Swift: The Eras Tour’ Might Just Shake Up the Movie Business Now Too",
"headTitle": "‘Taylor Swift: The Eras Tour’ Might Just Shake Up the Movie Business Now Too | KQED",
"content": "\u003cp>Greg Marcus has been in the movie business for years but he never expected to be urging moviegoers to take out their phones during a film — let alone to be crafting friendship bracelets in preparation for an opening weekend.\u003c/p>\n\u003cp>But there the chief executive and chair of the Marcus Corporation is in a promotion for his theater chain headquartered in Milwaukee, Wisconsin, stringing beads together while humming “Shake It Off.”\u003c/p>\n\u003cp>Movie theaters are readying for an onslaught like they’ve never seen before, beginning Friday when \u003cem>Taylor Swift: The Eras Tour\u003c/em> debuts. The concert film, compiled from several Swift shows at Southern California’s SoFi Stadium, is expected to launch with $100 million, or possibly more. Advance ticket sales worldwide have already surpassed $100 million.\u003c/p>\n\u003cp>Swifties will descend. Dancing will be encouraged.\u003c/p>\n\u003cp>“This is different,” says Marcus. “Take your phone out. Take selfies. Dance, sing, get up, have a good time. We want to create an atmosphere.”\u003c/p>\n\u003cfigure id=\"attachment_13933016\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933016\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165.jpg\" alt=\"A girl's arms, loaded with inches of friendship bracelets. One hand has the number 13 drawn on it in pink glitter. The girl's pink dress is visible behind her arms.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift fan Roselin Alvarez shows her friendship bracelets as she rides a free shuttle bus from Downtown Inglewood Station to SoFi stadium to see Taylor Swift perform her first of six sold-out ‘Eras Tour’ shows in Inglewood on Aug. 3, 2023. \u003ccite>(Allen J. Schaben/ Los Angeles Times via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Concert films, of course, aren’t anything new. Just last month, the Talking Heads classic \u003cem>Stop Making Sense\u003c/em> returned to theaters for a decades-later encore. But \u003cem>The Eras Tour\u003c/em> heralds something new and potentially game-changing in the movie industry.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Two of the biggest stars on the planet — Swift and, in December under \u003ca href=\"https://www.kqed.org/arts/13935703/beyonce-renaissance-world-tour-movie-amc-documentary-december-1\">a very similar arrangement, Beyoncé\u003c/a> — are heading into cinemas in first-of-their-kind deals made directly with AMC Theaters that circumvent Hollywood studios and which, for now, leave streamers waiting on the sidelines.\u003c/p>\n\u003cp>But how did the once declared-for-dead multiplex become the go-to place this fall for a pair of stars previously \u003ca href=\"https://www.kqed.org/pop/111097/what-beyonces-hungry-confession-means-for-women-everywhere\">at home on Netflix\u003c/a>?\u003c/p>\n\u003cp>[aside postid='arts_13935703']When studios began diverting some of their titles to streaming platforms, movie theaters began thinking harder about how they could fill their screens — a question exacerbated this autumn by an actors strike that’s led to the postponement of big releases like \u003cem>Dune: Part Two\u003c/em>.\u003c/p>\n\u003cp>Movie theaters are increasingly not just a marquee of movie showtimes but a big-screen stage for a variety of visual media. BTS earlier this year released a concert film, with higher ticket prices and limited showtimes. The Metropolitan Opera has for years done popular live broadcasts in theaters.\u003c/p>\n\u003cp>Few acts can do what Swift and Beyoncé can. Their expected success is unlikely to be replicated. But \u003cem>The Eras Tour\u003c/em> could be the start of an expansion of what, exactly, a movie theater can be. Think the Sphere, only much cheaper and in most towns.\u003c/p>\n\u003cp>“You could say we’re in the movie business, but really we’re in the getting-together-with-other-people business,” says Marcus. “The more we do of it, the more the customers will think about it and the more talent will go: ‘This is something I could do.’”\u003c/p>\n\u003cp>Swift’s camp was motivated to get the film out even as her stadium tour continues internationally. The tour, which is projected by Pollstar to gross some $1.4 billion,\u003ca href=\"https://www.kqed.org/arts/13921777/the-taylor-swift-ticket-fiasco-is-refocusing-a-spotlight-on-ticketmasters-dominance\"> crashed Ticketmaster’s site\u003c/a>, saw sky-high resale mark-ups and left many fans priced out.