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"content": "\u003cp>Describing the ineffable yet oh-so-real connection between sisters—or any siblings—isn’t easy. Kudos to Polish director Agnieszka Smoczynska, whose artful, ambitious exploration of the perverse sisterhood of Jennifer and June Gibbons, \u003cem>The Silent Twins\u003c/em> (opening Sept. 16), powerfully depicts the recognizable, universal aspects of a singularly notorious relationship.\u003c/p>\n\u003cp>Born in 1963, the real-life identical twins were the children of a couple from Barbados who emigrated to England. The only Black children in sight (along with their siblings), June and Jennifer created a language and retreated into a world of their own devising. By 1974, when the family relocated to Wales, the twins had ceased speaking in public and responding to their teachers, principals or psychologists.\u003c/p>\n\u003cfigure id=\"attachment_13919236\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/the-silent-twins-125_SilenTwins_3_1200.jpg\" alt=\"Two young Black girls in matching outfits sit behind a large table; one glances at other\" width=\"1200\" height=\"720\" class=\"size-full wp-image-13919236\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/the-silent-twins-125_SilenTwins_3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/the-silent-twins-125_SilenTwins_3_1200-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/the-silent-twins-125_SilenTwins_3_1200-1020x612.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/the-silent-twins-125_SilenTwins_3_1200-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/the-silent-twins-125_SilenTwins_3_1200-768x461.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘The Silent Twins.’ \u003ccite>(Courtesy of Jakub Kijowski/Focus Features)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>June and Jennifer, like many sisters, fashioned a bond and a pact that no one else was privy to. Then they went further, striking an unhealthy contract that effectively locked them in their own embrace and eliminated outside influences. It would be simplistic to say that \u003cem>The Silent Twins\u003c/em> is the saga of a love-hate relationship, but the hot coals of familial tension—between need and resentment, and autonomy and inseparability—fuel both the drama and its haunting aftereffects.\u003c/p>\n\u003cp>An important facet of June and Jennifer’s relationship—which Smoczynska, making her English-language debut, mines for its innocence, beauty and wit—was their creativity, manifested in their writings and drawings. Deployed in \u003cem>The Silent Twins\u003c/em> as goofy animated scenes and lush fantasy sequences, they provide an antidote to the palette of dark blues and purples that the filmmaker uses to depict both the uninspiring U.K. institutions of the ’70s and the perpetually under-lit bedroom that served as the sisters’ studio, cloister, refuge—and battleground.\u003c/p>\n\u003cp>If \u003cem>The Silent Twins\u003c/em> can’t fully explain the source or cause of the sisters’ extreme alienation—pervasive racism, inflexible academicians, feeling like perpetual outsiders—it has an unwavering grip on the volatile dynamics of sibling rivalry (potentially even more acute with identical twins). A commitment to codependence and cooperation can evaporate in a heartbeat in a fury of competition, as one pivotal scene illustrates.\u003c/p>\n\u003cfigure id=\"attachment_13919234\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/the-silent-twins-1_1200.jpg\" alt=\"Two young Black women crouch excitedly over box containing typewriter\" width=\"1200\" height=\"720\" class=\"size-full wp-image-13919234\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/the-silent-twins-1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/the-silent-twins-1_1200-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/the-silent-twins-1_1200-1020x612.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/the-silent-twins-1_1200-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/the-silent-twins-1_1200-768x461.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Tamara Lawrance stars as Jennifer Gibbons and Letitia Wright stars as June Gibbons in ‘The Silent Twins.’ \u003ccite>(Courtesy of Jakub Kijowski/Focus Features)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>June asks Jennifer for a loan in order to self-publish a book of her work. Jennifer is stunned, perhaps in part by her sister being ahead of her creatively, but primarily by the act of individual expression and ambition. It’s a kind of betrayal, even though June promises to repay her when Jennifer is ready to take the same step. (The book arrives sometime later, in a room they share in a quite different place, and Jennifer disrupts June’s pleasure by cranking the radio—setting off one of the ferocious fights that dot the film.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Just as \u003cem>The Silent Twins\u003c/em> meshes its visual approaches (the drab realism of the real world with the off-center universe imagined by the sisters), the film successfully combines the perspective of the outside world (also the audience’s point of view) with the twins’ private relationship (familiar yet disturbing for any viewer with siblings). We are sufficiently immersed in Jennifer and June’s day-to-day life to experience its specialness, good and bad, without feeling trapped or claustrophobic. If we want that feeling, we do have our own family patterns to contemplate.\u003c/p>\n\u003cp>The film’s approach to evoking the twins’ interior lives extends to the soundtrack. Zuzanna Wronska’s lyrics, for spare, ethereal songs with titles like “Bliss,” “We Two Made One” and “Dear Death,” either quote directly or are inspired by the Gibbons sisters’ writings. That body of work, incidentally, came to light via investigative reporter Marjorie Wallace, who wrote a newspaper article about the twins’ criminal trial, befriended and advocated for them during their horrific and lengthy incarceration in a hospital for the criminally insane, and published \u003cem>The Silent Twins\u003c/em> in 1986.\u003c/p>\n\u003cfigure id=\"attachment_13919235\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/the-silent-twins-2_1200.jpg\" alt=\"Two young Black women look up in awe at a line of purple lights\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13919235\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/the-silent-twins-2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/the-silent-twins-2_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/the-silent-twins-2_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/the-silent-twins-2_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/the-silent-twins-2_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Silent Twins.’ \u003ccite>(Courtesy of Lukasz Bak/Focus Features)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>June and Jennifer (played at this point by Letitia Wright and Tamara Lawrance) embarked on curious acts of destruction in their late teens, seemingly part of a project to expand and enhance their writing by experiencing life. They first stepped out (and out of character) by hooking up with a local lout (Jack Bandiera) for drugs and sex, which naturally exacerbated the twins’ rivalry. Arrested on petty theft charges, they refused to offer a plea or otherwise speak, resulting in their tragic, open-ended remand to Broadmoor Hospital.\u003c/p>\n\u003cp>While the film doesn’t resolve the enigma at the heart of the twins’ story, its exploration of their relationship delivers a raw, heightened experience. Ultimately, \u003cem>The Silent Twins\u003c/em> depicts the utterly unique story of Jennifer and June Gibbons as a sympathetic, disturbing portrait of something that will be recognizable to many—what it means to come of age as women in an unwelcoming society.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Silent Twins’ opens in Bay Area theaters on Friday, Sept. 16.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Describing the ineffable yet oh-so-real connection between sisters—or any siblings—isn’t easy. Kudos to Polish director Agnieszka Smoczynska, whose artful, ambitious exploration of the perverse sisterhood of Jennifer and June Gibbons, \u003cem>The Silent Twins\u003c/em> (opening Sept. 16), powerfully depicts the recognizable, universal aspects of a singularly notorious relationship.\u003c/p>\n\u003cp>Born in 1963, the real-life identical twins were the children of a couple from Barbados who emigrated to England. The only Black children in sight (along with their siblings), June and Jennifer created a language and retreated into a world of their own devising. By 1974, when the family relocated to Wales, the twins had ceased speaking in public and responding to their teachers, principals or psychologists.\u003c/p>\n\u003cfigure id=\"attachment_13919236\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/the-silent-twins-125_SilenTwins_3_1200.jpg\" alt=\"Two young Black girls in matching outfits sit behind a large table; one glances at other\" width=\"1200\" height=\"720\" class=\"size-full wp-image-13919236\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/the-silent-twins-125_SilenTwins_3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/the-silent-twins-125_SilenTwins_3_1200-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/the-silent-twins-125_SilenTwins_3_1200-1020x612.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/the-silent-twins-125_SilenTwins_3_1200-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/the-silent-twins-125_SilenTwins_3_1200-768x461.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘The Silent Twins.’ \u003ccite>(Courtesy of Jakub Kijowski/Focus Features)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>June and Jennifer, like many sisters, fashioned a bond and a pact that no one else was privy to. Then they went further, striking an unhealthy contract that effectively locked them in their own embrace and eliminated outside influences. It would be simplistic to say that \u003cem>The Silent Twins\u003c/em> is the saga of a love-hate relationship, but the hot coals of familial tension—between need and resentment, and autonomy and inseparability—fuel both the drama and its haunting aftereffects.\u003c/p>\n\u003cp>An important facet of June and Jennifer’s relationship—which Smoczynska, making her English-language debut, mines for its innocence, beauty and wit—was their creativity, manifested in their writings and drawings. Deployed in \u003cem>The Silent Twins\u003c/em> as goofy animated scenes and lush fantasy sequences, they provide an antidote to the palette of dark blues and purples that the filmmaker uses to depict both the uninspiring U.K. institutions of the ’70s and the perpetually under-lit bedroom that served as the sisters’ studio, cloister, refuge—and battleground.\u003c/p>\n\u003cp>If \u003cem>The Silent Twins\u003c/em> can’t fully explain the source or cause of the sisters’ extreme alienation—pervasive racism, inflexible academicians, feeling like perpetual outsiders—it has an unwavering grip on the volatile dynamics of sibling rivalry (potentially even more acute with identical twins). A commitment to codependence and cooperation can evaporate in a heartbeat in a fury of competition, as one pivotal scene illustrates.\u003c/p>\n\u003cfigure id=\"attachment_13919234\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/the-silent-twins-1_1200.jpg\" alt=\"Two young Black women crouch excitedly over box containing typewriter\" width=\"1200\" height=\"720\" class=\"size-full wp-image-13919234\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/the-silent-twins-1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/the-silent-twins-1_1200-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/the-silent-twins-1_1200-1020x612.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/the-silent-twins-1_1200-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/the-silent-twins-1_1200-768x461.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Tamara Lawrance stars as Jennifer Gibbons and Letitia Wright stars as June Gibbons in ‘The Silent Twins.’ \u003ccite>(Courtesy of Jakub Kijowski/Focus Features)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>June asks Jennifer for a loan in order to self-publish a book of her work. Jennifer is stunned, perhaps in part by her sister being ahead of her creatively, but primarily by the act of individual expression and ambition. It’s a kind of betrayal, even though June promises to repay her when Jennifer is ready to take the same step. (The book arrives sometime later, in a room they share in a quite different place, and Jennifer disrupts June’s pleasure by cranking the radio—setting off one of the ferocious fights that dot the film.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Just as \u003cem>The Silent Twins\u003c/em> meshes its visual approaches (the drab realism of the real world with the off-center universe imagined by the sisters), the film successfully combines the perspective of the outside world (also the audience’s point of view) with the twins’ private relationship (familiar yet disturbing for any viewer with siblings). We are sufficiently immersed in Jennifer and June’s day-to-day life to experience its specialness, good and bad, without feeling trapped or claustrophobic. If we want that feeling, we do have our own family patterns to contemplate.\u003c/p>\n\u003cp>The film’s approach to evoking the twins’ interior lives extends to the soundtrack. Zuzanna Wronska’s lyrics, for spare, ethereal songs with titles like “Bliss,” “We Two Made One” and “Dear Death,” either quote directly or are inspired by the Gibbons sisters’ writings. That body of work, incidentally, came to light via investigative reporter Marjorie Wallace, who wrote a newspaper article about the twins’ criminal trial, befriended and advocated for them during their horrific and lengthy incarceration in a hospital for the criminally insane, and published \u003cem>The Silent Twins\u003c/em> in 1986.\u003c/p>\n\u003cfigure id=\"attachment_13919235\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/the-silent-twins-2_1200.jpg\" alt=\"Two young Black women look up in awe at a line of purple lights\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13919235\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/the-silent-twins-2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/the-silent-twins-2_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/the-silent-twins-2_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/the-silent-twins-2_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/the-silent-twins-2_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Silent Twins.’ \u003ccite>(Courtesy of Lukasz Bak/Focus Features)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>June and Jennifer (played at this point by Letitia Wright and Tamara Lawrance) embarked on curious acts of destruction in their late teens, seemingly part of a project to expand and enhance their writing by experiencing life. They first stepped out (and out of character) by hooking up with a local lout (Jack Bandiera) for drugs and sex, which naturally exacerbated the twins’ rivalry. Arrested on petty theft charges, they refused to offer a plea or otherwise speak, resulting in their tragic, open-ended remand to Broadmoor Hospital.\u003c/p>\n\u003cp>While the film doesn’t resolve the enigma at the heart of the twins’ story, its exploration of their relationship delivers a raw, heightened experience. Ultimately, \u003cem>The Silent Twins\u003c/em> depicts the utterly unique story of Jennifer and June Gibbons as a sympathetic, disturbing portrait of something that will be recognizable to many—what it means to come of age as women in an unwelcoming society.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Silent Twins’ opens in Bay Area theaters on Friday, Sept. 16.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Following the teaser \u003ca href=\"https://www.youtube.com/watch?v=0-wPm99PF9U\">trailer for the live-action version\u003c/a> of Disney’s \u003cem>The Little Mermaid\u003c/em>, parents of young Black girls are posting videos across social media of their children’s reactions to seeing Halle Bailey as Ariel.\u003c/p>\n\u003cp>“I wanna watch it!” a girl says in a \u003ca href=\"https://www.tiktok.com/@adeliachai2/video/7141549155868036395?_r=1&_t=8VdBrIBXh5W&is_from_webapp=v1&item_id=7141549155868036395\">video \u003c/a>posted by TikTok user Adelia Chaiyakul.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@adeliachai2/video/7141549155868036395\" data-video-id=\"7141549155868036395\">\n\u003csection>\u003ca title=\"@adeliachai2\" href=\"https://www.tiktok.com/@adeliachai2?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">@adeliachai2\u003c/a> Showing my daughter The Little Mermaid Teaser Trailer \u003ca title=\"fyp\" href=\"https://www.tiktok.com/tag/fyp?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#fyp\u003c/a> \u003ca title=\"littlemermaid\" href=\"https://www.tiktok.com/tag/littlemermaid?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#littlemermaid\u003c/a> \u003ca title=\"hallebailey\" href=\"https://www.tiktok.com/tag/hallebailey?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#hallebailey\u003c/a> \u003ca title=\"disney\" href=\"https://www.tiktok.com/tag/disney?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#disney\u003c/a> \u003ca title=\"brownskingirl\" href=\"https://www.tiktok.com/tag/brownskingirl?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#brownskingirl\u003c/a> \u003ca title=\"thelittlemermaid\" href=\"https://www.tiktok.com/tag/thelittlemermaid?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#thelittlemermaid\u003c/a> \u003ca title=\"♬ The Little Mermaid: Part of Your World - Geek Music\" href=\"https://www.tiktok.com/music/The-Little-Mermaid-Part-of-Your-World-6891415531383949313?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">♬ The Little Mermaid: Part of Your World – Geek Music\u003c/a>\u003c/section>\n\u003cp>[tiktok]\u003c/p>\u003c/blockquote>\n\u003cp>“Mommy! … She’s brown like me!” says a girl in another TikTok.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@nickyknackpaddywack/video/7142138063504969006\" data-video-id=\"7142138063504969006\">\n\u003csection>\u003ca title=\"@nickyknackpaddywack\" href=\"https://www.tiktok.com/@nickyknackpaddywack?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">@nickyknackpaddywack\u003c/a> Mayas reaction to \u003ca title=\"thelittlemermaid\" href=\"https://www.tiktok.com/tag/thelittlemermaid?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#thelittlemermaid\u003c/a> trailer. \u003ca title=\"representationmatters\" href=\"https://www.tiktok.com/tag/representationmatters?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#representationmatters\u003c/a> \u003ca title=\"representationinthemediamatters\" href=\"https://www.tiktok.com/tag/representationinthemediamatters?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#representationinthemediamatters\u003c/a> \u003ca title=\"blackgirls\" href=\"https://www.tiktok.com/tag/blackgirls?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#blackgirls\u003c/a> \u003ca title=\"♬ original sound - Nicky\" href=\"https://www.tiktok.com/music/original-sound-7142138065312582442?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">♬ original sound – Nicky\u003c/a>\u003c/section>\n\u003cp>[tiktok]\u003c/p>\u003c/blockquote>\n\u003cp>Many similar videos have been shared across social media since the teaser trailer was released on Friday, with hashtags such as #representationmatters and #Blackgirlmagic. The trailer has surpassed 12 million views.\u003c/p>\n\u003cp>Disney first unveiled a sneak peek of its live-action adaptation of the 1989 animated film at its \u003ca href=\"https://www.npr.org/2022/09/10/1122224622/disney-disenchanted-little-mermaid-movie-trailers\" target=\"_blank\" rel=\"noopener noreferrer\">D23 Expo\u003c/a>. In the video, fans get a brief look at Bailey, an actress and singer from the R&B duo Chloe x Halle, playing the lead role of Ariel.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In addition to Bailey, the film features actor Daveed Diggs as the voice of Sebastian, Melissa McCarthy as Ursula, Javier Bardem as Triton, Jacob Tremblay as Flounder, and Awkwafina as Scuttle.\u003c/p>\n\u003cp>[aside postid='arts_13914736']In an \u003ca href=\"https://variety.com/2022/film/features/halle-bailey-the-little-mermaid-interview-backlash-ariel-1235336668/\" target=\"_blank\" rel=\"noopener noreferrer\">interview with \u003cem>Variety\u003c/em>\u003c/a>, Bailey, 22, addressed the backlash towards her casting in the lead role. Some on social media have used the hashtag #NotMyAriel to say that casting a Black actress goes against the original Hans Christian Andersen fairy tale, which was originally published in Denmark in 1837. In the wake of that, Bailey said that her grandparents offered her some perspective.\u003c/p>\n\u003cp>“It was an inspiring and beautiful thing to hear their words of encouragement, telling me, ‘You don’t understand what this is doing for us, for our community, for all the little Black and brown girls who are going to see themselves in you,'” Bailey said.\u003c/p>\n\u003cp>“I want the little girl in me and the little girls just like me who are watching to know that they’re special and that they should be a princess in every single way,” she added.\u003c/p>\n\u003cp>https://twitter.com/HalleBailey/status/1569455744046747648\u003c/p>\n\u003cp>The original animated 1989 film tells the story of a young mermaid, Ariel, who falls in love with a human prince. In order to win him over, she makes a deal with a sea witch named Ursula to become a human.\u003c/p>\n\u003cp>The Little Mermaid is set to be released in theaters on May 26, 2023.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Following the teaser \u003ca href=\"https://www.youtube.com/watch?v=0-wPm99PF9U\">trailer for the live-action version\u003c/a> of Disney’s \u003cem>The Little Mermaid\u003c/em>, parents of young Black girls are posting videos across social media of their children’s reactions to seeing Halle Bailey as Ariel.\u003c/p>\n\u003cp>“I wanna watch it!” a girl says in a \u003ca href=\"https://www.tiktok.com/@adeliachai2/video/7141549155868036395?_r=1&_t=8VdBrIBXh5W&is_from_webapp=v1&item_id=7141549155868036395\">video \u003c/a>posted by TikTok user Adelia Chaiyakul.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@adeliachai2/video/7141549155868036395\" data-video-id=\"7141549155868036395\">\n\u003csection>\u003ca title=\"@adeliachai2\" href=\"https://www.tiktok.com/@adeliachai2?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">@adeliachai2\u003c/a> Showing my daughter The Little Mermaid Teaser Trailer \u003ca title=\"fyp\" href=\"https://www.tiktok.com/tag/fyp?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#fyp\u003c/a> \u003ca title=\"littlemermaid\" href=\"https://www.tiktok.com/tag/littlemermaid?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#littlemermaid\u003c/a> \u003ca title=\"hallebailey\" href=\"https://www.tiktok.com/tag/hallebailey?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#hallebailey\u003c/a> \u003ca title=\"disney\" href=\"https://www.tiktok.com/tag/disney?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#disney\u003c/a> \u003ca title=\"brownskingirl\" href=\"https://www.tiktok.com/tag/brownskingirl?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#brownskingirl\u003c/a> \u003ca title=\"thelittlemermaid\" href=\"https://www.tiktok.com/tag/thelittlemermaid?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#thelittlemermaid\u003c/a> \u003ca title=\"♬ The Little Mermaid: Part of Your World - Geek Music\" href=\"https://www.tiktok.com/music/The-Little-Mermaid-Part-of-Your-World-6891415531383949313?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">♬ The Little Mermaid: Part of Your World – Geek Music\u003c/a>\u003c/section>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/blockquote>\n\u003cp>“Mommy! … She’s brown like me!” says a girl in another TikTok.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@nickyknackpaddywack/video/7142138063504969006\" data-video-id=\"7142138063504969006\">\n\u003csection>\u003ca title=\"@nickyknackpaddywack\" href=\"https://www.tiktok.com/@nickyknackpaddywack?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">@nickyknackpaddywack\u003c/a> Mayas reaction to \u003ca title=\"thelittlemermaid\" href=\"https://www.tiktok.com/tag/thelittlemermaid?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#thelittlemermaid\u003c/a> trailer. \u003ca title=\"representationmatters\" href=\"https://www.tiktok.com/tag/representationmatters?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#representationmatters\u003c/a> \u003ca title=\"representationinthemediamatters\" href=\"https://www.tiktok.com/tag/representationinthemediamatters?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#representationinthemediamatters\u003c/a> \u003ca title=\"blackgirls\" href=\"https://www.tiktok.com/tag/blackgirls?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#blackgirls\u003c/a> \u003ca title=\"♬ original sound - Nicky\" href=\"https://www.tiktok.com/music/original-sound-7142138065312582442?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">♬ original sound – Nicky\u003c/a>\u003c/section>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/blockquote>\n\u003cp>Many similar videos have been shared across social media since the teaser trailer was released on Friday, with hashtags such as #representationmatters and #Blackgirlmagic. The trailer has surpassed 12 million views.\u003c/p>\n\u003cp>Disney first unveiled a sneak peek of its live-action adaptation of the 1989 animated film at its \u003ca href=\"https://www.npr.org/2022/09/10/1122224622/disney-disenchanted-little-mermaid-movie-trailers\" target=\"_blank\" rel=\"noopener noreferrer\">D23 Expo\u003c/a>. In the video, fans get a brief look at Bailey, an actress and singer from the R&B duo Chloe x Halle, playing the lead role of Ariel.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In addition to Bailey, the film features actor Daveed Diggs as the voice of Sebastian, Melissa McCarthy as Ursula, Javier Bardem as Triton, Jacob Tremblay as Flounder, and Awkwafina as Scuttle.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In an \u003ca href=\"https://variety.com/2022/film/features/halle-bailey-the-little-mermaid-interview-backlash-ariel-1235336668/\" target=\"_blank\" rel=\"noopener noreferrer\">interview with \u003cem>Variety\u003c/em>\u003c/a>, Bailey, 22, addressed the backlash towards her casting in the lead role. Some on social media have used the hashtag #NotMyAriel to say that casting a Black actress goes against the original Hans Christian Andersen fairy tale, which was originally published in Denmark in 1837. In the wake of that, Bailey said that her grandparents offered her some perspective.\u003c/p>\n\u003cp>“It was an inspiring and beautiful thing to hear their words of encouragement, telling me, ‘You don’t understand what this is doing for us, for our community, for all the little Black and brown girls who are going to see themselves in you,'” Bailey said.\u003c/p>\n\u003cp>“I want the little girl in me and the little girls just like me who are watching to know that they’re special and that they should be a princess in every single way,” she added.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The original animated 1989 film tells the story of a young mermaid, Ariel, who falls in love with a human prince. In order to win him over, she makes a deal with a sea witch named Ursula to become a human.\u003c/p>\n\u003cp>The Little Mermaid is set to be released in theaters on May 26, 2023.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Jean-Luc Godard, Iconic French New Wave Director, Dies at 91",
"headTitle": "Jean-Luc Godard, Iconic French New Wave Director, Dies at 91 | KQED",
"content": "\u003cp>Jean-Luc Godard, the iconic “enfant terrible” of the French New Wave who revolutionized popular cinema in 1960 with his first feature, \u003cem>Breathless\u003c/em>, and stood for years among the film world’s most influential directors, died Tuesday. He was 91.\u003c/p>\n\u003cp>Godard died peacefully and surrounded by loved ones at his home in the Swiss town of Rolle, on Lake Geneva, his family said in a statement. The statement gave assisted suicide as the cause of death.\u003c/p>\n\u003cp>A medical report recently revealed the director had “multiple invalidating pathologies,” according to the family statement, which did not specify the conditions.\u003c/p>\n\u003cp>Over a long career that began in the 1950s as a film critic, Godard was perhaps the most boundary-breaking director among New Wave filmmakers who rewrote the rules for camera, sound and narrative — rebelling against an earlier tradition of more formulaic storytelling.\u003c/p>\n\u003cp>For the low-budget \u003cem>Breathless\u003c/em>, Godard relied on a mobile, lightweight camera to capture street scenes and reach moviegoers in a new way.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He dispensed with contrived backdrops and the “artifice” of Hollywood cinema of the time, said one film expert. The impact was immediate – \u003cem>Breathless\u003c/em> arrived like a cinematic thunderclap when it was released in 1960 – and lasting.\u003c/p>\n\u003cfigure id=\"attachment_13919058\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/GettyImages-106155289-800x802.jpg\" alt=\"A white man in suit, tie and sunglasses stands with a woman in a dress.\" width=\"800\" height=\"802\" class=\"size-medium wp-image-13919058\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GettyImages-106155289-800x802.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GettyImages-106155289-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GettyImages-106155289-768x770.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GettyImages-106155289.jpg 1021w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jean Seberg and Jean-Luc Godard during the party for the release of the movie Breathless (A bout de Souffle) in Paris, France, on March 16, 1960. \u003ccite>(Keystone-France/Gamma-Keystone via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>French President Emmanuel Macron paid tribute, saying: “We have lost a national treasure, the eye of a genius.”\u003c/p>\n\u003cp>Godard worked with some of the best-known actors in French cinema, such as Jean-Paul Belmondo, who was propelled to stardom through the director’s films, and Brigitte Bardot, who starred in his acclaimed 1963 work \u003cem>Contempt\u003c/em>.\u003c/p>\n\u003cp>Beyond that, he profiled the early Rolling Stones, gave a voice to Marxist, leftist and 1960s-era Black Power politics, and his controversial modern nativity play \u003cem>Hail Mary\u003c/em> grabbed headlines when Pope John Paul II denounced it in 1985.\u003c/p>\n\u003cp>While many of his works were lauded, Godard also made a string of films that were politically charged and experimental, and pleased few outside a small circle of fans, while frustrating many critics who saw them as filled with overblown intellectualism.\u003c/p>\n\u003cp>Cannes Film Festival Director Thierry Fremaux said by phone he was “sad, sad — immensely so” at the news of Godard’s death.\u003c/p>\n\u003cp>Born into a wealthy French-Swiss family on Dec. 3, 1930 in Paris, Godard grew up in Nyon, Switzerland, and studied ethnology at the Sorbonne, where he was increasingly drawn to the cultural scene that flourished in the Latin Quarter “cine-club” after World War II.\u003c/p>\n\u003cp>He became friends with future big-name directors Francois Truffaut, Jacques Rivette and Eric Rohmer, and in 1950 founded the short-lived Gazette du Cinema. By 1952 he had begun writing for the prestigious movie magazine \u003cem>Cahiers du Cinema\u003c/em>.\u003c/p>\n\u003cp>After working on two films by Rivette and Rohmer in 1951, Godard tried to direct his first movie while traveling through North and South America with his father, but never finished it.\u003c/p>\n\u003cp>Back in Europe, he took a job in Switzerland as a construction worker on a dam project. He used the pay to finance his first complete film, the 1954 \u003cem>Operation Concrete\u003c/em>, a 20-minute documentary about the building of the dam.\u003c/p>\n\u003cp>Returning to Paris, Godard worked as spokesman for an artists’ agency and made his first feature in 1957 — \u003cem>All Boys Are Called Patrick\u003c/em>, released in 1959 — and continued to hone his writing.\u003c/p>\n\u003cfigure id=\"attachment_13919057\" class=\"wp-caption aligncenter\" style=\"max-width: 594px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/GettyImages-948120760.jpg\" alt=\"A man in glasses and a suit jacket reclines before the sea.\" width=\"594\" height=\"381\" class=\"size-full wp-image-13919057\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GettyImages-948120760.jpg 594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GettyImages-948120760-160x103.jpg 160w\" sizes=\"(max-width: 594px) 100vw, 594px\">\u003cfigcaption class=\"wp-caption-text\">Jean-Luc Godard at the Cannes Film Festival in 1987. \u003ccite>(Pool ARNAL/URLI/GARCIA/Gamma-Rapho via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He also began work on \u003cem>Breathless\u003c/em>, based on a story by Truffaut.\u003c/p>\n\u003cp>The movie stars Belmondo as a penniless young thief who models himself on Hollywood movie gangsters and who, after he shoots a police officer, goes on the run with his American girlfriend, played by Jean Seberg.\u003c/p>\n\u003cp>Godard’s cinematic creations were suffused with the gritty, sassy tones of a resurgent postwar France — known domestically as the “Glorious 30” years through to the late 1970s — and they served up some of the most poignant images and lines from what was then a rich, avant-garde heyday of French filmmaking.\u003c/p>\n\u003cp>The images in \u003cem>Breathless\u003c/em> of an ingenue Seberg traipsing along Paris’ Champs-Elysées and shouting to hawk \u003cem>New York Herald Tribune\u003c/em> newspapers in a tight T-shirt, and close-ups of a cigarette-smoking, fedora-wearing Belmondo running a thumb methodically, pensively across his lips could be enshrined among the most memorable images of French cinema.\u003c/p>\n\u003cp>Along with Truffaut’s \u003cem>The 400 Blows\u003c/em>, released in 1959, Godard’s film set a new tone for French movie aesthetics. Godard rejected conventional narrative style and instead used frequent jump-cuts that mingled philosophical discussions with action scenes. He spiced it all up with references to Hollywood gangster movies and nods to literature and visual art.\u003c/p>\n\u003cp>Godard also launched what was to be a career-long participation in collective film projects, contributing scenes to \u003cem>The Seven Deadly Sins\u003c/em> along with directors such as Claude Chabrol and Roger Vadim. He also worked with Ugo Gregoretti, Pier Paolo Pasolini and Roberto Rossellini on the Italian movie \u003cem>Let’s Have a Brainwash\u003c/em>, with Godard’s scenes portraying a disturbing post-Apocalypse world.\u003c/p>\n\u003cp>Godard, who was later to gain a reputation for his uncompromising left-wing political views, had a first brush with French authorities in 1960 when he made \u003cem>The Little Soldier\u003c/em>. The movie, filled with references to France’s colonial war in Algeria, was not released until 1963, a year after the conflict ended.\u003c/p>\n\u003cp>His work turned more starkly political by the late 1960s. In \u003cem>Weekend\u003c/em>, his characters lampoon hypocrisy in bourgeois society even as they demonstrate the comic futility of violent class war. It came out a year before popular anger at the establishment shook France, culminating in the iconic but short-lived student unrest of May 1968.\u003c/p>\n\u003cp>Godard harbored a life-long sympathy for various forms of socialism depicted in films from the early 1970s to the 1990s.\u003c/p>\n\u003cp>Some of global cinema’s greatest directors counted Godard’s boundary-breaking work as an influence, including Quentin Tarantino, Bernardo Bertolucci, Brian De Palma and Jonathan Demme.\u003c/p>\n\u003cp>Tweeted \u003cem>Black Swan\u003c/em> director Darren Aronofsky: “rip godard. learned a lot from my vhs copy of breathless… thank you maestro.”\u003c/p>\n\u003cp>Godard took potshots at Hollywood over the years.\u003c/p>\n\u003cp>He remained home in Switzerland rather than travel to Hollywood to receive an honorary Oscar at a private ceremony in November 2010 alongside film historian and preservationist Kevin Brownlow, director-producer Francis Ford Coppola and actor Eli Wallach.\u003c/p>\n\u003cp>His lifelong advocacy of the Palestinian cause also brought him repeated accusations of antisemitism, despite his insistence that he sympathized with the Jewish people and their plight in Nazi-occupied Europe.\u003c/p>\n\u003cp>Though the academy received some complaints about Godard being selected to receive the award, academy President Tom Sherak said the director was recognized solely “for his contributions to film in the New Wave era.”\u003c/p>\n\u003cp>Godard married Danish-born model and actress Anna Karina in 1961. She appeared in a string of movies he made during the remainder of the 1960s, all of them seen as New Wave landmarks. Notable among them were \u003cem>My Life to Live\u003c/em>, \u003cem>Alphaville\u003c/em> and \u003cem>Crazy Pete\u003c/em> — which also starred Belmondo and was rumored to have been shot without a script. Godard and Karina divorced in 1965.\u003c/p>\n\u003cp>Godard married his second wife, Anne Wiazemsky, in 1967. He later started a relationship with Swiss filmmaker Anne-Marie Mieville. Godard divorced Wiazemsky in 1979, after he had moved with Mieville to Rolle, where he lived with her for the rest of his life.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Adamson reported from Paris. Former AP correspondent John Heilprin contributed biographical material to this report.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jean-Luc Godard, the iconic “enfant terrible” of the French New Wave who revolutionized popular cinema in 1960 with his first feature, \u003cem>Breathless\u003c/em>, and stood for years among the film world’s most influential directors, died Tuesday. He was 91.\u003c/p>\n\u003cp>Godard died peacefully and surrounded by loved ones at his home in the Swiss town of Rolle, on Lake Geneva, his family said in a statement. The statement gave assisted suicide as the cause of death.\u003c/p>\n\u003cp>A medical report recently revealed the director had “multiple invalidating pathologies,” according to the family statement, which did not specify the conditions.\u003c/p>\n\u003cp>Over a long career that began in the 1950s as a film critic, Godard was perhaps the most boundary-breaking director among New Wave filmmakers who rewrote the rules for camera, sound and narrative — rebelling against an earlier tradition of more formulaic storytelling.\u003c/p>\n\u003cp>For the low-budget \u003cem>Breathless\u003c/em>, Godard relied on a mobile, lightweight camera to capture street scenes and reach moviegoers in a new way.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He dispensed with contrived backdrops and the “artifice” of Hollywood cinema of the time, said one film expert. The impact was immediate – \u003cem>Breathless\u003c/em> arrived like a cinematic thunderclap when it was released in 1960 – and lasting.\u003c/p>\n\u003cfigure id=\"attachment_13919058\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/GettyImages-106155289-800x802.jpg\" alt=\"A white man in suit, tie and sunglasses stands with a woman in a dress.\" width=\"800\" height=\"802\" class=\"size-medium wp-image-13919058\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GettyImages-106155289-800x802.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GettyImages-106155289-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GettyImages-106155289-768x770.