\u003c/p>\n\u003cp>The movie, directed by Sam Wrench, would be a way for millions more to experience the Eras Tour. Adult tickets are being sold for $19.89, a reference to her birth year and 2014 album, a re-recording of which is due out Oct. 27. That’s higher than the average movie ticket but several thousand less than many tickets to see Swift live.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KudedLV0tP0\u003c/p>\n\u003cp>It’s arriving uncommonly fast, too, just a little over two months since the SoFi shows. Speed was one reason Swift’s father, Scott Swift, is said to have sought out a direct deal with AMC. Swift produced the film herself, and, with 274 million followers on Instagram, didn’t need a studio to promote it.\u003c/p>\n\u003cp>[aside postid='arts_13931892']The pop star’s \u003ca href=\"https://www.kqed.org/arts/13935566/taylor-swift-travis-kelce-relationship-boosts-nfl-sales-spectators\">apparent relationship with Kansas City Chiefs tight end Travis Kelce\u003c/a> has only further brightened the spotlight on the movie. According to ad tracking firm iSpot, TV ads for the film ran only a few dozen times as of Oct. 6, including several spots during NFL broadcasts. (A Marvel movie, by comparison, might run several thousand TV commercials.)\u003c/p>\n\u003cp>Ticket sales will be split 43% with theaters and 57% shared by Swift and AMC — with the lion’s share of that going to Swift. The film will play exclusively in theaters for at least 13 weeks — longer than many Hollywood releases do now. AMC CEO Adam Aron has called the deal “a coup for AMC” on social media.\u003c/p>\n\u003cp>Both AMC and representatives for Swift declined to discuss the film’s release.\u003c/p>\n\u003cp>After a premiere in Los Angeles on Wednesday, there won’t be any advance screenings until the movie begins playing at 6 p.m. local time Friday. Most wide-release movies open with Thursday showings and Friday daytime screenings. It’s another wrinkle in a nontraditional release that’s challenging Hollywood norms.\u003c/p>\n\u003cp>“Innovation comes out of challenging times in this business. We’re seeing a lot of changes, some subtle, some not so subtle,” says Paul Dergarabedian, senior media analyst for data firm Comscore. “It seems like, right now, there are no rules when it comes to being successful.”\u003c/p>\n\u003cp>Dergarabedian believes the two concert films should help lift the North American box office to more than $9 billion in 2023, up from the $7.4 billion of last year and edging closer to the $11.4 billion of 2019.\u003c/p>\n\u003cp>“It really opens up the idea that other types of content can play really well in a movie theater,” he says.\u003c/p>\n\u003cp>[aside postid='arts_13935566']Some of those changes have been facilitated by the abolishment of long-held antitrust restrictions governing movie distribution. After more than 70 years of regulating divisions between exhibition and distribution, the Paramount consent decrees were terminated in 2020 at the urging of the Department of Justice, with a two-year sunset period that ran until last year.\u003c/p>\n\u003cp>“Innovation had effectively been stunted,” says Makan Delrahim, the former antitrust chief at the Justice Department who proposed ending the consent decrees.\u003c/p>\n\u003cp>Delrahim believes \u003cem>Taylor Swift: The Eras Tour\u003c/em> — as a movie distributed by a theater chain, with nontraditional ticket prices — could “fuel new business models to save the exhibitors.”\u003c/p>\n\u003cfigure id=\"attachment_13936192\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936192\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-1604947683-scaled-e1696966929318.jpg\" alt=\"Taylor Swift, long blond hair blowing in the breeze stands legs apart and pointing theatrically forward. She is singing into a microphone and wearing a blue tassled body suit, leg garter and knee high black boots.\" width=\"1920\" height=\"1390\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1604947683-scaled-e1696966929318.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1604947683-scaled-e1696966929318-800x579.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1604947683-scaled-e1696966929318-1020x738.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1604947683-scaled-e1696966929318-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1604947683-scaled-e1696966929318-768x556.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1604947683-scaled-e1696966929318-1536x1112.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift onstage during her Eras Tour, at SoFi Stadium. \u003ccite>(Kevin Winter/ TAS23/ Getty Images for TAS Rights Management)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There will be more appetite to experiment different models for theatrical distribution,” Delrahim says. “The industry needs it and, frankly, so do consumers.”