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GettyImages-106155289.jpg 1021w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jean Seberg and Jean-Luc Godard during the party for the release of the movie Breathless (A bout de Souffle) in Paris, France, on March 16, 1960. \u003ccite>(Keystone-France/Gamma-Keystone via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>French President Emmanuel Macron paid tribute, saying: “We have lost a national treasure, the eye of a genius.”\u003c/p>\n\u003cp>Godard worked with some of the best-known actors in French cinema, such as Jean-Paul Belmondo, who was propelled to stardom through the director’s films, and Brigitte Bardot, who starred in his acclaimed 1963 work \u003cem>Contempt\u003c/em>.\u003c/p>\n\u003cp>Beyond that, he profiled the early Rolling Stones, gave a voice to Marxist, leftist and 1960s-era Black Power politics, and his controversial modern nativity play \u003cem>Hail Mary\u003c/em> grabbed headlines when Pope John Paul II denounced it in 1985.\u003c/p>\n\u003cp>While many of his works were lauded, Godard also made a string of films that were politically charged and experimental, and pleased few outside a small circle of fans, while frustrating many critics who saw them as filled with overblown intellectualism.\u003c/p>\n\u003cp>Cannes Film Festival Director Thierry Fremaux said by phone he was “sad, sad — immensely so” at the news of Godard’s death.\u003c/p>\n\u003cp>Born into a wealthy French-Swiss family on Dec. 3, 1930 in Paris, Godard grew up in Nyon, Switzerland, and studied ethnology at the Sorbonne, where he was increasingly drawn to the cultural scene that flourished in the Latin Quarter “cine-club” after World War II.\u003c/p>\n\u003cp>He became friends with future big-name directors Francois Truffaut, Jacques Rivette and Eric Rohmer, and in 1950 founded the short-lived Gazette du Cinema. By 1952 he had begun writing for the prestigious movie magazine \u003cem>Cahiers du Cinema\u003c/em>.\u003c/p>\n\u003cp>After working on two films by Rivette and Rohmer in 1951, Godard tried to direct his first movie while traveling through North and South America with his father, but never finished it.\u003c/p>\n\u003cp>Back in Europe, he took a job in Switzerland as a construction worker on a dam project. He used the pay to finance his first complete film, the 1954 \u003cem>Operation Concrete\u003c/em>, a 20-minute documentary about the building of the dam.\u003c/p>\n\u003cp>Returning to Paris, Godard worked as spokesman for an artists’ agency and made his first feature in 1957 — \u003cem>All Boys Are Called Patrick\u003c/em>, released in 1959 — and continued to hone his writing.\u003c/p>\n\u003cfigure id=\"attachment_13919057\" class=\"wp-caption aligncenter\" style=\"max-width: 594px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/GettyImages-948120760.jpg\" alt=\"A man in glasses and a suit jacket reclines before the sea.\" width=\"594\" height=\"381\" class=\"size-full wp-image-13919057\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GettyImages-948120760.jpg 594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GettyImages-948120760-160x103.jpg 160w\" sizes=\"(max-width: 594px) 100vw, 594px\">\u003cfigcaption class=\"wp-caption-text\">Jean-Luc Godard at the Cannes Film Festival in 1987. \u003ccite>(Pool ARNAL/URLI/GARCIA/Gamma-Rapho via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He also began work on \u003cem>Breathless\u003c/em>, based on a story by Truffaut.\u003c/p>\n\u003cp>The movie stars Belmondo as a penniless young thief who models himself on Hollywood movie gangsters and who, after he shoots a police officer, goes on the run with his American girlfriend, played by Jean Seberg.\u003c/p>\n\u003cp>Godard’s cinematic creations were suffused with the gritty, sassy tones of a resurgent postwar France — known domestically as the “Glorious 30” years through to the late 1970s — and they served up some of the most poignant images and lines from what was then a rich, avant-garde heyday of French filmmaking.\u003c/p>\n\u003cp>The images in \u003cem>Breathless\u003c/em> of an ingenue Seberg traipsing along Paris’ Champs-Elysées and shouting to hawk \u003cem>New York Herald Tribune\u003c/em> newspapers in a tight T-shirt, and close-ups of a cigarette-smoking, fedora-wearing Belmondo running a thumb methodically, pensively across his lips could be enshrined among the most memorable images of French cinema.\u003c/p>\n\u003cp>Along with Truffaut’s \u003cem>The 400 Blows\u003c/em>, released in 1959, Godard’s film set a new tone for French movie aesthetics. Godard rejected conventional narrative style and instead used frequent jump-cuts that mingled philosophical discussions with action scenes. He spiced it all up with references to Hollywood gangster movies and nods to literature and visual art.\u003c/p>\n\u003cp>Godard also launched what was to be a career-long participation in collective film projects, contributing scenes to \u003cem>The Seven Deadly Sins\u003c/em> along with directors such as Claude Chabrol and Roger Vadim. He also worked with Ugo Gregoretti, Pier Paolo Pasolini and Roberto Rossellini on the Italian movie \u003cem>Let’s Have a Brainwash\u003c/em>, with Godard’s scenes portraying a disturbing post-Apocalypse world.\u003c/p>\n\u003cp>Godard, who was later to gain a reputation for his uncompromising left-wing political views, had a first brush with French authorities in 1960 when he made \u003cem>The Little Soldier\u003c/em>. The movie, filled with references to France’s colonial war in Algeria, was not released until 1963, a year after the conflict ended.\u003c/p>\n\u003cp>His work turned more starkly political by the late 1960s. In \u003cem>Weekend\u003c/em>, his characters lampoon hypocrisy in bourgeois society even as they demonstrate the comic futility of violent class war. It came out a year before popular anger at the establishment shook France, culminating in the iconic but short-lived student unrest of May 1968.\u003c/p>\n\u003cp>Godard harbored a life-long sympathy for various forms of socialism depicted in films from the early 1970s to the 1990s.\u003c/p>\n\u003cp>Some of global cinema’s greatest directors counted Godard’s boundary-breaking work as an influence, including Quentin Tarantino, Bernardo Bertolucci, Brian De Palma and Jonathan Demme.\u003c/p>\n\u003cp>Tweeted \u003cem>Black Swan\u003c/em> director Darren Aronofsky: “rip godard. learned a lot from my vhs copy of breathless… thank you maestro.”\u003c/p>\n\u003cp>Godard took potshots at Hollywood over the years.\u003c/p>\n\u003cp>He remained home in Switzerland rather than travel to Hollywood to receive an honorary Oscar at a private ceremony in November 2010 alongside film historian and preservationist Kevin Brownlow, director-producer Francis Ford Coppola and actor Eli Wallach.\u003c/p>\n\u003cp>His lifelong advocacy of the Palestinian cause also brought him repeated accusations of antisemitism, despite his insistence that he sympathized with the Jewish people and their plight in Nazi-occupied Europe.\u003c/p>\n\u003cp>Though the academy received some complaints about Godard being selected to receive the award, academy President Tom Sherak said the director was recognized solely “for his contributions to film in the New Wave era.”\u003c/p>\n\u003cp>Godard married Danish-born model and actress Anna Karina in 1961. She appeared in a string of movies he made during the remainder of the 1960s, all of them seen as New Wave landmarks. Notable among them were \u003cem>My Life to Live\u003c/em>, \u003cem>Alphaville\u003c/em> and \u003cem>Crazy Pete\u003c/em> — which also starred Belmondo and was rumored to have been shot without a script. Godard and Karina divorced in 1965.\u003c/p>\n\u003cp>Godard married his second wife, Anne Wiazemsky, in 1967. He later started a relationship with Swiss filmmaker Anne-Marie Mieville. Godard divorced Wiazemsky in 1979, after he had moved with Mieville to Rolle, where he lived with her for the rest of his life.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Adamson reported from Paris. Former AP correspondent John Heilprin contributed biographical material to this report.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Showtime's 'American Gigolo' Sequel Lacks the Highfalutin Glitz of the Original",
"headTitle": "Showtime’s ‘American Gigolo’ Sequel Lacks the Highfalutin Glitz of the Original | KQED",
"content": "\u003cp>When I was growing up, remakes, sequels and prequels were considered slightly dodgy—either a money grab or an admission that one didn’t have the chops to be original. These days they’re what the world seems to embrace, be it \u003ca href=\"https://www.npr.org/2022/05/23/1099470229/top-gun-maverick-review-tom-cruise-sequel\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Top Gun: Maverick\u003c/em>\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13917861/review-house-of-the-dragon-game-of-thrones-spinoff\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>House of the Dragon\u003c/em>\u003c/a> or \u003ca href=\"https://www.kqed.org/arts/13915943/better-call-saul-might-be-the-greatest-of-all-time-if-it-can-stick-the-landing\">\u003cem>Better Call Saul\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13917861']The latest case is the Showtime series \u003cem>American Gigolo\u003c/em>. It’s a sequel to \u003ca href=\"https://www.npr.org/2018/06/12/619165319/paul-schrader-and-ethan-hawke-test-their-faith-in-first-reformed\" target=\"_blank\" rel=\"noopener noreferrer\">Paul Schrader’\u003c/a>s hit 1980 movie, which starred Richard Gere as Julian Kay, a high-end LA escort who gets framed for murder only to be redeemed by the love of a good woman, played by Lauren Hutton.\u003c/p>\n\u003cp>As it mixed potboiler material with ideas of religious transcendence, the film was often silly. But it was also memorable. Bristling with expensive, production-designed amorality, it offered the pounding beat of \u003ca href=\"https://www.npr.org/artists/512831993/blondie\">Blondie \u003c/a>performing “Call Me,” the image of Julian’s closet bursting with Armani clothing—the movie helped launch that brand in America—and the sight of Gere dishing up the first full-frontal nude scene by a male star in a studio film. \u003cem>American Gigolo\u003c/em> was one of those Hollywood “classics” that became mythic without being particularly good.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=NTavf-5Mdpo\u003c/p>\n\u003cp>Aside from its title, there’s nothing remotely mythic about the new series, which transfers Julian’s story into the 21st Century. Where Schrader created a deliberately opaque metaphorical fantasy, the show’s creator, David Hollander, takes a more literal-minded approach. He fiddles with the original plot, trading in highfalutin glitz for explanatory backstory and a conventional murder mystery.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The action begins when Julian—now played by the excellent actor Jon Bernthal—is exonerated for a murder he didn’t commit and gets released from prison after 15 years. Wiser and worn, Julian doesn’t want to return to his slinky old life. He wants to live clean, though he’s also eager to find out who set him up for the murder. This means getting back in touch with people from his gigolo days: his handler Olga, who got him into the business, his escort pal Lorenzo, and his old lover Michelle—that’s Gretchen Mol in the Hutton role—whose son is heading into serious trouble.\u003c/p>\n\u003cp>Predictably, Julian’s return stirs things up. Soon there’s another murder, and before he knows it, a police detective—oddly played by Rosie O’Donnell—looks eager to pin it on him. Nobody seems willing to help Julian, including his old flame Michelle.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RLy3OJvMgYg\u003c/p>\n\u003cp>When I heard that they were turning \u003cem>American Gigolo\u003c/em> into a series I was curious but dubious. Schrader himself has called the project a terrible idea, but no matter: He doesn’t own the rights to the characters. In France, artists are protected by the so-called \u003cem>droit moral\u003c/em>, or moral right, which means you can’t take their creations and do with them what you will. But this is America, so the series was made anyway, taking Julian’s story in a direction that Schrader—a complicated, genuinely fascinating man—would surely find banal.\u003c/p>\n\u003cp>Even as Julian’s backstory involves a strange abuse narrative—the show’s shot through with a startling misogyny—he himself becomes muted. Where Gere exuded a smug, plasticine perfection—he came from seemingly nowhere, like a sexy android—Bernthal’s weathered Julian is weighed down by regrets and confusion. He has none of the pop zing that made Julian a cultural touchstone.\u003c/p>\n\u003cp>[aside postid='arts_13918810']One reason \u003cem>American Gigolo\u003c/em> resonated in 1980 was that Schrader caught the direction of American culture before most people did. Indeed, the film’s rapt attention to money, consumerism and spiritual emptiness made it the first of many Reagan era morality plays—one that actually came out nine months before Reagan was even elected. It remains an emblem of its time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I can’t imagine that this will happen with the TV series, which relies too much on people knowing—and caring about—a movie that was made four decades ago. Then again, maybe this new \u003cem>American Gigolo\u003c/em> DOES capture our current American mood. It’s the story of a once cocksure man who now wears T-shirts and drives a borrowed convertible he can’t begin to afford. As Julian looks back on his often glittering past, he wonders exactly what happened to his life and how it all went wrong.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Showtime%27s+%27American+Gigolo%27+sequel+lacks+the+highfalutin+glitz+of+the+original&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I was growing up, remakes, sequels and prequels were considered slightly dodgy—either a money grab or an admission that one didn’t have the chops to be original. These days they’re what the world seems to embrace, be it \u003ca href=\"https://www.npr.org/2022/05/23/1099470229/top-gun-maverick-review-tom-cruise-sequel\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Top Gun: Maverick\u003c/em>\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13917861/review-house-of-the-dragon-game-of-thrones-spinoff\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>House of the Dragon\u003c/em>\u003c/a> or \u003ca href=\"https://www.kqed.org/arts/13915943/better-call-saul-might-be-the-greatest-of-all-time-if-it-can-stick-the-landing\">\u003cem>Better Call Saul\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The latest case is the Showtime series \u003cem>American Gigolo\u003c/em>. It’s a sequel to \u003ca href=\"https://www.npr.org/2018/06/12/619165319/paul-schrader-and-ethan-hawke-test-their-faith-in-first-reformed\" target=\"_blank\" rel=\"noopener noreferrer\">Paul Schrader’\u003c/a>s hit 1980 movie, which starred Richard Gere as Julian Kay, a high-end LA escort who gets framed for murder only to be redeemed by the love of a good woman, played by Lauren Hutton.\u003c/p>\n\u003cp>As it mixed potboiler material with ideas of religious transcendence, the film was often silly. But it was also memorable. Bristling with expensive, production-designed amorality, it offered the pounding beat of \u003ca href=\"https://www.npr.org/artists/512831993/blondie\">Blondie \u003c/a>performing “Call Me,” the image of Julian’s closet bursting with Armani clothing—the movie helped launch that brand in America—and the sight of Gere dishing up the first full-frontal nude scene by a male star in a studio film. \u003cem>American Gigolo\u003c/em> was one of those Hollywood “classics” that became mythic without being particularly good.\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/NTavf-5Mdpo'\n title='//www.youtube.com/embed/NTavf-5Mdpo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Aside from its title, there’s nothing remotely mythic about the new series, which transfers Julian’s story into the 21st Century. Where Schrader created a deliberately opaque metaphorical fantasy, the show’s creator, David Hollander, takes a more literal-minded approach. He fiddles with the original plot, trading in highfalutin glitz for explanatory backstory and a conventional murder mystery.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The action begins when Julian—now played by the excellent actor Jon Bernthal—is exonerated for a murder he didn’t commit and gets released from prison after 15 years. Wiser and worn, Julian doesn’t want to return to his slinky old life. He wants to live clean, though he’s also eager to find out who set him up for the murder. This means getting back in touch with people from his gigolo days: his handler Olga, who got him into the business, his escort pal Lorenzo, and his old lover Michelle—that’s Gretchen Mol in the Hutton role—whose son is heading into serious trouble.\u003c/p>\n\u003cp>Predictably, Julian’s return stirs things up. Soon there’s another murder, and before he knows it, a police detective—oddly played by Rosie O’Donnell—looks eager to pin it on him. Nobody seems willing to help Julian, including his old flame Michelle.\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/RLy3OJvMgYg'\n title='//www.youtube.com/embed/RLy3OJvMgYg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When I heard that they were turning \u003cem>American Gigolo\u003c/em> into a series I was curious but dubious. Schrader himself has called the project a terrible idea, but no matter: He doesn’t own the rights to the characters. In France, artists are protected by the so-called \u003cem>droit moral\u003c/em>, or moral right, which means you can’t take their creations and do with them what you will. But this is America, so the series was made anyway, taking Julian’s story in a direction that Schrader—a complicated, genuinely fascinating man—would surely find banal.\u003c/p>\n\u003cp>Even as Julian’s backstory involves a strange abuse narrative—the show’s shot through with a startling misogyny—he himself becomes muted. Where Gere exuded a smug, plasticine perfection—he came from seemingly nowhere, like a sexy android—Bernthal’s weathered Julian is weighed down by regrets and confusion. He has none of the pop zing that made Julian a cultural touchstone.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>One reason \u003cem>American Gigolo\u003c/em> resonated in 1980 was that Schrader caught the direction of American culture before most people did. Indeed, the film’s rapt attention to money, consumerism and spiritual emptiness made it the first of many Reagan era morality plays—one that actually came out nine months before Reagan was even elected. It remains an emblem of its time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I can’t imagine that this will happen with the TV series, which relies too much on people knowing—and caring about—a movie that was made four decades ago. Then again, maybe this new \u003cem>American Gigolo\u003c/em> DOES capture our current American mood. It’s the story of a once cocksure man who now wears T-shirts and drives a borrowed convertible he can’t begin to afford. As Julian looks back on his often glittering past, he wonders exactly what happened to his life and how it all went wrong.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Showtime%27s+%27American+Gigolo%27+sequel+lacks+the+highfalutin+glitz+of+the+original&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Does Controversy Sell Movie Tickets? The Cast of 'Don't Worry Darling' Might Find Out",
"headTitle": "Does Controversy Sell Movie Tickets? The Cast of ‘Don’t Worry Darling’ Might Find Out | KQED",
"content": "\u003cp>The 2022 Venice Film Festival started a little over a week ago, and one film has dominated much of the conversation\u003cstrong>—\u003c/strong>not because of its cinematography, editing or script, but because of reported behind-the-scenes drama that’s stolen the spotlight.\u003c/p>\n\u003cp>\u003cem>Don’t Worry Darling\u003c/em> is director Olivia Wilde’s second feature film, following her 2019 debut, \u003cem>Booksmart\u003c/em>. The movie, which stars Florence Pugh, Harry Styles, Chris Pine, Gemma Chan and Wilde herself, premiered on Monday at the festival and is scheduled for wide release on Sept. 23.\u003c/p>\n\u003cp>[aside postid='pop_112069']The film is a psychological thriller set in the 1950s, in the fictional town of Victory, California. Pugh and Styles play Alice and Jack, a married couple who live in the town, which was built by the company Jack works for. As Alice tries to learn more about her community, tensions begin to arise between her and her new neighbors.\u003c/p>\n\u003cp>Reportedly, the production of the film had also been filled with tension, and interactions between the stars at Venice left the internet to speculate wildly.\u003c/p>\n\u003cp>“Some aspects of the unfolding interpersonal drama definitely appear like an unwieldy mess,” Nicholas Baer, Assistant Professor of Media, Arts & Society at Utrecht University, told NPR. “So although it’s always tricky to gauge intentionality, I’d imagine it’s a combination of ‘authentic’ drama and savvy image manipulation.”\u003c/p>\n\u003ch3>The memes begin at the Venice Film Festival\u003c/h3>\n\u003cp>On Monday morning ahead of the premiere, Wilde and the film’s stars participated in a press conference—most of them, that is. Absent from the panel was Pugh, who flew to Italy from Budapest where she had been filming the sequel to \u003cem>Dune\u003c/em>. \u003ca href=\"https://variety.com/2022/film/news/florence-pugh-skips-dont-worry-darling-venice-film-festival-1235360015/\" target=\"_blank\" rel=\"noopener noreferrer\">Festival representatives told \u003cem>Variety \u003c/em>\u003c/a>that her nonattendance was because her flight to Italy wouldn’t land until after the presser had taken place.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pugh has not spoken much about the film \u003ca href=\"https://screenrant.com/florence-pugh-olivia-wilde-feud-dont-worry-darling/\" target=\"_blank\" rel=\"noopener noreferrer\">on social media or to press \u003c/a>since it finished filming, which has led to speculation that she did not enjoy her time on set.\u003c/p>\n\u003cp>[aside postid='arts_13883932']The press had many questions for Wilde regarding her working relationship with Pugh and, in response, the director praised the actress for her work. “I can’t say how honored I am to have her as our lead. She’s amazing.”\u003c/p>\n\u003cp>When asked about working on the film, Harry Styles—who is dating Wilde—gave a response that the internet is still trying to understand: “The thing I like about the movie is that it feels like a movie.” Chris Pine’s reaction to this moment birthed memes that would pave the way for many more to come.\u003c/p>\n\u003cp>https://twitter.com/rohmerfilm/status/1566799179694964737\u003c/p>\n\u003cp>https://twitter.com/fiImgal/status/1566791599706759168\u003c/p>\n\u003ch3>Florence Pugh toasts the internet\u003c/h3>\n\u003cp>Pugh later arrived at the festival in time for the film’s red carpet premiere. In a video originally posted to \u003ca href=\"https://www.instagram.com/p/CiIDYqFjXRo/\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram\u003c/a>, Pugh was seen toasting the camera while carrying an Aperol Spritz in a purple Valentino ensemble—a carefree look that sparked yet more buzz.\u003c/p>\n\u003cp>https://twitter.com/goldenheartvhes/status/1566772285729562625\u003c/p>\n\u003ch3>Across the great divide on the red carpet\u003c/h3>\n\u003cp>The night of the film’s premiere began relatively lightheartedly, with Chris Pine taking pictures of Florence Pugh on the red carpet.\u003c/p>\n\u003cp>https://twitter.com/cpinedaily/status/1566841486519549954\u003c/p>\n\u003cp>But then, as the cast began getting ready for a group photo on the red carpet, it appeared that Pugh, Wilde and Styles were strategically separated by fellow actors Pine, Chan, Sydney Chandler and Nick Kroll.\u003c/p>\n\u003cp>https://twitter.com/cpinedaily/status/1566843411788926978\u003c/p>\n\u003ch3>Could all of this be a PR stunt? Experts weigh in\u003c/h3>\n\u003cp>Internet speculation didn’t stop once the cast went into the theater. The actors were placed in a seating arrangement closely resembling the cast photo, and Chris Pine once again continued his run at the top of the meme leaderboard as he put on his sunglasses just as the lights went down in the theater.\u003c/p>\n\u003cp>https://twitter.com/tracesofswift/status/1566859141905321992\u003c/p>\n\u003cp>This brings us to a hotly debated moment between Harry Styles and Chris Pine. In a video circulated on social media, Styles approached his seat next to Pine and appeared to lean slightly over, with his lips moving in a puckering motion—then, a moment where Pine stopped clapping, looked down at his lap and laughed. The suspicious movement around Styles’ mouth made some wonder: Did Harry Styles spit on Chris Pine?\u003c/p>\n\u003cp>Although Pine’s publicist told \u003cem>People \u003c/em>that \u003ca href=\"https://people.com/movies/chris-pine-harry-styles-spitting-viral-video-ridiculous-claim-dont-worry-darling-exclusive/\" target=\"_blank\" rel=\"noopener noreferrer\">such claims are “complete fabrication,”\u003c/a> the video regardless sent the internet into an uproar of \u003ca href=\"https://twitter.com/indiespicee/status/1566982189547458560\" target=\"_blank\" rel=\"noopener noreferrer\">jokes\u003c/a>,\u003ca href=\"https://twitter.com/Mac70J/status/1566958343461249024\" target=\"_blank\" rel=\"noopener noreferrer\"> takes\u003c/a> and slo-mo’ed \u003ca href=\"https://twitter.com/StevenWallaby/status/1566958106009128960\" target=\"_blank\" rel=\"noopener noreferrer\">video\u003c/a>. Analyzing the videos of #Spittake, as some users have put it, has become the Zapruder film of Twitter.\u003c/p>\n\u003cp>https://twitter.com/indiespicee/status/1567128008833601539\u003c/p>\n\u003cp>https://twitter.com/DanaSchwartzzz/status/1566988496530972672\u003c/p>\n\u003cp>The film has generally not been well received by critics, and there continues to be heavy speculation online that all of this press has been drummed up to help create a buzz for the film.\u003c/p>\n\u003cp>https://twitter.com/ThePopTingz/status/1566852336160481282\u003c/p>\n\u003cp>“As a communications guy, my gut reaction to this kind of thing when it is on an international stage is that it is all about getting attention,” says film and media historian Chris Yogerst. “Of course, we learned there was more to the story with the notorious Oscars slap. That may be the case here as well, but because there were many smiles all around, my guess is that this is a PR move or an inside joke of some kind.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A lot of speculation and confusion surrounds what is really going on behind the scenes in the movie, which runs parallel with themes seen in the film, Baer said—”a focus on polished appearances and the cracks in attractive facades.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Does+controversy+sell+movie+tickets%3F+The+cast+of+%27Don%27t+Worry+Darling%27+might+find+out&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The 2022 Venice Film Festival started a little over a week ago, and one film has dominated much of the conversation\u003cstrong>—\u003c/strong>not because of its cinematography, editing or script, but because of reported behind-the-scenes drama that’s stolen the spotlight.\u003c/p>\n\u003cp>\u003cem>Don’t Worry Darling\u003c/em> is director Olivia Wilde’s second feature film, following her 2019 debut, \u003cem>Booksmart\u003c/em>. The movie, which stars Florence Pugh, Harry Styles, Chris Pine, Gemma Chan and Wilde herself, premiered on Monday at the festival and is scheduled for wide release on Sept. 23.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The film is a psychological thriller set in the 1950s, in the fictional town of Victory, California. Pugh and Styles play Alice and Jack, a married couple who live in the town, which was built by the company Jack works for. As Alice tries to learn more about her community, tensions begin to arise between her and her new neighbors.\u003c/p>\n\u003cp>Reportedly, the production of the film had also been filled with tension, and interactions between the stars at Venice left the internet to speculate wildly.\u003c/p>\n\u003cp>“Some aspects of the unfolding interpersonal drama definitely appear like an unwieldy mess,” Nicholas Baer, Assistant Professor of Media, Arts & Society at Utrecht University, told NPR. “So although it’s always tricky to gauge intentionality, I’d imagine it’s a combination of ‘authentic’ drama and savvy image manipulation.”\u003c/p>\n\u003ch3>The memes begin at the Venice Film Festival\u003c/h3>\n\u003cp>On Monday morning ahead of the premiere, Wilde and the film’s stars participated in a press conference—most of them, that is. Absent from the panel was Pugh, who flew to Italy from Budapest where she had been filming the sequel to \u003cem>Dune\u003c/em>. \u003ca href=\"https://variety.com/2022/film/news/florence-pugh-skips-dont-worry-darling-venice-film-festival-1235360015/\" target=\"_blank\" rel=\"noopener noreferrer\">Festival representatives told \u003cem>Variety \u003c/em>\u003c/a>that her nonattendance was because her flight to Italy wouldn’t land until after the presser had taken place.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Pugh has not spoken much about the film \u003ca href=\"https://screenrant.com/florence-pugh-olivia-wilde-feud-dont-worry-darling/\" target=\"_blank\" rel=\"noopener noreferrer\">on social media or to press \u003c/a>since it finished filming, which has led to speculation that she did not enjoy her time on set.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The press had many questions for Wilde regarding her working relationship with Pugh and, in response, the director praised the actress for her work. “I can’t say how honored I am to have her as our lead. She’s amazing.”\u003c/p>\n\u003cp>When asked about working on the film, Harry Styles—who is dating Wilde—gave a response that the internet is still trying to understand: “The thing I like about the movie is that it feels like a movie.” Chris Pine’s reaction to this moment birthed memes that would pave the way for many more to come.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003ch3>Florence Pugh toasts the internet\u003c/h3>\n\u003cp>Pugh later arrived at the festival in time for the film’s red carpet premiere. In a video originally posted to \u003ca href=\"https://www.instagram.com/p/CiIDYqFjXRo/\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram\u003c/a>, Pugh was seen toasting the camera while carrying an Aperol Spritz in a purple Valentino ensemble—a carefree look that sparked yet more buzz.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003ch3>Across the great divide on the red carpet\u003c/h3>\n\u003cp>The night of the film’s premiere began relatively lightheartedly, with Chris Pine taking pictures of Florence Pugh on the red carpet.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>But then, as the cast began getting ready for a group photo on the red carpet, it appeared that Pugh, Wilde and Styles were strategically separated by fellow actors Pine, Chan, Sydney Chandler and Nick Kroll.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003ch3>Could all of this be a PR stunt? Experts weigh in\u003c/h3>\n\u003cp>Internet speculation didn’t stop once the cast went into the theater. The actors were placed in a seating arrangement closely resembling the cast photo, and Chris Pine once again continued his run at the top of the meme leaderboard as he put on his sunglasses just as the lights went down in the theater.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>This brings us to a hotly debated moment between Harry Styles and Chris Pine. In a video circulated on social media, Styles approached his seat next to Pine and appeared to lean slightly over, with his lips moving in a puckering motion—then, a moment where Pine stopped clapping, looked down at his lap and laughed. The suspicious movement around Styles’ mouth made some wonder: Did Harry Styles spit on Chris Pine?\u003c/p>\n\u003cp>Although Pine’s publicist told \u003cem>People \u003c/em>that \u003ca href=\"https://people.com/movies/chris-pine-harry-styles-spitting-viral-video-ridiculous-claim-dont-worry-darling-exclusive/\" target=\"_blank\" rel=\"noopener noreferrer\">such claims are “complete fabrication,”\u003c/a> the video regardless sent the internet into an uproar of \u003ca href=\"https://twitter.com/indiespicee/status/1566982189547458560\" target=\"_blank\" rel=\"noopener noreferrer\">jokes\u003c/a>,\u003ca href=\"https://twitter.com/Mac70J/status/1566958343461249024\" target=\"_blank\" rel=\"noopener noreferrer\"> takes\u003c/a> and slo-mo’ed \u003ca href=\"https://twitter.com/StevenWallaby/status/1566958106009128960\" target=\"_blank\" rel=\"noopener noreferrer\">video\u003c/a>. Analyzing the videos of #Spittake, as some users have put it, has become the Zapruder film of Twitter.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The film has generally not been well received by critics, and there continues to be heavy speculation online that all of this press has been drummed up to help create a buzz for the film.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“As a communications guy, my gut reaction to this kind of thing when it is on an international stage is that it is all about getting attention,” says film and media historian Chris Yogerst. “Of course, we learned there was more to the story with the notorious Oscars slap. That may be the case here as well, but because there were many smiles all around, my guess is that this is a PR move or an inside joke of some kind.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A lot of speculation and confusion surrounds what is really going on behind the scenes in the movie, which runs parallel with themes seen in the film, Baer said—”a focus on polished appearances and the cracks in attractive facades.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Does+controversy+sell+movie+tickets%3F+The+cast+of+%27Don%27t+Worry+Darling%27+might+find+out&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Brendan Fraser is officially on a comeback.\u003c/p>\n\u003cp>\u003cem>The Whale\u003c/em>, a new Darren Aronofsky film in which Fraser stars, premiered at the Venice Film Festival Sunday night to a \u003ca href=\"https://www.npr.org/2022/09/05/1121100965/brendan-fraser-standing-ovation-the-whale\" target=\"_blank\" rel=\"noopener noreferrer\">six-minute standing ovation.\u003c/a>\u003c/p>\n\u003cp>Actors and longtime fans alike took to social media to share their own happiness at the recognition Fraser received with this latest role. As the applause continued for Fraser on Sunday, the actor and some audience members appeared to get choked up.\u003c/p>\n\u003cp>This comes years after Fraser was at the height of his career. So, why has this moment has brought so many people joy at the same time that others lament the fact that \u003cem>this film\u003c/em> is Fraser’s return to stardom?\u003c/p>\n\u003cp>Fraser was once a major star with hits such as \u003cem>George of the Jungle \u003c/em>and \u003cem>The Mummy \u003c/em>franchise. But after a sustained run as one of Hollywood’s leading men, Fraser receded to the sidelines of TV and film in recent years.\u003c/p>\n\u003cfigure id=\"attachment_13918750\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918750\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/gettyimages-806483-ebf98b3b6a4331742265cb393e022c06c07ac36e-800x600.jpg\" alt=\"A dashing young man wearing a white shirt, sleeves rolled up, stands poised for action, two ancient-looking weapons held out in front of him.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Brendan Fraser in ‘The Mummy Returns.’ \u003ccite>(Keith Hamshere/Universal Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Seeing Fraser who was so “universally loved” by the public for so long receive praise resonated with fans, according to film and media historian Chris Yogerst.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s almost like the public was just waiting for this moment,” said Yogerst. “Everyone has missed him. Seeing him back on the screen, it was like an old friend was back.”\u003c/p>\n\u003cp>Nostalgia certainly plays into the joy this moment brings to some people, Yogerst said.\u003c/p>\n\u003cp>“I mean, I’m still nostalgic about the silly remake of \u003cem>Bedazzled,” \u003c/em>a Fraser movie with Elizabeth Hurley that came out in 2000, Yogerst said.\u003c/p>\n\u003cp>Part of this collective happiness also stems from knowledge of Fraser’s recent struggles, according to Nicholas Baer, an assistant professor of film studies at the University of Groningen in the Netherlands.\u003c/p>\n\u003cp>After Fraser was absent from any big Hollywood movie for several years, \u003ca href=\"https://www.gq.com/story/what-ever-happened-to-brendan-fraser\">\u003cem>GQ\u003c/em> published a profile\u003c/a> in 2018 of the actor titled, “What ever happened to Brendan Fraser?”\u003c/p>\n\u003cp>[aside postid='arts_13917642']In it, Fraser discussed years of suffering from injuries (sustained from performing stunts during filming of \u003cem>The Mummy\u003c/em> franchise), subsequent surgeries, personal loss and a divorce. Most startling were details Fraser shared of being allegedly groped by Philip Berk, a former president of the Hollywood Foreign Press Association. Berk told \u003cem>GQ \u003c/em>that Fraser’s account was “a total fabrication.”\u003c/p>\n\u003cp>Fraser in the \u003cem>GQ \u003c/em>article openly questioned whether he was actually blacklisted from Hollywood because he came forward about his experience.\u003c/p>\n\u003cp>“[\u003cem>The Whale\u003c/em>] is offering us an opportunity to kind of recognize the virtue and the kind of fundamental decency of Brendan Fraser, who has been really wronged by the industry and has long suffered,” Baer said.\u003c/p>\n\u003ch3>A comeback with controversy\u003c/h3>\n\u003cp>\u003cem>The Whale\u003c/em> is about a reclusive English teacher (Fraser) who weighs 600 pounds, and as he struggles with his health, tries to reconnect with his estranged daughter. A combination of prosthetics and CGI help Fraser as he portrays this character.\u003c/p>\n\u003cp>Fraser’s return will likely be controversial for some, Baer noted.\u003c/p>\n\u003cp>“I think it’s definitely going to be a point of contention in the discourse. I think it’s a practice [the use of prosthetics or so-called fat suits] that has been relatively commonplace among major Hollywood actors for a long time and that’s been increasingly criticized for being fat phobic and offensive,” Baer said.\u003c/p>\n\u003cp>Indeed, critics have turned to social media to say that the movie’s premise is inherently dehumanizing. There’s a question of whether it should have been made at all.\u003c/p>\n\u003cp>https://twitter.com/PiaGlenn/status/1566654645795037184\u003c/p>\n\u003cp>Aubrey Gordon, an author and co-host of the Maintenance Phase, a podcast focused on debunking health fads, \u003ca href=\"https://twitter.com/yrfatfriend/status/1566883797014302720\" target=\"_blank\" rel=\"noopener noreferrer\">took to Twitter\u003c/a> to call out the movie’s aim.\u003c/p>\n\u003cp>“It’s so telling that so many only see fat people as ‘humanized’ in media that shows us doing exactly what they expect: living short, small lives; ‘eating ourselves to death’; feeling sad & regretful. All reminders of how tragic it is to be fat, and how superior it is to be thin,” she wrote.\u003c/p>\n\u003cp>[aside postid='arts_13917695']This kind of media just “reinforces viewers’ anti-fat bias,” she wrote.\u003c/p>\n\u003cp>Pia Glenn, a Broadway actress, also criticized the movie, \u003ca href=\"https://twitter.com/PiaGlenn/status/1566654645795037184\" target=\"_blank\" rel=\"noopener noreferrer\">lamenting the fact \u003c/a>that this film is Fraser’s comeback.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Mr. Fraser’s ‘comeback’ and personal journey as an actor and human are significant and I hate that I feel so negatively about the project that brought them about. I know I won’t see it, so I’ve been reading reviews,” she wrote on Twitter. “References to rolls and hanging flesh and Jabba the Hut (!) NO.