\u003c/p>\n\u003cp>The sunsetting of the Paramount Decrees does give AMC a leg up on their competitors. As the distributor as well as an exhibitor, \u003ca href=\"https://www.indiewire.com/news/box-office/taylor-swift-the-eras-tour-amc-infuriates-studios-1234901227/\">AMC was able to set their own showtimes and sell tickets for \u003ci data-stringify-type=\"italic\">Taylor Swift: The Eras Tour\u003c/i> before other theaters\u003c/a>, taking the industry by surprise and adversely affecting smaller, independently run movie theaters, in particular.\u003c/p>\n\u003cp>[aside postid='arts_13933011']Meanwhile, \u003cem>Taylor Swift: The Eras Tour\u003c/em> is poised to become the biggest concert film ever in about two days of release. Not accounting for inflation, 2011’s \u003cem>Justin Bieber: Never Say Never\u003c/em> holds that mark with $73.1 million across its entire run. Accounting for inflation, it will be harder for \u003cem>The Eras Tour\u003c/em> to catch \u003cem>Woodstock\u003c/em>, which grossed $50 million in 1970, a total that translates to nearly $400 million today.\u003c/p>\n\u003cp>In Marcus’ theaters, like many other chains, there will be friendship bracelet stations. Sound systems have been modified for more of a concert feel. And while Marcus grants it will be strange to see an AMC logo before a film playing in his theaters, he doesn’t particularly mind.\u003c/p>\n\u003cp>“I’m just happy it’s there,” he says.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci data-stringify-type=\"italic\">Gabe Meline contributed reporting.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Greg Marcus has been in the movie business for years but he never expected to be urging moviegoers to take out their phones during a film — let alone to be crafting friendship bracelets in preparation for an opening weekend.\u003c/p>\n\u003cp>But there the chief executive and chair of the Marcus Corporation is in a promotion for his theater chain headquartered in Milwaukee, Wisconsin, stringing beads together while humming “Shake It Off.”\u003c/p>\n\u003cp>Movie theaters are readying for an onslaught like they’ve never seen before, beginning Friday when \u003cem>Taylor Swift: The Eras Tour\u003c/em> debuts. The concert film, compiled from several Swift shows at Southern California’s SoFi Stadium, is expected to launch with $100 million, or possibly more. Advance ticket sales worldwide have already surpassed $100 million.\u003c/p>\n\u003cp>Swifties will descend. Dancing will be encouraged.\u003c/p>\n\u003cp>“This is different,” says Marcus. “Take your phone out. Take selfies. Dance, sing, get up, have a good time. We want to create an atmosphere.”\u003c/p>\n\u003cfigure id=\"attachment_13933016\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933016\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165.jpg\" alt=\"A girl's arms, loaded with inches of friendship bracelets. One hand has the number 13 drawn on it in pink glitter. The girl's pink dress is visible behind her arms.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift fan Roselin Alvarez shows her friendship bracelets as she rides a free shuttle bus from Downtown Inglewood Station to SoFi stadium to see Taylor Swift perform her first of six sold-out ‘Eras Tour’ shows in Inglewood on Aug. 3, 2023. \u003ccite>(Allen J. Schaben/ Los Angeles Times via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Concert films, of course, aren’t anything new. Just last month, the Talking Heads classic \u003cem>Stop Making Sense\u003c/em> returned to theaters for a decades-later encore. But \u003cem>The Eras Tour\u003c/em> heralds something new and potentially game-changing in the movie industry.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Two of the biggest stars on the planet — Swift and, in December under \u003ca href=\"https://www.kqed.org/arts/13935703/beyonce-renaissance-world-tour-movie-amc-documentary-december-1\">a very similar arrangement, Beyoncé\u003c/a> — are heading into cinemas in first-of-their-kind deals made directly with AMC Theaters that circumvent Hollywood studios and which, for now, leave streamers waiting on the sidelines.\u003c/p>\n\u003cp>But how did the once declared-for-dead multiplex become the go-to place this fall for a pair of stars previously \u003ca href=\"https://www.kqed.org/pop/111097/what-beyonces-hungry-confession-means-for-women-everywhere\">at home on Netflix\u003c/a>?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>When studios began diverting some of their titles to streaming platforms, movie theaters began thinking harder about how they could fill their screens — a question exacerbated this autumn by an actors strike that’s led to the postponement of big releases like \u003cem>Dune: Part Two\u003c/em>.