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Why+Brendan+Fraser%27s+Hollywood+comeback+story+is+both+warming+hearts+and+raising+ire&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Brendan Fraser is officially on a comeback.\u003c/p>\n\u003cp>\u003cem>The Whale\u003c/em>, a new Darren Aronofsky film in which Fraser stars, premiered at the Venice Film Festival Sunday night to a \u003ca href=\"https://www.npr.org/2022/09/05/1121100965/brendan-fraser-standing-ovation-the-whale\" target=\"_blank\" rel=\"noopener noreferrer\">six-minute standing ovation.\u003c/a>\u003c/p>\n\u003cp>Actors and longtime fans alike took to social media to share their own happiness at the recognition Fraser received with this latest role. As the applause continued for Fraser on Sunday, the actor and some audience members appeared to get choked up.\u003c/p>\n\u003cp>This comes years after Fraser was at the height of his career. So, why has this moment has brought so many people joy at the same time that others lament the fact that \u003cem>this film\u003c/em> is Fraser’s return to stardom?\u003c/p>\n\u003cp>Fraser was once a major star with hits such as \u003cem>George of the Jungle \u003c/em>and \u003cem>The Mummy \u003c/em>franchise. But after a sustained run as one of Hollywood’s leading men, Fraser receded to the sidelines of TV and film in recent years.\u003c/p>\n\u003cfigure id=\"attachment_13918750\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918750\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/gettyimages-806483-ebf98b3b6a4331742265cb393e022c06c07ac36e-800x600.jpg\" alt=\"A dashing young man wearing a white shirt, sleeves rolled up, stands poised for action, two ancient-looking weapons held out in front of him.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Brendan Fraser in ‘The Mummy Returns.’ \u003ccite>(Keith Hamshere/Universal Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Seeing Fraser who was so “universally loved” by the public for so long receive praise resonated with fans, according to film and media historian Chris Yogerst.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s almost like the public was just waiting for this moment,” said Yogerst. “Everyone has missed him. Seeing him back on the screen, it was like an old friend was back.”\u003c/p>\n\u003cp>Nostalgia certainly plays into the joy this moment brings to some people, Yogerst said.\u003c/p>\n\u003cp>“I mean, I’m still nostalgic about the silly remake of \u003cem>Bedazzled,” \u003c/em>a Fraser movie with Elizabeth Hurley that came out in 2000, Yogerst said.\u003c/p>\n\u003cp>Part of this collective happiness also stems from knowledge of Fraser’s recent struggles, according to Nicholas Baer, an assistant professor of film studies at the University of Groningen in the Netherlands.\u003c/p>\n\u003cp>After Fraser was absent from any big Hollywood movie for several years, \u003ca href=\"https://www.gq.com/story/what-ever-happened-to-brendan-fraser\">\u003cem>GQ\u003c/em> published a profile\u003c/a> in 2018 of the actor titled, “What ever happened to Brendan Fraser?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In it, Fraser discussed years of suffering from injuries (sustained from performing stunts during filming of \u003cem>The Mummy\u003c/em> franchise), subsequent surgeries, personal loss and a divorce. Most startling were details Fraser shared of being allegedly groped by Philip Berk, a former president of the Hollywood Foreign Press Association. Berk told \u003cem>GQ \u003c/em>that Fraser’s account was “a total fabrication.”\u003c/p>\n\u003cp>Fraser in the \u003cem>GQ \u003c/em>article openly questioned whether he was actually blacklisted from Hollywood because he came forward about his experience.\u003c/p>\n\u003cp>“[\u003cem>The Whale\u003c/em>] is offering us an opportunity to kind of recognize the virtue and the kind of fundamental decency of Brendan Fraser, who has been really wronged by the industry and has long suffered,” Baer said.\u003c/p>\n\u003ch3>A comeback with controversy\u003c/h3>\n\u003cp>\u003cem>The Whale\u003c/em> is about a reclusive English teacher (Fraser) who weighs 600 pounds, and as he struggles with his health, tries to reconnect with his estranged daughter. A combination of prosthetics and CGI help Fraser as he portrays this character.\u003c/p>\n\u003cp>Fraser’s return will likely be controversial for some, Baer noted.\u003c/p>\n\u003cp>“I think it’s definitely going to be a point of contention in the discourse. I think it’s a practice [the use of prosthetics or so-called fat suits] that has been relatively commonplace among major Hollywood actors for a long time and that’s been increasingly criticized for being fat phobic and offensive,” Baer said.\u003c/p>\n\u003cp>Indeed, critics have turned to social media to say that the movie’s premise is inherently dehumanizing. There’s a question of whether it should have been made at all.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Aubrey Gordon, an author and co-host of the Maintenance Phase, a podcast focused on debunking health fads, \u003ca href=\"https://twitter.com/yrfatfriend/status/1566883797014302720\" target=\"_blank\" rel=\"noopener noreferrer\">took to Twitter\u003c/a> to call out the movie’s aim.\u003c/p>\n\u003cp>“It’s so telling that so many only see fat people as ‘humanized’ in media that shows us doing exactly what they expect: living short, small lives; ‘eating ourselves to death’; feeling sad & regretful. All reminders of how tragic it is to be fat, and how superior it is to be thin,” she wrote.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This kind of media just “reinforces viewers’ anti-fat bias,” she wrote.\u003c/p>\n\u003cp>Pia Glenn, a Broadway actress, also criticized the movie, \u003ca href=\"https://twitter.com/PiaGlenn/status/1566654645795037184\" target=\"_blank\" rel=\"noopener noreferrer\">lamenting the fact \u003c/a>that this film is Fraser’s comeback.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Mr. Fraser’s ‘comeback’ and personal journey as an actor and human are significant and I hate that I feel so negatively about the project that brought them about. I know I won’t see it, so I’ve been reading reviews,” she wrote on Twitter. “References to rolls and hanging flesh and Jabba the Hut (!) NO.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Why+Brendan+Fraser%27s+Hollywood+comeback+story+is+both+warming+hearts+and+raising+ire&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "fall-guide-free-events-bay-area-2022",
"title": "Fun on a Budget: 8 Free Fall Events in the Bay Area",
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"headTitle": "Fun on a Budget: 8 Free Fall Events in the Bay Area | KQED",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/fallarts2022\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>\u003cstrong>Find more of KQED’s picks for the best Fall 2022 events here\u003c/strong>\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Gas prices. Sky-high inflation. The Millennial inability to stop buying lattes and avocado toast. (\u003cem>I kid!\u003c/em>)\u003c/p>\n\u003cp>The year 2022 has been rough on wallets across the country, and our wallets also happen to be sitting (half-empty) in one of its most expensive regions. (San Francisco, Oakland and San Jose all made the list of top-10 most expensive American cities.)\u003c/p>\n\u003cp>What does that mean? It means we all need as much free stuff as possible. And luckily for us, there are a lot of great events coming up that won’t cost you a dime to attend. Movies, art, dance, live music, parties, theater—we’ve got you covered. Bay Area rents may break the bank, but there’s a wealth of fun things to do that won’t.\u003c/p>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cfigure id=\"attachment_13917591\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917591\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-12.31.28-PM-800x530.png\" alt=\"A Black dancer in open black shirt and tight black shorts, lays on a wooden platform, arms outstretched dramatically, with one leg kicked upwards and pointed out. Crowds watch on from the sidelines.\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-12.31.28-PM-800x530.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-12.31.28-PM-1020x675.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-12.31.28-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-12.31.28-PM-768x508.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-12.31.28-PM-1536x1017.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-12.31.28-PM.png 1592w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A performer strikes a pose at 2021’s Open To All Ball at Lake Merritt Amphitheater. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.facebook.com/events/1198327271019474/\" target=\"_blank\" rel=\"noopener noreferrer\">Hella Hyphy Ball\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Lake Merritt Amphitheater, Oakland\u003c/em>\u003cbr>\n\u003cem>Sept. 10, 1pm–7pm\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The follow-up to 2021’s dazzling \u003ca href=\"https://www.kqed.org/arts/13902915/photos-lgbtq-oakland-shows-out-at-the-open-to-all-vogue-ball\" target=\"_blank\" rel=\"noopener noreferrer\">Open to All Ball\u003c/a> is set to transform the shores of Lake Merritt once more into ballroom bliss. This year’s ball carries the same ethos as the last one: everyone—and they do mean absolutely everyone—is welcome. The 2022 theme, however, is brand new, and hella Oakland: hyphy. That will influence every category in this year’s contests, from performance soundtracks to the all-important runway fashions.\u003c/p>\n\u003cp>As usual, there are big prizes to be won, including $1,000 cash awards for categories including Realness, Face and Runway, and a $4,000 prize for the Tag Team performance. This year’s grand finale promises to be next-level thanks to the caveat that teams must include at least one hyphy move in their presentation. So … serve and turf?\u003c/p>\n\u003cfigure id=\"attachment_13917640\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917640\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-15-at-2.29.48-PM-1-800x517.png\" alt=\"A Black woman in black and white striped dress, sits on a stool with her feet up, laughing as she holds an acoustic guitar on her lap.\" width=\"800\" height=\"517\">\u003cfigcaption class=\"wp-caption-text\">Meklit, an Ethiopia-born, Bay Area-dwelling singer, blends African and American blues, jazz and folk sounds with a constantly surprising level of grace and magnetism. And she’s on the Hardly Strictly lineup this year. \u003ccite>(NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.hardlystrictlybluegrass.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hardly Strictly Bluegrass\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Golden Gate Park, San Francisco\u003c/em>\u003cbr>\n\u003cem>Sept. 30-Oct. 2\u003c/em>\u003c/p>\n\u003cp>After a two-year absence from Golden Gate Park, Hardly Strictly is set for a triumphant return this October with a lineup that offers something for nearly every mood and taste.\u003c/p>\n\u003cp>Festival veterans like Emmylou Harris (in her 22nd HSB appearance!) and Buddy Miller (in his 17th!) will be present, accounted for and offering warm fuzzy feelings to fend off the fog. Marcus Mumford and Talking Heads’ Jerry Harrison and Adrian Belew check the mainstream-appeal boxes. And local flavor comes in the form of Tré Burt (Sacramento), Meklit (San Francisco), Brothers Comatose (North Bay) and A.J. Lee and Blue Summit (South Bay).\u003c/p>\n\u003cp>But as usual, HSB will also be serving up fantastic artists from around the country. So far, this year’s must-not-miss list includes: the heart-wrenching but always uplifting Allison Russell, the retro-soul stylings of Lucius and the bluegrass-rooted Afrofuturism of Jake Blount. In a lineup that has long been proud to stray beyond the confines of traditional bluegrass, Blount is a one-man example of why it’s so exciting to do just that.\u003c/p>\n\u003cfigure id=\"attachment_13917608\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917608\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-3.08.11-PM-800x542.png\" alt=\"A father and son walk hand-in-hand towards a group of parents and children playing with bubbles. Behind them, various stalls can be seen lining the street.\" width=\"800\" height=\"542\">\u003cfigcaption class=\"wp-caption-text\">Noise Pop’s 20th Street Block Party will take place on Valencia St. this year. \u003ccite>(Instagram/ @noisepop)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"http://www.20thstreetblockparty.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Noise Pop’s 20th Street Block Party\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Valencia Street between 18th and 21st Streets, San Francisco\u003c/em>\u003cbr>\n\u003cem>Oct. 15, 12pm-6pm\u003c/em>\u003c/p>\n\u003cp>This family-friendly free-for-all will take over three whole blocks of Valencia Street to bring live music, food, local arts and crafts, and a whole lot of fun, to the Mission. The location may be slightly different in 2022, but the vibe will remain the same as the prior eight years: a love letter to the diversity and creativity of the Mission District.\u003c/p>\n\u003cp>Proceeds collected at this year’s community gathering will assist two great nonprofits in continuing their work in the neighborhood. \u003ca href=\"https://826valencia.org/\" target=\"_blank\" rel=\"noopener noreferrer\">826 Valencia\u003c/a> (a.k.a. the Pirate Supply Store) will use all donations to further their mission of making sure under-resourced kids get a tutoring boost so they can become great writers. And \u003ca href=\"https://lacocinasf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">La Cocina\u003c/a> will keep working toward equity in business ownership, providing mentorship and affordable kitchen space to female and BIPOC entrepreneurs.\u003c/p>\n\u003cfigure id=\"attachment_13917609\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917609\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-3.37.26-PM-800x486.png\" alt=\"Three South Asian women sitting in a row laughing.\" width=\"800\" height=\"486\">\u003cfigcaption class=\"wp-caption-text\">Attendees taking in a show at Cupertino’s Diwali: Festival of Lights. \u003ccite>(Cupertino Chamber of Commerce)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.facebook.com/bayareadiwalifestival\" target=\"_blank\" rel=\"noopener noreferrer\">Diwali Festival of Lights\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Memorial Park, Cupertino\u003c/em>\u003cbr>\n\u003cem>Oct. 8, 11am-6pm\u003c/em>\u003c/p>\n\u003cp>Sure, this festival is happening a full 15 days before Diwali’s five-day celebration even starts, but it’s never too soon to get excited about light triumphing over darkness.\u003c/p>\n\u003cp>Beyond honoring the holiday itself, Cupertino’s Festival of Lights is a celebration of all things Desi. The plethora of colorful dance displays—a journey through classical \u003ca href=\"https://en.wikipedia.org/wiki/Bharatanatyam\" target=\"_blank\" rel=\"noopener noreferrer\">Bharatanatyam\u003c/a> to modern \u003ca href=\"https://en.wikipedia.org/wiki/Bhangra_(dance)#Bhangra_today\" target=\"_blank\" rel=\"noopener noreferrer\">Bhangra\u003c/a>—are worth the journey alone. But the spicy and aromatic street food on hand also satisfies rumbling stomachs, the stalls have plenty to keep dedicated shoppers busy and the \u003ca href=\"https://en.wikipedia.org/wiki/Rangoli\" target=\"_blank\" rel=\"noopener noreferrer\">Rangoli\u003c/a> art displays are just mesmerizing. Plus, there’s even a Kids Zone that usually includes some pretty ridiculous physical challenges. (If you’ve ever wanted to stick your child in a giant hamster ball, this is the place to do it.)\u003c/p>\n\u003cp>To cap it all, there’s even free parking. Just head to De Anza College’s A and B lots.\u003c/p>\n\u003cfigure id=\"attachment_13917731\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917731\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-2.07.55-PM-800x601.png\" alt=\"A grid of 12 squares showing different styles of paintings and crafts.\" width=\"800\" height=\"601\">\u003cfigcaption class=\"wp-caption-text\">A tiny portion of the artists showing at San Francisco Open Studios. \u003ccite>(Courtesy of SFOS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.artspan.org/sfos-schedule\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco\u003c/a> / \u003ca href=\"https://eastbayopenstudios.com/\" target=\"_blank\" rel=\"noopener noreferrer\">East Bay Open Studios\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Locations TBD. (Check \u003ca href=\"https://www.artspan.org/visit-sf-open-studios/navigating-sfos\" target=\"_blank\" rel=\"noopener noreferrer\">SFOS\u003c/a> and \u003ca href=\"https://eastbayopenstudios.com/2022-event-schedule/\" target=\"_blank\" rel=\"noopener noreferrer\">EBOS\u003c/a> websites for directories.)\u003c/em>\u003cbr>\n\u003cem>San Francisco: Oct. 23-Nov. 13\u003cbr>\nEast Bay: Nov. 5-13\u003c/em>\u003c/p>\n\u003cp>Whether you approach them as casual neighborhood strolls or regimented exercises complete with maps and schedules, the Open Studios events on both sides of the Bay are worthy of your attention. Taking place across four weekends in San Francisco and two in the East Bay, Open Studios is a chance to get to know the artists in your area, support them and see some truly great work. (There’s usually a surprising amount of free cookies involved too…)\u003c/p>\n\u003cp>Wandering between home studios, artist collective spaces, back yards and garages doesn’t just feel like a treasure hunt—it also offers a glimpse into how Bay Area artists live and survive. It’s inspiring to witness not just the eclectic array of talent on display, but the resourcefulness of many of our local creators. And if you can’t make it out to meet them in person, the SFOS website offers \u003ca href=\"https://www.artspan.org/vast\" target=\"_blank\" rel=\"noopener noreferrer\">virtual tours of selected artists’ studios\u003c/a>.\u003c/p>\n\u003cp>While the Open Studios events themselves are free, don’t expect to come home empty-handed.\u003c/p>\n\u003cfigure id=\"attachment_13917656\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917656\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-15-at-7.58.18-PM-800x557.png\" alt=\"A woman in her twenties with black hair, wearing midriff-baring punky clothes, throws her arms above her head and sticks her tongue out in a rebellious gesture.\" width=\"800\" height=\"557\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-15-at-7.58.18-PM-800x557.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-15-at-7.58.18-PM-1020x710.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-15-at-7.58.18-PM-160x111.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-15-at-7.58.18-PM-768x535.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-15-at-7.58.18-PM-1536x1070.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-15-at-7.58.18-PM.png 1700w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Livia Gomes Demarchi as Beatrice in San Francisco Shakespeare Festival’s 40th Anniversary production of ‘Much Ado About Nothing.’ \u003ccite>(Jay Yamada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfshakes.org/?fbclid=IwAR3OD5c8Cx3CbwJ02gSUOBcfQYf8GDYCLFp5fKvmK-wulGkee84ucXcZF_c\" target=\"_blank\" rel=\"noopener noreferrer\">Shakespeare in the Park\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Jerry Garcia Amphitheater, MacLaren Park, San Francisco\u003c/em>\u003cbr>\n\u003cem>Sept. 3-11, 2pm\u003c/em>\u003c/p>\n\u003cp>\u003cem>Much Ado About Nothing\u003c/em> can be quite the challenging prospect for modern audiences—particularly the women watching. After all, it’s difficult to glean much enjoyment from watching female characters getting treated terribly by the men in their midst for 160 minutes, only to have everything wrapped up in a neat little bow in the end.