\u003c/p>\n\u003cp>Movie theaters are increasingly not just a marquee of movie showtimes but a big-screen stage for a variety of visual media. BTS earlier this year released a concert film, with higher ticket prices and limited showtimes. The Metropolitan Opera has for years done popular live broadcasts in theaters.\u003c/p>\n\u003cp>Few acts can do what Swift and Beyoncé can. Their expected success is unlikely to be replicated. But \u003cem>The Eras Tour\u003c/em> could be the start of an expansion of what, exactly, a movie theater can be. Think the Sphere, only much cheaper and in most towns.\u003c/p>\n\u003cp>“You could say we’re in the movie business, but really we’re in the getting-together-with-other-people business,” says Marcus. “The more we do of it, the more the customers will think about it and the more talent will go: ‘This is something I could do.’”\u003c/p>\n\u003cp>Swift’s camp was motivated to get the film out even as her stadium tour continues internationally. The tour, which is projected by Pollstar to gross some $1.4 billion,\u003ca href=\"https://www.kqed.org/arts/13921777/the-taylor-swift-ticket-fiasco-is-refocusing-a-spotlight-on-ticketmasters-dominance\"> crashed Ticketmaster’s site\u003c/a>, saw sky-high resale mark-ups and left many fans priced out.\u003c/p>\n\u003cp>The movie, directed by Sam Wrench, would be a way for millions more to experience the Eras Tour. Adult tickets are being sold for $19.89, a reference to her birth year and 2014 album, a re-recording of which is due out Oct. 27. That’s higher than the average movie ticket but several thousand less than many tickets to see Swift live.\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/KudedLV0tP0'\n title='//www.youtube.com/embed/KudedLV0tP0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s arriving uncommonly fast, too, just a little over two months since the SoFi shows. Speed was one reason Swift’s father, Scott Swift, is said to have sought out a direct deal with AMC. Swift produced the film herself, and, with 274 million followers on Instagram, didn’t need a studio to promote it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The pop star’s \u003ca href=\"https://www.kqed.org/arts/13935566/taylor-swift-travis-kelce-relationship-boosts-nfl-sales-spectators\">apparent relationship with Kansas City Chiefs tight end Travis Kelce\u003c/a> has only further brightened the spotlight on the movie. According to ad tracking firm iSpot, TV ads for the film ran only a few dozen times as of Oct. 6, including several spots during NFL broadcasts. (A Marvel movie, by comparison, might run several thousand TV commercials.)\u003c/p>\n\u003cp>Ticket sales will be split 43% with theaters and 57% shared by Swift and AMC — with the lion’s share of that going to Swift. The film will play exclusively in theaters for at least 13 weeks — longer than many Hollywood releases do now. AMC CEO Adam Aron has called the deal “a coup for AMC” on social media.\u003c/p>\n\u003cp>Both AMC and representatives for Swift declined to discuss the film’s release.\u003c/p>\n\u003cp>After a premiere in Los Angeles on Wednesday, there won’t be any advance screenings until the movie begins playing at 6 p.m. local time Friday. Most wide-release movies open with Thursday showings and Friday daytime screenings. It’s another wrinkle in a nontraditional release that’s challenging Hollywood norms.\u003c/p>\n\u003cp>“Innovation comes out of challenging times in this business. We’re seeing a lot of changes, some subtle, some not so subtle,” says Paul Dergarabedian, senior media analyst for data firm Comscore. “It seems like, right now, there are no rules when it comes to being successful.”\u003c/p>\n\u003cp>Dergarabedian believes the two concert films should help lift the North American box office to more than $9 billion in 2023, up from the $7.4 billion of last year and edging closer to the $11.4 billion of 2019.\u003c/p>\n\u003cp>“It really opens up the idea that other types of content can play really well in a movie theater,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Some of those changes have been facilitated by the abolishment of long-held antitrust restrictions governing movie distribution. After more than 70 years of regulating divisions between exhibition and distribution, the Paramount consent decrees were terminated in 2020 at the urging of the Department of Justice, with a two-year sunset period that ran until last year.\u003c/p>\n\u003cp>“Innovation had effectively been stunted,” says Makan Delrahim, the former antitrust chief at the Justice Department who proposed ending the consent decrees.\u003c/p>\n\u003cp>Delrahim believes \u003cem>Taylor Swift: The Eras Tour\u003c/em> — as a movie distributed by a theater chain, with nontraditional ticket prices — could “fuel new business models to save the exhibitors.”\u003c/p>\n\u003cfigure id=\"attachment_13936192\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936192\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-1604947683-scaled-e1696966929318.jpg\" alt=\"Taylor Swift, long blond hair blowing in the breeze stands legs apart and pointing theatrically forward. She is singing into a microphone and wearing a blue tassled body suit, leg garter and knee high black boots.\" width=\"1920\" height=\"1390\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1604947683-scaled-e1696966929318.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1604947683-scaled-e1696966929318-800x579.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1604947683-scaled-e1696966929318-1020x738.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1604947683-scaled-e1696966929318-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1604947683-scaled-e1696966929318-768x556.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1604947683-scaled-e1696966929318-1536x1112.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift onstage during her Eras Tour, at SoFi Stadium. \u003ccite>(Kevin Winter/ TAS23/ Getty Images for TAS Rights Management)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There will be more appetite to experiment different models for theatrical distribution,” Delrahim says. “The industry needs it and, frankly, so do consumers.”\u003c/p>\n\u003cp>The sunsetting of the Paramount Decrees does give AMC a leg up on their competitors. As the distributor as well as an exhibitor, \u003ca href=\"https://www.indiewire.com/news/box-office/taylor-swift-the-eras-tour-amc-infuriates-studios-1234901227/\">AMC was able to set their own showtimes and sell tickets for \u003ci data-stringify-type=\"italic\">Taylor Swift: The Eras Tour\u003c/i> before other theaters\u003c/a>, taking the industry by surprise and adversely affecting smaller, independently run movie theaters, in particular.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cfigure id=\"attachment_13936092\" class=\"wp-caption aligncenter\" style=\"max-width: 946px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936092\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-09-at-12.12.24-PM.png\" alt=\"A black and white book cover depicting a blonde starlet wearing a 1950s-era gown.\" width=\"946\" height=\"1432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-09-at-12.12.24-PM.png 946w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-09-at-12.12.24-PM-800x1211.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-09-at-12.12.24-PM-160x242.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-09-at-12.12.24-PM-768x1163.png 768w\" sizes=\"(max-width: 946px) 100vw, 946px\">\u003cfigcaption class=\"wp-caption-text\">‘Hitchcock’s Blondes: The Unforgettable Women Behind the Legendary Director’s Dark Obsession’ by Laurence Leamer. \u003ccite>(Putnam via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though often lauded as one of the greatest filmmakers of all time, Alfred Hitchcock was also known for having a dark side, including his authoritarian tendencies as a director and sexually inappropriate behavior toward the women in his films. Tippi Hedren, who starred in \u003ca href=\"https://www.kqed.org/arts/13923159/the-birds-is-turning-60-whats-that-creepy-ass-song-the-kids-were-singing-anyway\">\u003cem>The Birds\u003c/em>\u003c/a> and \u003cem>Marnie\u003c/em>, has even alleged in recent years that the late director sexually assaulted her and threatened her career after she rejected his advances.\u003c/p>\n\u003cp>[aside postid='arts_13904911']For the famed auteur, women, and actors in general, were props to be controlled and molded with the sole purpose of realizing his vision.\u003c/p>\n\u003cp>In \u003cem>Hitchcock’s Blondes: The Unforgettable Women Behind the Legendary Director’s Dark Obsession\u003c/em>, Laurence Leamer seeks to divert the reader from seeing the female actors through the director’s gaze, constructing instead vignettes that attempt to memorialize these women as more than their captivating beauty.\u003c/p>\n\u003cp>\u003cem>Hitchcock’s Blondes\u003c/em> is part biography of the auteur, part crash course into his catalogue of movies. But mostly this book is just what it says it is: a survey of the women on whom Hitchcock relied to bring his artistry to life.\u003c/p>\n\u003cp>Although Leamer betrays a reverence and appreciation for the filmmaker, Hitchcock is very much the complicated antagonist of the story, the women the sympathetic stooges.