\u003c/p>\n\u003cp>This year’s production by the San Francisco Shakespeare Festival however, promises to be a more palatable take on a dated classic. With a distinctly ’90s aesthetic, a run time of just 90 minutes (no intermission) and modernized versions of familiar characters, this \u003cem>Much Ado\u003c/em> promises something a little different from more traditional productions. Think: Beatrice in lip-liner and a dog collar, a grunge rendition of “Sigh No More” and Benedick out participating in protest marches. No, really.\u003c/p>\n\u003cp>If you missed this \u003cem>Much Ado About Nothing\u003c/em> in Cupertino and Redwood City and can’t make it to McLaren Park either, don’t worry. A version of the production will be made \u003ca href=\"https://www.youtube.com/watch?v=cB1obsLLZe8\" target=\"_blank\" rel=\"noopener noreferrer\">available online\u003c/a> at a later date, complete with closed captions.\u003c/p>\n\u003cfigure id=\"attachment_13917732\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917732\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-2.12.16-PM-800x520.png\" alt=\"Dancers - three female, one male - wearing traditional Mexican clothes smile as they perform on a small stage.\" width=\"800\" height=\"520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-2.12.16-PM-800x520.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-2.12.16-PM-1020x663.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-2.12.16-PM-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-2.12.16-PM-768x499.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-2.12.16-PM.png 1458w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dancers performing the Jarabe Tapatío at the Solano Avenue Stroll. \u003ccite>(Courtesy of Solano Avenue Stroll)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.solanoavenueassn.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Solano Avenue Stroll\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Solano Avenue, Albany and Berkeley\u003c/em>\u003cbr>\n\u003cem>Sept. 11, 10am-5pm\u003c/em>\u003c/p>\n\u003cp>Finally! The Stroll is back after a two-year absence, and it promises to be just as huge as it always was. It will still occupy an entire, fully pedestrianized mile of Solano Avenue in a colorful celebration of both Albany and Berkeley that starts with an opening ceremony and mini-parade. The day-long celebration fills the street with music, dancing and scores of local businesses, artists and makers selling their wares—including, of course, enough food booths to feed the thousands of people who usually attend.\u003c/p>\n\u003cp>Because of its scale, the Solano Avenue Stroll can be a little overwhelming at peak times, but it’s worth getting there early so you can take your time with it all. A free shuttle from North Berkeley BART will get you there without parking hassles.\u003c/p>\n\u003cfigure id=\"attachment_13917733\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917733\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-4.53.09-PM-800x512.png\" alt=\"Many people gather on the slanted lawn in front of a large screen surrounded on all sides with trees.\" width=\"800\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-4.53.09-PM-800x512.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-4.53.09-PM-1020x653.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-4.53.09-PM-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-4.53.09-PM-768x492.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-4.53.09-PM-1536x984.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-4.53.09-PM.png 1568w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sundown Cinema at Jerry Garcia Amphitheater at McLaren Park. \u003ccite>(Instagram/ @dothebay)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://secure.sfparksalliance.org/event/sundown-cinema-member-seating-sister-act-2/e405348\" target=\"_blank\" rel=\"noopener noreferrer\">Sundown Cinema\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Alamo Square, Crane Cove, Jerry Garcia Amphitheater, San Francisco\u003c/em>\u003cbr>\n\u003cem>Sept. 9-Oct.21, 5pm\u003c/em>\u003c/p>\n\u003cp>The Bay Area is awash with unique little movie theaters; we are truly blessed in this regard. But for a few weeks every fall, big screens pop up around San Francisco that give even our cutest theaters a run for their money. (If you’ve ever watched a movie in Alamo Square Park with the sun setting behind the Painted Ladies, you already know what’s up.)\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>This rest of this season’s Sundown Cinema will feature \u003cem>Raiders of the Lost Ark\u003c/em> at Alamo Square (Sept. 9), \u003cem>Shang Chi & The Legend of the Ten Rings\u003c/em> at Crane Cove (Sept. 30) and \u003cem>Addams Family Values\u003c/em> at the Jerry Garcia Amphitheater (Oct. 21). Perfect for family picnics, date night and people who love wearing their Patagonias to chilly park excursions.\u003c/p>\n\n",
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"excerpt": "Who needs free movies, art, dance, live music, parties and theater? All of us, that's who.",
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"title": "Fun on a Budget: 8 Free Fall Events in the Bay Area | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/fallarts2022\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>\u003cstrong>Find more of KQED’s picks for the best Fall 2022 events here\u003c/strong>\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Gas prices. Sky-high inflation. The Millennial inability to stop buying lattes and avocado toast. (\u003cem>I kid!\u003c/em>)\u003c/p>\n\u003cp>The year 2022 has been rough on wallets across the country, and our wallets also happen to be sitting (half-empty) in one of its most expensive regions. (San Francisco, Oakland and San Jose all made the list of top-10 most expensive American cities.)\u003c/p>\n\u003cp>What does that mean? It means we all need as much free stuff as possible. And luckily for us, there are a lot of great events coming up that won’t cost you a dime to attend. Movies, art, dance, live music, parties, theater—we’ve got you covered. Bay Area rents may break the bank, but there’s a wealth of fun things to do that won’t.\u003c/p>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cfigure id=\"attachment_13917591\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917591\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-12.31.28-PM-800x530.png\" alt=\"A Black dancer in open black shirt and tight black shorts, lays on a wooden platform, arms outstretched dramatically, with one leg kicked upwards and pointed out. Crowds watch on from the sidelines.\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-12.31.28-PM-800x530.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-12.31.28-PM-1020x675.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-12.31.28-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-12.31.28-PM-768x508.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-12.31.28-PM-1536x1017.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-12.31.28-PM.png 1592w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A performer strikes a pose at 2021’s Open To All Ball at Lake Merritt Amphitheater. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.facebook.com/events/1198327271019474/\" target=\"_blank\" rel=\"noopener noreferrer\">Hella Hyphy Ball\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Lake Merritt Amphitheater, Oakland\u003c/em>\u003cbr>\n\u003cem>Sept. 10, 1pm–7pm\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The follow-up to 2021’s dazzling \u003ca href=\"https://www.kqed.org/arts/13902915/photos-lgbtq-oakland-shows-out-at-the-open-to-all-vogue-ball\" target=\"_blank\" rel=\"noopener noreferrer\">Open to All Ball\u003c/a> is set to transform the shores of Lake Merritt once more into ballroom bliss. This year’s ball carries the same ethos as the last one: everyone—and they do mean absolutely everyone—is welcome. The 2022 theme, however, is brand new, and hella Oakland: hyphy. That will influence every category in this year’s contests, from performance soundtracks to the all-important runway fashions.\u003c/p>\n\u003cp>As usual, there are big prizes to be won, including $1,000 cash awards for categories including Realness, Face and Runway, and a $4,000 prize for the Tag Team performance. This year’s grand finale promises to be next-level thanks to the caveat that teams must include at least one hyphy move in their presentation. So … serve and turf?\u003c/p>\n\u003cfigure id=\"attachment_13917640\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917640\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-15-at-2.29.48-PM-1-800x517.png\" alt=\"A Black woman in black and white striped dress, sits on a stool with her feet up, laughing as she holds an acoustic guitar on her lap.\" width=\"800\" height=\"517\">\u003cfigcaption class=\"wp-caption-text\">Meklit, an Ethiopia-born, Bay Area-dwelling singer, blends African and American blues, jazz and folk sounds with a constantly surprising level of grace and magnetism. And she’s on the Hardly Strictly lineup this year. \u003ccite>(NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.hardlystrictlybluegrass.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hardly Strictly Bluegrass\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Golden Gate Park, San Francisco\u003c/em>\u003cbr>\n\u003cem>Sept. 30-Oct. 2\u003c/em>\u003c/p>\n\u003cp>After a two-year absence from Golden Gate Park, Hardly Strictly is set for a triumphant return this October with a lineup that offers something for nearly every mood and taste.\u003c/p>\n\u003cp>Festival veterans like Emmylou Harris (in her 22nd HSB appearance!) and Buddy Miller (in his 17th!) will be present, accounted for and offering warm fuzzy feelings to fend off the fog. Marcus Mumford and Talking Heads’ Jerry Harrison and Adrian Belew check the mainstream-appeal boxes. And local flavor comes in the form of Tré Burt (Sacramento), Meklit (San Francisco), Brothers Comatose (North Bay) and A.J. Lee and Blue Summit (South Bay).\u003c/p>\n\u003cp>But as usual, HSB will also be serving up fantastic artists from around the country. So far, this year’s must-not-miss list includes: the heart-wrenching but always uplifting Allison Russell, the retro-soul stylings of Lucius and the bluegrass-rooted Afrofuturism of Jake Blount. In a lineup that has long been proud to stray beyond the confines of traditional bluegrass, Blount is a one-man example of why it’s so exciting to do just that.\u003c/p>\n\u003cfigure id=\"attachment_13917608\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917608\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-3.08.11-PM-800x542.png\" alt=\"A father and son walk hand-in-hand towards a group of parents and children playing with bubbles. Behind them, various stalls can be seen lining the street.\" width=\"800\" height=\"542\">\u003cfigcaption class=\"wp-caption-text\">Noise Pop’s 20th Street Block Party will take place on Valencia St. this year. \u003ccite>(Instagram/ @noisepop)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"http://www.20thstreetblockparty.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Noise Pop’s 20th Street Block Party\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Valencia Street between 18th and 21st Streets, San Francisco\u003c/em>\u003cbr>\n\u003cem>Oct. 15, 12pm-6pm\u003c/em>\u003c/p>\n\u003cp>This family-friendly free-for-all will take over three whole blocks of Valencia Street to bring live music, food, local arts and crafts, and a whole lot of fun, to the Mission. The location may be slightly different in 2022, but the vibe will remain the same as the prior eight years: a love letter to the diversity and creativity of the Mission District.\u003c/p>\n\u003cp>Proceeds collected at this year’s community gathering will assist two great nonprofits in continuing their work in the neighborhood. \u003ca href=\"https://826valencia.org/\" target=\"_blank\" rel=\"noopener noreferrer\">826 Valencia\u003c/a> (a.k.a. the Pirate Supply Store) will use all donations to further their mission of making sure under-resourced kids get a tutoring boost so they can become great writers. And \u003ca href=\"https://lacocinasf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">La Cocina\u003c/a> will keep working toward equity in business ownership, providing mentorship and affordable kitchen space to female and BIPOC entrepreneurs.\u003c/p>\n\u003cfigure id=\"attachment_13917609\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917609\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-3.37.26-PM-800x486.png\" alt=\"Three South Asian women sitting in a row laughing.\" width=\"800\" height=\"486\">\u003cfigcaption class=\"wp-caption-text\">Attendees taking in a show at Cupertino’s Diwali: Festival of Lights. \u003ccite>(Cupertino Chamber of Commerce)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.facebook.com/bayareadiwalifestival\" target=\"_blank\" rel=\"noopener noreferrer\">Diwali Festival of Lights\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Memorial Park, Cupertino\u003c/em>\u003cbr>\n\u003cem>Oct. 8, 11am-6pm\u003c/em>\u003c/p>\n\u003cp>Sure, this festival is happening a full 15 days before Diwali’s five-day celebration even starts, but it’s never too soon to get excited about light triumphing over darkness.\u003c/p>\n\u003cp>Beyond honoring the holiday itself, Cupertino’s Festival of Lights is a celebration of all things Desi. The plethora of colorful dance displays—a journey through classical \u003ca href=\"https://en.wikipedia.org/wiki/Bharatanatyam\" target=\"_blank\" rel=\"noopener noreferrer\">Bharatanatyam\u003c/a> to modern \u003ca href=\"https://en.wikipedia.org/wiki/Bhangra_(dance)#Bhangra_today\" target=\"_blank\" rel=\"noopener noreferrer\">Bhangra\u003c/a>—are worth the journey alone. But the spicy and aromatic street food on hand also satisfies rumbling stomachs, the stalls have plenty to keep dedicated shoppers busy and the \u003ca href=\"https://en.wikipedia.org/wiki/Rangoli\" target=\"_blank\" rel=\"noopener noreferrer\">Rangoli\u003c/a> art displays are just mesmerizing. Plus, there’s even a Kids Zone that usually includes some pretty ridiculous physical challenges. (If you’ve ever wanted to stick your child in a giant hamster ball, this is the place to do it.)\u003c/p>\n\u003cp>To cap it all, there’s even free parking. Just head to De Anza College’s A and B lots.\u003c/p>\n\u003cfigure id=\"attachment_13917731\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917731\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-2.07.55-PM-800x601.png\" alt=\"A grid of 12 squares showing different styles of paintings and crafts.\" width=\"800\" height=\"601\">\u003cfigcaption class=\"wp-caption-text\">A tiny portion of the artists showing at San Francisco Open Studios. \u003ccite>(Courtesy of SFOS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.artspan.org/sfos-schedule\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco\u003c/a> / \u003ca href=\"https://eastbayopenstudios.com/\" target=\"_blank\" rel=\"noopener noreferrer\">East Bay Open Studios\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Locations TBD. (Check \u003ca href=\"https://www.artspan.org/visit-sf-open-studios/navigating-sfos\" target=\"_blank\" rel=\"noopener noreferrer\">SFOS\u003c/a> and \u003ca href=\"https://eastbayopenstudios.com/2022-event-schedule/\" target=\"_blank\" rel=\"noopener noreferrer\">EBOS\u003c/a> websites for directories.)\u003c/em>\u003cbr>\n\u003cem>San Francisco: Oct. 23-Nov. 13\u003cbr>\nEast Bay: Nov. 5-13\u003c/em>\u003c/p>\n\u003cp>Whether you approach them as casual neighborhood strolls or regimented exercises complete with maps and schedules, the Open Studios events on both sides of the Bay are worthy of your attention. Taking place across four weekends in San Francisco and two in the East Bay, Open Studios is a chance to get to know the artists in your area, support them and see some truly great work. (There’s usually a surprising amount of free cookies involved too…)\u003c/p>\n\u003cp>Wandering between home studios, artist collective spaces, back yards and garages doesn’t just feel like a treasure hunt—it also offers a glimpse into how Bay Area artists live and survive. It’s inspiring to witness not just the eclectic array of talent on display, but the resourcefulness of many of our local creators. And if you can’t make it out to meet them in person, the SFOS website offers \u003ca href=\"https://www.artspan.org/vast\" target=\"_blank\" rel=\"noopener noreferrer\">virtual tours of selected artists’ studios\u003c/a>.\u003c/p>\n\u003cp>While the Open Studios events themselves are free, don’t expect to come home empty-handed.\u003c/p>\n\u003cfigure id=\"attachment_13917656\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917656\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-15-at-7.58.18-PM-800x557.png\" alt=\"A woman in her twenties with black hair, wearing midriff-baring punky clothes, throws her arms above her head and sticks her tongue out in a rebellious gesture.\" width=\"800\" height=\"557\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-15-at-7.58.18-PM-800x557.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-15-at-7.58.18-PM-1020x710.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-15-at-7.58.18-PM-160x111.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-15-at-7.58.18-PM-768x535.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-15-at-7.58.18-PM-1536x1070.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-15-at-7.58.18-PM.png 1700w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Livia Gomes Demarchi as Beatrice in San Francisco Shakespeare Festival’s 40th Anniversary production of ‘Much Ado About Nothing.’ \u003ccite>(Jay Yamada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfshakes.org/?fbclid=IwAR3OD5c8Cx3CbwJ02gSUOBcfQYf8GDYCLFp5fKvmK-wulGkee84ucXcZF_c\" target=\"_blank\" rel=\"noopener noreferrer\">Shakespeare in the Park\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Jerry Garcia Amphitheater, MacLaren Park, San Francisco\u003c/em>\u003cbr>\n\u003cem>Sept. 3-11, 2pm\u003c/em>\u003c/p>\n\u003cp>\u003cem>Much Ado About Nothing\u003c/em> can be quite the challenging prospect for modern audiences—particularly the women watching. After all, it’s difficult to glean much enjoyment from watching female characters getting treated terribly by the men in their midst for 160 minutes, only to have everything wrapped up in a neat little bow in the end.\u003c/p>\n\u003cp>This year’s production by the San Francisco Shakespeare Festival however, promises to be a more palatable take on a dated classic. With a distinctly ’90s aesthetic, a run time of just 90 minutes (no intermission) and modernized versions of familiar characters, this \u003cem>Much Ado\u003c/em> promises something a little different from more traditional productions. Think: Beatrice in lip-liner and a dog collar, a grunge rendition of “Sigh No More” and Benedick out participating in protest marches. No, really.\u003c/p>\n\u003cp>If you missed this \u003cem>Much Ado About Nothing\u003c/em> in Cupertino and Redwood City and can’t make it to McLaren Park either, don’t worry. A version of the production will be made \u003ca href=\"https://www.youtube.com/watch?v=cB1obsLLZe8\" target=\"_blank\" rel=\"noopener noreferrer\">available online\u003c/a> at a later date, complete with closed captions.\u003c/p>\n\u003cfigure id=\"attachment_13917732\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917732\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-2.12.16-PM-800x520.png\" alt=\"Dancers - three female, one male - wearing traditional Mexican clothes smile as they perform on a small stage.\" width=\"800\" height=\"520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-2.12.16-PM-800x520.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-2.12.16-PM-1020x663.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-2.12.16-PM-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-2.12.16-PM-768x499.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-2.12.16-PM.png 1458w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dancers performing the Jarabe Tapatío at the Solano Avenue Stroll. \u003ccite>(Courtesy of Solano Avenue Stroll)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.solanoavenueassn.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Solano Avenue Stroll\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Solano Avenue, Albany and Berkeley\u003c/em>\u003cbr>\n\u003cem>Sept. 11, 10am-5pm\u003c/em>\u003c/p>\n\u003cp>Finally! The Stroll is back after a two-year absence, and it promises to be just as huge as it always was. It will still occupy an entire, fully pedestrianized mile of Solano Avenue in a colorful celebration of both Albany and Berkeley that starts with an opening ceremony and mini-parade. The day-long celebration fills the street with music, dancing and scores of local businesses, artists and makers selling their wares—including, of course, enough food booths to feed the thousands of people who usually attend.\u003c/p>\n\u003cp>Because of its scale, the Solano Avenue Stroll can be a little overwhelming at peak times, but it’s worth getting there early so you can take your time with it all. A free shuttle from North Berkeley BART will get you there without parking hassles.\u003c/p>\n\u003cfigure id=\"attachment_13917733\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917733\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-4.53.09-PM-800x512.png\" alt=\"Many people gather on the slanted lawn in front of a large screen surrounded on all sides with trees.\" width=\"800\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-4.53.09-PM-800x512.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-4.53.09-PM-1020x653.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-4.53.09-PM-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-4.53.09-PM-768x492.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-4.53.09-PM-1536x984.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-4.53.09-PM.png 1568w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sundown Cinema at Jerry Garcia Amphitheater at McLaren Park. \u003ccite>(Instagram/ @dothebay)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://secure.sfparksalliance.org/event/sundown-cinema-member-seating-sister-act-2/e405348\" target=\"_blank\" rel=\"noopener noreferrer\">Sundown Cinema\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Alamo Square, Crane Cove, Jerry Garcia Amphitheater, San Francisco\u003c/em>\u003cbr>\n\u003cem>Sept. 9-Oct.21, 5pm\u003c/em>\u003c/p>\n\u003cp>The Bay Area is awash with unique little movie theaters; we are truly blessed in this regard. But for a few weeks every fall, big screens pop up around San Francisco that give even our cutest theaters a run for their money. (If you’ve ever watched a movie in Alamo Square Park with the sun setting behind the Painted Ladies, you already know what’s up.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This rest of this season’s Sundown Cinema will feature \u003cem>Raiders of the Lost Ark\u003c/em> at Alamo Square (Sept. 9), \u003cem>Shang Chi & The Legend of the Ten Rings\u003c/em> at Crane Cove (Sept. 30) and \u003cem>Addams Family Values\u003c/em> at the Jerry Garcia Amphitheater (Oct. 21). Perfect for family picnics, date night and people who love wearing their Patagonias to chilly park excursions.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Leaping Into Drama: A Fall ’22 Movie Guide",
"headTitle": "Leaping Into Drama: A Fall ’22 Movie Guide | KQED",
"content": "\u003cp>\u003ca href=\"https://www.kqed.org/fallarts2022\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cem>\u003cstrong>Find more of KQED’s picks for the best Fall 2022 events here\u003c/strong>\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>While blockbuster season in the movie business is year-round these days, studios increasingly reserve their adult-oriented character-driven films for fall and winter, when serious moviegoers celebrate the cooling temperatures as a herald of quality cinema.\u003c/p>\n\u003cp>But older audiences are proving reluctant to return to theaters so long as COVID variants circulate, while streaming has become the preferred platform for a portion of the public. So the state of movies and the health of theaters are open questions, even as those in the industry—not to mention film lovers—crave a return to normalcy.\u003c/p>\n\u003cp>Tempered optimism is the watchword, so my fall forecast is gripping drama with a chance of excitement.\u003c/p>\n\u003cfigure id=\"attachment_13918105\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Pasolini_Mamma-Roma_001.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918105\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Pasolini_Mamma-Roma_001-800x573.jpg\" alt=\"a still from a black and white movie of a woman and man, looking away from each other\" width=\"800\" height=\"573\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Pasolini_Mamma-Roma_001-800x573.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Pasolini_Mamma-Roma_001-1020x731.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Pasolini_Mamma-Roma_001-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Pasolini_Mamma-Roma_001-768x551.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Pasolini_Mamma-Roma_001-1536x1101.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Pasolini_Mamma-Roma_001.jpg 1879w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A still from ‘Mamma Roma’ by Pier Paolo Pasolini. \u003ccite>(Courtesy Berkeley Art Museum and Pacific Film Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://apeconcerts.com/events/pasolini-100-220910/\">Pasolini 100\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 10, Castro Theatre\u003c/em>\u003cbr>\nPier Paolo Pasolini was known in the U.S. merely as a provocative filmmaker; in his native Italy, he was an eminent (and devoutly controversial) public intellectual and social critic. A poet, essayist, novelist, playwright, actor, screenwriter and director, Pasolini remains a complicated, challenging figure 45 years after his unsolved death at the hands of a male prostitute. Cinema Italia SF commemorates his centennial with an all-day marathon spotlighting Pasolini’s early ’60s black-and-white dramas of Rome’s underclass, \u003cem>Mamma Roma\u003c/em> (Anna Magnani’s signature role) and \u003cem>Accatone\u003c/em>, and capped by the unflinching, notorious \u003cem>Saló, or the 100 Days of Sodom\u003c/em> (1976). \u003ca href=\"https://bampfa.org/program/pier-paolo-pasolini\">A BAMPFA retrospective\u003c/a> (Oct. 22-Nov. 27) offers even more chances to immerse yourself in Pasolini’s fascination with sex, violence, faith and power.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZIt0bGwe1rY\u003c/p>\n\u003ch2>\u003ca href=\"https://www.apple.com/tv-pr/originals/sidney/\">‘Sidney’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 23, Apple TV+\u003c/em>\u003cbr>\nOur personal reactions to movie stars reveal more about us—our fantasies, our prejudices—than them. Sidney Poitier’s career spanned the entirety of the second half of the 20th century and the enormous evolution in how Black people were portrayed, played and viewed onscreen. It’s impossible to conceive the tightrope Poitier walked in the ’50s and ’60s, playing dignified characters (Virgil Tibbs in \u003cem>In the Heat of the Night\u003c/em>, notably) who had to restrain their response to a diet of insults lest they scare white moviegoers—without losing his credibility with Black audiences. A successful director (\u003cem>Stir Crazy\u003c/em>) and a prominent civil rights activist, Poitier, who died in January, possessed an unshakable moral compass. Reginald Hudlin’s documentary introduces Poitier to a new audience, filtered through the voices of his contemporaries (Robert Redford, Barbra Streisand) and heirs (Denzel Washington, Spike Lee).\u003c/p>\n\u003cfigure id=\"attachment_13918106\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Whale_Final-Image-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918106\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Whale_Final-Image-800x601.jpg\" alt=\"a white man, Brendan Fraser, looks concerned\" width=\"800\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Whale_Final-Image-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Whale_Final-Image-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Whale_Final-Image-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Whale_Final-Image-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Whale_Final-Image-1536x1154.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Whale_Final-Image-2048x1538.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Whale_Final-Image-1920x1442.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Brendan Fraser in Darren Aronofsky’s ‘The Whale.’ \u003ccite>(Courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.mvff.com/\">Mill Valley Film Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 6-16, in theaters and online\u003c/em>\u003cbr>\nMarin County’s venerable fall blowout boasts several strong strands: female directors, local documentaries, music films, foreign-language sleepers. In addition, as fall marks the kickoff to awards season, MVFF has positioned itself over the last 15 years as the Bay Area venue of choice to premiere thoughtful, actor-powered dramas. This year’s star sightings could include Michelle Williams in Kelly Reichardt’s \u003cem>Showing Up\u003c/em>, Tilda Swinton in Joanna Hogg’s \u003cem>The Eternal Daughter\u003c/em>, Olivia Colman and/or Colin Firth in Sam Mendes’ \u003cem>Empire of Light\u003c/em> and Brendan Fraser in Darren Aronofsky’s \u003cem>The Whale\u003c/em>. Of note, MVFF is expanding its in-person events this year to BAMPFA in Berkeley and the Roxie Theater in San Francisco.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1QCa25CmONI\u003c/p>\n\u003ch2>‘The Lost King’\u003c/h2>\n\u003cp>\u003cem>TBD\u003c/em>\u003cbr>\nA potential candidate for MVFF’s opening or closing night slot, the new film from the underappreciated British director Stephen Frears is an expertly calibrated, comic yet touching portrait of female perseverance. Frears and his \u003cem>Philomena\u003c/em> collaborators, screenwriter Jeff Pope and co-writer and actor Steve Coogan, recreate contemporary writer Philippa Langley’s real-life obstacles and travails on her journey to uncovering the burial site of King Richard III (1452-85). Sally Hawkins (\u003cem>The Shape of Water\u003c/em>) plays the determined protagonist, aided by her husband (Coogan). Frears has a dry sense of humor, giving me hope that Sir Ian McKellen, who played Richard so brilliantly on stage and screen, makes an unbilled cameo as, say, a librarian or cab driver. (The audience for \u003cem>The Lost King\u003c/em> overlaps with the demographic that’s been the slowest to return to theaters, so the film may score more success on PVOD.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rkQi6GBwmSA\u003c/p>\n\u003ch2>‘Till’\u003c/h2>\n\u003cp>\u003cem>Oct. 14\u003c/em>\u003cbr>\nEmmett Till was just 14 when he was kidnapped, tortured and shot to death while visiting family in Mississippi on his summer vacation in 1955. One of the most heinous crimes in the endlessly brutal history of American racism, Emmett’s murder became a flashpoint for the entire country when his mother gave him a public funeral with an open casket back home in Chicago. Writer-producer-director Chinonye Chukwu’s follow-up to \u003cem>Clemency\u003c/em> (which starred Alfre Woodard as a prison warden) recounts the saga of another Black woman under unfathomable pressure, Mamie Till-Mobley (played by the estimable Danielle Deadwyler). The terrible events of 1955 continue to reverberate in the present day, and \u003cem>Till\u003c/em> will likely extend the conversation: Keith Beauchamp, who alleged in his 2005 documentary \u003cem>The Untold Story of Emmett Louis Till\u003c/em> that no fewer than 14 people were involved in the boy’s death, has a writing and producing credit.\u003c/p>\n\u003cfigure id=\"attachment_13918110\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918110\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-800x432.jpeg\" alt=\"a young white man and woman look at each other while leaning over the side of a swimming pool\" width=\"800\" height=\"432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-800x432.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-1020x551.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-160x86.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-768x415.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-1536x830.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-2048x1107.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-1920x1038.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Harry Styles and Emma Corrin in ‘My Policeman.’ \u003ccite>(Courtesy of Prime Video)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘My Policeman’\u003c/h2>\n\u003cp>\u003cem>Oct. 21 in theaters, Nov. 4 on Amazon Prime Video\u003c/em>\u003cbr>\nThe esteemed British theater director Michael Grandage directs Ron Nyswaner’s adaptation of Bethan Roberts’ 2012 novel, though Harry Styles is the only name trending on Twitter. The Evesham heartthrob plays the title character—a married, closeted cop in 1950s Brighton who’s having an affair with a museum curator. Forty years after making a hash of things, the characters (now played by Linus Roache, Gina McKee and Rupert Everett) strain to alchemize regret into redemption. Regardless of the artfulness of the film’s structure, the performances are the key to its emotional punch. By the time Oscar nominations are announced, Styles may be trending everywhere.\u003c/p>\n\u003cfigure id=\"attachment_13917942\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917942\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/AllThatBreathes-800x449.jpg\" alt=\"A man in glasses stares at a bird known as a black kite.\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/AllThatBreathes-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/AllThatBreathes-1020x572.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/AllThatBreathes-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/AllThatBreathes-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/AllThatBreathes-1536x862.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/AllThatBreathes.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘All That Breathes’ follows two brothers who operate a bird sanctuary in New Delhi, India. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sffilm.org/year-round-programming/doc-stories/\">Doc Stories\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 3-6\u003c/em>\u003cbr>\nDevotees of nonfiction film will have ample opportunities to partake of real-world sagas this fall, between the \u003ca href=\"https://sfgreen2022.eventive.org/welcome\">Green Film Festival of San Francisco\u003c/a>’s (Oct. 6-16) globe-hopping array of environmental documentaries and the \u003ca href=\"https://sfdancefilmfest.org/\">San Francisco Dance Film Festival\u003c/a>’s (Oct. 28-Nov. 7) scintillating mix of portraits and performances. SFFILM’s Doc Stories casts its net beyond any specific niche to snare the latest high-profile works on any subject by well-known filmmakers and buzz-catching newcomers. This compact series avidly positions itself as a stop on the road to the Academy Awards due to the many Bay Area members of the Documentary branch. Regular folks benefit, too, from the unusually sophisticated post-film conversations on documentary practice and ethics. Keep your eyes on the skies for the possible inclusion, synced to its HBO premiere, of the Sundance World Cinema Grand Jury Prizewinner \u003cem>All That Breathes\u003c/em>, Shaunak Sen’s touching, poetic portrait of New Delhi brothers who save injured black kites.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RlOB3UALvrQ\u003c/p>\n\u003ch2>‘Black Panther: Wakanda Forever’\u003c/h2>\n\u003cp>\u003cem>Nov. 11\u003c/em>\u003cbr>\nSurely there’s room to include one blockbuster on our list. Yes, Oakland native Ryan Coogler’s hotly anticipated new film is a sequel, a superhero movie and a Marvel production. Yes, the death of Chadwick Boseman leaves a void in the Wakanda universe. Consequently, and thrillingly, the sequel foregrounds and centers the characters played by forces of nature Letitia Wright and Lupita Nyong’o. There’s every reason to anticipate that \u003cem>Black Panther: Wakanda Forever\u003c/em> (scripted by Coogler and Joe Robert Cole, who co-wrote the original) will be even more audacious, outspoken and galvanizing than the original. Yes, I know that runs counter to the Hollywood mode of business, but selling out isn’t in Coogler’s DNA.\u003c/p>\n\u003ch2>‘The Fabelmans’\u003c/h2>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Nov. 23\u003c/em>\u003cbr>\nSteven Spielberg isn’t known as a writer—he last took pen to paper to adapt the \u003cem>A.I. Artificial Intelligence\u003c/em> screenplay 20 years ago—but who else could tell his semi-autobiographical tale of a Jewish boy growing up in wild and woolly Phoenix in the ’50s and ’60s? Thankfully, his longtime collaborator, Louisiana-raised Tony Award and Pulitzer Prize-winner Tony Kushner. Consequently, Spielberg’s contribution to the precious (in both senses of the word) genre of the formative years of film directors has potential to be much more than a lavish golden-hour ode to the ups and downs of the nuclear (age) family. Michelle Williams and Paul Dano play Sammy’s parents, with Seth Rogen in the key role of lad’s uncle. You’ll laugh, you’ll cry, you’ll remember a time when air conditioning was proof of God’s existence.\u003c/p>\n\n",
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"excerpt": "'Black Panther: Wakanda Forever,' 'Till,' a Sidney Poitier documentary and a Pasolini marathon are among this fall's Bay Area film highlights.",
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"description": "'Black Panther: Wakanda Forever,' 'Till,' a Sidney Poitier documentary and a Pasolini marathon are among this fall's Bay Area film highlights.",
"title": "Leaping Into Drama: A Fall ’22 Movie Guide | KQED",