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13923159']His warranted efforts to accentuate Hitchcock’s problematic behavior are sometimes executed at the expense of conveying a holistic picture of reality. Despite occasional references to their narcissism and ambition, Hitchcock’s blondes are often portrayed as wooden innocents with little agency or autonomy — objects at the mercy of the powerful director no matter how hard he pushed them or out of line he became.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Though at times meandering, \u003cem>Hitchcock’s Blondes\u003c/em> dishes sufficient old Hollywood gossip to keep interested readers entertained.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>His warranted efforts to accentuate Hitchcock’s problematic behavior are sometimes executed at the expense of conveying a holistic picture of reality. Despite occasional references to their narcissism and ambition, Hitchcock’s blondes are often portrayed as wooden innocents with little agency or autonomy — objects at the mercy of the powerful director no matter how hard he pushed them or out of line he became.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Though at times meandering, \u003cem>Hitchcock’s Blondes\u003c/em> dishes sufficient old Hollywood gossip to keep interested readers entertained.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Jamie Foxx deploys his movie star charm judiciously and skillfully as a litigator with swagger to spare in \u003cem>The Burial\u003c/em>, a very entertaining courtroom drama.\u003c/p>\n\u003cp>Foxx is one of those actors, blessed with an allure and glamour that runs so deep that it’s almost tempting to dismiss a performance like this as one that’s natural. It’s one of those compliments that’s rotten at its core — of course he, or Clooney, or whomever, is good at being slick and appealing, right? If it looks effortless, we assume it is, denying them the work that goes into every role.\u003c/p>\n\u003cp>[aside postid='arts_13933517']The same could be said for \u003cem>The Burial\u003c/em>, which is glossy, appealing and goes down suspiciously easy. Is there a catch or did director and co-writer Maggie Betts just prove her commercial chops in her sophomore feature? (It’s the latter.) Just take a look at the poster used for its marketing campaign — a little retro, a little cheesy, and a lot self-aware. This movie and everyone involved knows what it is.\u003c/p>\n\u003cp>In a probably skewed memory of the mid-’90s, these sort of mid-budget “rousing courtroom dramas” seemed ubiquitous, but have gone the way of the rom-com, at least in big theatrical releases. \u003cem>The Burial\u003c/em> will be in some theaters for a week, before coming to your living room on Oct. 13 on Prime Video.\u003c/p>\n\u003cp>This story is a classic David vs. Goliath one, in which a Biloxi funeral home owner, Tommy Lee Jones as Jeremiah O’Keefe, goes up against a billionaire, Raymond Loewen (Bill Camp). Both were children of funeral parlor owners, but O’Keefe stayed local while Loewen took the so-called “death care” business corporate. He made a fortune acquiring funeral homes in Canada and then the United States in anticipation of a “golden age of death,” in which the baby boomers start meeting their ends in mass numbers. \u003cem>The Burial\u003c/em> is loosely based on a true story, which was chronicled by Jonathan Harr in The New Yorker in 1999.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Betts focuses her lens on Foxx’s character, Willie E. Gary, a self-made success in personal injury law, who has never lost a case and doesn’t plan to. Jeremiah’s case is a contract one but a young associate played by the always appealing Mamoudou Athie convinces him that he’s going to need a lead counsel who is Black if they’re going to have a chance. The trial has been set for a poor, largely Black area, and Jeremiah’s longtime lawyer, Mike Allred (Alan Ruck, playing a character who would probably be a \u003ca href=\"https://www.kqed.org/arts/13926773/succession-returns-for-a-fourth-and-final-season-of-family-back-stabbing\">Con-Head\u003c/a>), is an obvious racist. He’s working on it, he says chillingly to a team of Black lawyers.\u003c/p>\n\u003cp>When Willie does finally agree to go out of his comfort zone and take on a different kind of case (his ego stoked by the promise that this could make him as famous as Johnnie Cochran), there is a steep and humbling learning curve and a formidable opponent in Jurnee Smollett’s Ivy League-educated lawyer representing the Loewen Group.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZOhIdaufd3Q\u003c/p>\n\u003cp>Betts shares a screenwriting credit with Doug Wright, the Pulitzer and Tony-winning playwright, who has been with the project for years, with Alexander Payne once attached to direct. Betts was coming off a promising, but small, debut — the religious drama \u003cem>Novitiate\u003c/em>, with Margaret Qualley and Melissa Leo. \u003cem>The Burial\u003c/em> too is assured and straightforward, and faces questions about race and privilege and inequality head on. This story is about two older white men fighting about a contract, sure, but Betts and Wright expand its scope with sensitivity and nuance. Like many good courtroom dramas before it, this case is bigger than just these two guys.\u003c/p>\n\u003cp>[aside postid='arts_13935443']Smollett’s Mame is the big invention of the movie, which doesn’t grate the way it usually does when screenwriters add a fictional, exceptional woman to diversify a too-male story. Mame is not a one note character — she is brilliant and accomplished but also keenly aware that she can’t stumble, falter or lose her cool the way her male counterparts can. Sometimes you even forget that you really shouldn’t be rooting for her to win, which is a shrewd touch for a movie with a pretty obvious conclusion and an easily hateable villain.\u003c/p>\n\u003cp>But this show belongs to Foxx, and it’s a fun feast to see him grandstand and doubt himself and charm all kinds of jurors and make us feel empathetic for a guy who is himself ostentatiously wealthy, no matter if it was easy for the actor or not.\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 Burial,’ is released in theaters on Oct. 6 and begins streaming on Prime Video on Oct. 13.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Betts focuses her lens on Foxx’s character, Willie E. Gary, a self-made success in personal injury law, who has never lost a case and doesn’t plan to. Jeremiah’s case is a contract one but a young associate played by the always appealing Mamoudou Athie convinces him that he’s going to need a lead counsel who is Black if they’re going to have a chance. The trial has been set for a poor, largely Black area, and Jeremiah’s longtime lawyer, Mike Allred (Alan Ruck, playing a character who would probably be a \u003ca href=\"https://www.kqed.org/arts/13926773/succession-returns-for-a-fourth-and-final-season-of-family-back-stabbing\">Con-Head\u003c/a>), is an obvious racist. He’s working on it, he says chillingly to a team of Black lawyers.\u003c/p>\n\u003cp>When Willie does finally agree to go out of his comfort zone and take on a different kind of case (his ego stoked by the promise that this could make him as famous as Johnnie Cochran), there is a steep and humbling learning curve and a formidable opponent in Jurnee Smollett’s Ivy League-educated lawyer representing the Loewen Group.\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/ZOhIdaufd3Q'\n title='//www.youtube.com/embed/ZOhIdaufd3Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Betts shares a screenwriting credit with Doug Wright, the Pulitzer and Tony-winning playwright, who has been with the project for years, with Alexander Payne once attached to direct. Betts was coming off a promising, but small, debut — the religious drama \u003cem>Novitiate\u003c/em>, with Margaret Qualley and Melissa Leo. \u003cem>The Burial\u003c/em> too is assured and straightforward, and faces questions about race and privilege and inequality head on. This story is about two older white men fighting about a contract, sure, but Betts and Wright expand its scope with sensitivity and nuance. Like many good courtroom dramas before it, this case is bigger than just these two guys.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Smollett’s Mame is the big invention of the movie, which doesn’t grate the way it usually does when screenwriters add a fictional, exceptional woman to diversify a too-male story. Mame is not a one note character — she is brilliant and accomplished but also keenly aware that she can’t stumble, falter or lose her cool the way her male counterparts can. Sometimes you even forget that you really shouldn’t be rooting for her to win, which is a shrewd touch for a movie with a pretty obvious conclusion and an easily hateable villain.\u003c/p>\n\u003cp>But this show belongs to Foxx, and it’s a fun feast to see him grandstand and doubt himself and charm all kinds of jurors and make us feel empathetic for a guy who is himself ostentatiously wealthy, no matter if it was easy for the actor or not.\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 Burial,’ is released in theaters on Oct. 6 and begins streaming on Prime Video on Oct. 13.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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