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"headline": "Leaping Into Drama: A Fall ’22 Movie Guide",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/fallarts2022\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cem>\u003cstrong>Find more of KQED’s picks for the best Fall 2022 events here\u003c/strong>\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>While blockbuster season in the movie business is year-round these days, studios increasingly reserve their adult-oriented character-driven films for fall and winter, when serious moviegoers celebrate the cooling temperatures as a herald of quality cinema.\u003c/p>\n\u003cp>But older audiences are proving reluctant to return to theaters so long as COVID variants circulate, while streaming has become the preferred platform for a portion of the public. So the state of movies and the health of theaters are open questions, even as those in the industry—not to mention film lovers—crave a return to normalcy.\u003c/p>\n\u003cp>Tempered optimism is the watchword, so my fall forecast is gripping drama with a chance of excitement.\u003c/p>\n\u003cfigure id=\"attachment_13918105\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Pasolini_Mamma-Roma_001.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918105\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Pasolini_Mamma-Roma_001-800x573.jpg\" alt=\"a still from a black and white movie of a woman and man, looking away from each other\" width=\"800\" height=\"573\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Pasolini_Mamma-Roma_001-800x573.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Pasolini_Mamma-Roma_001-1020x731.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Pasolini_Mamma-Roma_001-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Pasolini_Mamma-Roma_001-768x551.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Pasolini_Mamma-Roma_001-1536x1101.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Pasolini_Mamma-Roma_001.jpg 1879w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A still from ‘Mamma Roma’ by Pier Paolo Pasolini. \u003ccite>(Courtesy Berkeley Art Museum and Pacific Film Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://apeconcerts.com/events/pasolini-100-220910/\">Pasolini 100\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 10, Castro Theatre\u003c/em>\u003cbr>\nPier Paolo Pasolini was known in the U.S. merely as a provocative filmmaker; in his native Italy, he was an eminent (and devoutly controversial) public intellectual and social critic. A poet, essayist, novelist, playwright, actor, screenwriter and director, Pasolini remains a complicated, challenging figure 45 years after his unsolved death at the hands of a male prostitute. Cinema Italia SF commemorates his centennial with an all-day marathon spotlighting Pasolini’s early ’60s black-and-white dramas of Rome’s underclass, \u003cem>Mamma Roma\u003c/em> (Anna Magnani’s signature role) and \u003cem>Accatone\u003c/em>, and capped by the unflinching, notorious \u003cem>Saló, or the 100 Days of Sodom\u003c/em> (1976). \u003ca href=\"https://bampfa.org/program/pier-paolo-pasolini\">A BAMPFA retrospective\u003c/a> (Oct. 22-Nov. 27) offers even more chances to immerse yourself in Pasolini’s fascination with sex, violence, faith and power.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ZIt0bGwe1rY'\n title='//www.youtube.com/embed/ZIt0bGwe1rY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.apple.com/tv-pr/originals/sidney/\">‘Sidney’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 23, Apple TV+\u003c/em>\u003cbr>\nOur personal reactions to movie stars reveal more about us—our fantasies, our prejudices—than them. Sidney Poitier’s career spanned the entirety of the second half of the 20th century and the enormous evolution in how Black people were portrayed, played and viewed onscreen. It’s impossible to conceive the tightrope Poitier walked in the ’50s and ’60s, playing dignified characters (Virgil Tibbs in \u003cem>In the Heat of the Night\u003c/em>, notably) who had to restrain their response to a diet of insults lest they scare white moviegoers—without losing his credibility with Black audiences. A successful director (\u003cem>Stir Crazy\u003c/em>) and a prominent civil rights activist, Poitier, who died in January, possessed an unshakable moral compass. Reginald Hudlin’s documentary introduces Poitier to a new audience, filtered through the voices of his contemporaries (Robert Redford, Barbra Streisand) and heirs (Denzel Washington, Spike Lee).\u003c/p>\n\u003cfigure id=\"attachment_13918106\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Whale_Final-Image-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918106\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Whale_Final-Image-800x601.jpg\" alt=\"a white man, Brendan Fraser, looks concerned\" width=\"800\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Whale_Final-Image-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Whale_Final-Image-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Whale_Final-Image-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Whale_Final-Image-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Whale_Final-Image-1536x1154.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Whale_Final-Image-2048x1538.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Whale_Final-Image-1920x1442.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Brendan Fraser in Darren Aronofsky’s ‘The Whale.’ \u003ccite>(Courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.mvff.com/\">Mill Valley Film Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 6-16, in theaters and online\u003c/em>\u003cbr>\nMarin County’s venerable fall blowout boasts several strong strands: female directors, local documentaries, music films, foreign-language sleepers. In addition, as fall marks the kickoff to awards season, MVFF has positioned itself over the last 15 years as the Bay Area venue of choice to premiere thoughtful, actor-powered dramas. This year’s star sightings could include Michelle Williams in Kelly Reichardt’s \u003cem>Showing Up\u003c/em>, Tilda Swinton in Joanna Hogg’s \u003cem>The Eternal Daughter\u003c/em>, Olivia Colman and/or Colin Firth in Sam Mendes’ \u003cem>Empire of Light\u003c/em> and Brendan Fraser in Darren Aronofsky’s \u003cem>The Whale\u003c/em>. Of note, MVFF is expanding its in-person events this year to BAMPFA in Berkeley and the Roxie Theater in San Francisco.\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/1QCa25CmONI'\n title='//www.youtube.com/embed/1QCa25CmONI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘The Lost King’\u003c/h2>\n\u003cp>\u003cem>TBD\u003c/em>\u003cbr>\nA potential candidate for MVFF’s opening or closing night slot, the new film from the underappreciated British director Stephen Frears is an expertly calibrated, comic yet touching portrait of female perseverance. Frears and his \u003cem>Philomena\u003c/em> collaborators, screenwriter Jeff Pope and co-writer and actor Steve Coogan, recreate contemporary writer Philippa Langley’s real-life obstacles and travails on her journey to uncovering the burial site of King Richard III (1452-85). Sally Hawkins (\u003cem>The Shape of Water\u003c/em>) plays the determined protagonist, aided by her husband (Coogan). Frears has a dry sense of humor, giving me hope that Sir Ian McKellen, who played Richard so brilliantly on stage and screen, makes an unbilled cameo as, say, a librarian or cab driver. (The audience for \u003cem>The Lost King\u003c/em> overlaps with the demographic that’s been the slowest to return to theaters, so the film may score more success on PVOD.)\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/rkQi6GBwmSA'\n title='//www.youtube.com/embed/rkQi6GBwmSA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘Till’\u003c/h2>\n\u003cp>\u003cem>Oct. 14\u003c/em>\u003cbr>\nEmmett Till was just 14 when he was kidnapped, tortured and shot to death while visiting family in Mississippi on his summer vacation in 1955. One of the most heinous crimes in the endlessly brutal history of American racism, Emmett’s murder became a flashpoint for the entire country when his mother gave him a public funeral with an open casket back home in Chicago. Writer-producer-director Chinonye Chukwu’s follow-up to \u003cem>Clemency\u003c/em> (which starred Alfre Woodard as a prison warden) recounts the saga of another Black woman under unfathomable pressure, Mamie Till-Mobley (played by the estimable Danielle Deadwyler). The terrible events of 1955 continue to reverberate in the present day, and \u003cem>Till\u003c/em> will likely extend the conversation: Keith Beauchamp, who alleged in his 2005 documentary \u003cem>The Untold Story of Emmett Louis Till\u003c/em> that no fewer than 14 people were involved in the boy’s death, has a writing and producing credit.\u003c/p>\n\u003cfigure id=\"attachment_13918110\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918110\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-800x432.jpeg\" alt=\"a young white man and woman look at each other while leaning over the side of a swimming pool\" width=\"800\" height=\"432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-800x432.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-1020x551.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-160x86.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-768x415.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-1536x830.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-2048x1107.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-1920x1038.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Harry Styles and Emma Corrin in ‘My Policeman.’ \u003ccite>(Courtesy of Prime Video)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘My Policeman’\u003c/h2>\n\u003cp>\u003cem>Oct. 21 in theaters, Nov. 4 on Amazon Prime Video\u003c/em>\u003cbr>\nThe esteemed British theater director Michael Grandage directs Ron Nyswaner’s adaptation of Bethan Roberts’ 2012 novel, though Harry Styles is the only name trending on Twitter. The Evesham heartthrob plays the title character—a married, closeted cop in 1950s Brighton who’s having an affair with a museum curator. Forty years after making a hash of things, the characters (now played by Linus Roache, Gina McKee and Rupert Everett) strain to alchemize regret into redemption. Regardless of the artfulness of the film’s structure, the performances are the key to its emotional punch. By the time Oscar nominations are announced, Styles may be trending everywhere.\u003c/p>\n\u003cfigure id=\"attachment_13917942\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917942\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/AllThatBreathes-800x449.jpg\" alt=\"A man in glasses stares at a bird known as a black kite.\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/AllThatBreathes-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/AllThatBreathes-1020x572.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/AllThatBreathes-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/AllThatBreathes-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/AllThatBreathes-1536x862.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/AllThatBreathes.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘All That Breathes’ follows two brothers who operate a bird sanctuary in New Delhi, India. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sffilm.org/year-round-programming/doc-stories/\">Doc Stories\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 3-6\u003c/em>\u003cbr>\nDevotees of nonfiction film will have ample opportunities to partake of real-world sagas this fall, between the \u003ca href=\"https://sfgreen2022.eventive.org/welcome\">Green Film Festival of San Francisco\u003c/a>’s (Oct. 6-16) globe-hopping array of environmental documentaries and the \u003ca href=\"https://sfdancefilmfest.org/\">San Francisco Dance Film Festival\u003c/a>’s (Oct. 28-Nov. 7) scintillating mix of portraits and performances. SFFILM’s Doc Stories casts its net beyond any specific niche to snare the latest high-profile works on any subject by well-known filmmakers and buzz-catching newcomers. This compact series avidly positions itself as a stop on the road to the Academy Awards due to the many Bay Area members of the Documentary branch. Regular folks benefit, too, from the unusually sophisticated post-film conversations on documentary practice and ethics. Keep your eyes on the skies for the possible inclusion, synced to its HBO premiere, of the Sundance World Cinema Grand Jury Prizewinner \u003cem>All That Breathes\u003c/em>, Shaunak Sen’s touching, poetic portrait of New Delhi brothers who save injured black kites.\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/RlOB3UALvrQ'\n title='//www.youtube.com/embed/RlOB3UALvrQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘Black Panther: Wakanda Forever’\u003c/h2>\n\u003cp>\u003cem>Nov. 11\u003c/em>\u003cbr>\nSurely there’s room to include one blockbuster on our list. Yes, Oakland native Ryan Coogler’s hotly anticipated new film is a sequel, a superhero movie and a Marvel production. Yes, the death of Chadwick Boseman leaves a void in the Wakanda universe. Consequently, and thrillingly, the sequel foregrounds and centers the characters played by forces of nature Letitia Wright and Lupita Nyong’o. There’s every reason to anticipate that \u003cem>Black Panther: Wakanda Forever\u003c/em> (scripted by Coogler and Joe Robert Cole, who co-wrote the original) will be even more audacious, outspoken and galvanizing than the original. Yes, I know that runs counter to the Hollywood mode of business, but selling out isn’t in Coogler’s DNA.\u003c/p>\n\u003ch2>‘The Fabelmans’\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Nov. 23\u003c/em>\u003cbr>\nSteven Spielberg isn’t known as a writer—he last took pen to paper to adapt the \u003cem>A.I. Artificial Intelligence\u003c/em> screenplay 20 years ago—but who else could tell his semi-autobiographical tale of a Jewish boy growing up in wild and woolly Phoenix in the ’50s and ’60s? Thankfully, his longtime collaborator, Louisiana-raised Tony Award and Pulitzer Prize-winner Tony Kushner. Consequently, Spielberg’s contribution to the precious (in both senses of the word) genre of the formative years of film directors has potential to be much more than a lavish golden-hour ode to the ups and downs of the nuclear (age) family. Michelle Williams and Paul Dano play Sammy’s parents, with Seth Rogen in the key role of lad’s uncle. You’ll laugh, you’ll cry, you’ll remember a time when air conditioning was proof of God’s existence.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Three Thousand Years of Longing' Will Leave You Charmed, But Wishing for More",
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"content": "\u003cp>I’ve always felt there’s something a bit too self-conscious about movies that are explicitly about the magic of storytelling. Really, the best way to pay tribute to storytelling is to simply tell a good story, not rattle on and on about how timeless stories are. That may explain why I felt both mildly charmed and a little worn out by the new movie \u003cem>Three Thousand Years of Longing\u003c/em>.\u003c/p>\n\u003cp>It’s adapted from a short story by the English writer A.S. Byatt, and much of it unfolds in an Istanbul hotel room where Idris Elba, taking a page from \u003ca href=\"https://en.wikipedia.org/wiki/Scheherazade\" target=\"_blank\" rel=\"noopener noreferrer\">Scheherazade and her \u003cem>One Thousand and One Nights\u003c/em>\u003c/a>, regales Tilda Swinton with one fantastical tale after another. Some of these tales are vivid and involving, but what they add up to is less than the sum of its many shimmering parts.\u003c/p>\n\u003cp>[aside postid='arts_13918047']Even still, the movie has its undeniable pleasures. The Australian director George Miller might be best known for his thrilling \u003cem>Mad Max\u003c/em> series, but he’s always had a flair for fantasy, as he’s shown in marvelously inventive films like \u003cem>Babe: Pig in the City\u003c/em> and \u003cem>Happy Feet\u003c/em>. In \u003cem>Three Thousand Years of Longing\u003c/em>, which he co-wrote with his daughter, Augusta Gore, Miller unveils an outlandish premise with a sly wit that’s initially hard to resist.\u003c/p>\n\u003cp>Tilda Swinton plays Alithea Binney, a modern-day literary scholar who specializes in the study of narratives, the way the same tropes and symbols tend to pop up in stories from different cultures and eras. While attending a conference in Istanbul, Alithea goes shopping in the bazaar and purchases a small glass bottle as a memento.\u003c/p>\n\u003cp>Later, while she’s cleaning the bottle in her hotel room, out in a burst of smoke pops an enormous Djinn, played by Elba. After some amusing awkwardness—how would \u003cem>you \u003c/em>react if confronted by a giant otherworldly intruder with hairy blue legs and pointy ears?—the two settle into a long, heady and whimsical conversation. Also, they’re both wearing those plush white hotel bathrobes, in the movie’s most charming visual.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TWGvntl9itE\u003c/p>\n\u003cp>The Djinn tells Alithea that he was trapped in the bottle roughly three millennia ago by King Solomon. The only way for him to be freed is to grant three wishes to any human who possesses the bottle. You’d think that Alithea would jump at the chance, but being an expert on stories, she knows that wishes have a way of backfiring. And so she refuses to play along.\u003c/p>\n\u003cp>Alithea has long seemed content with her solitary existence. She was married once but now has no family, and books have provided the only companionship she needs. But as she talks to the Djinn, her long-forgotten desires for love and connection begin to surface. The movie’s point seems to be that these desires, or longings, lie at the heart of every great story.\u003c/p>\n\u003cp>[aside postid='arts_13917597']The Djinn knows this firsthand: He tells Alithea about all the women he’s fallen for over the centuries, starting with his first great love, the Queen of Sheba. More recently, his bottle fell into the hands of a brilliant 19th-century woman who used her wishes not to acquire power or riches, but rather to gain more knowledge about the world. Their love burned bright for a spell but ended, like the others, in tragedy. This is why the Djinn has never been able to break free; his love for the humans who command him proves his undoing.\u003c/p>\n\u003cp>Miller dramatizes those stories in vibrant flashbacks decorated with all manner of ornate visual effects; sometimes the results can be garish, but sometimes they’re genuinely entrancing. At their best, the Djinn’s stories achieve the quality of a great page-turner. But the movie becomes less effective as it raises the possibility of romance between Alithea and the Djinn. Swinton and Elba are both superb and have a sweet, touching chemistry, but they never forge the kind of bond that feels passionate enough to transcend time and space.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The movie tosses off some fascinating ideas in the closing stretch, including the way a Djinn might feel redundant in a world where technology has become its own modern-day magic. But \u003cem>Three Thousand Years of Longing \u003c/em>ends on a muted, uncertain note. It left me faintly curious about what might happen next, which is not quite the same thing as wanting more.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Three+Thousand+Years+of+Longing%27+will+leave+you+charmed+%E2%80%94+and+a+little+worn+out&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I’ve always felt there’s something a bit too self-conscious about movies that are explicitly about the magic of storytelling. Really, the best way to pay tribute to storytelling is to simply tell a good story, not rattle on and on about how timeless stories are. That may explain why I felt both mildly charmed and a little worn out by the new movie \u003cem>Three Thousand Years of Longing\u003c/em>.\u003c/p>\n\u003cp>It’s adapted from a short story by the English writer A.S. Byatt, and much of it unfolds in an Istanbul hotel room where Idris Elba, taking a page from \u003ca href=\"https://en.wikipedia.org/wiki/Scheherazade\" target=\"_blank\" rel=\"noopener noreferrer\">Scheherazade and her \u003cem>One Thousand and One Nights\u003c/em>\u003c/a>, regales Tilda Swinton with one fantastical tale after another. Some of these tales are vivid and involving, but what they add up to is less than the sum of its many shimmering parts.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Even still, the movie has its undeniable pleasures. The Australian director George Miller might be best known for his thrilling \u003cem>Mad Max\u003c/em> series, but he’s always had a flair for fantasy, as he’s shown in marvelously inventive films like \u003cem>Babe: Pig in the City\u003c/em> and \u003cem>Happy Feet\u003c/em>. In \u003cem>Three Thousand Years of Longing\u003c/em>, which he co-wrote with his daughter, Augusta Gore, Miller unveils an outlandish premise with a sly wit that’s initially hard to resist.\u003c/p>\n\u003cp>Tilda Swinton plays Alithea Binney, a modern-day literary scholar who specializes in the study of narratives, the way the same tropes and symbols tend to pop up in stories from different cultures and eras. While attending a conference in Istanbul, Alithea goes shopping in the bazaar and purchases a small glass bottle as a memento.\u003c/p>\n\u003cp>Later, while she’s cleaning the bottle in her hotel room, out in a burst of smoke pops an enormous Djinn, played by Elba. After some amusing awkwardness—how would \u003cem>you \u003c/em>react if confronted by a giant otherworldly intruder with hairy blue legs and pointy ears?—the two settle into a long, heady and whimsical conversation. Also, they’re both wearing those plush white hotel bathrobes, in the movie’s most charming visual.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/TWGvntl9itE'\n title='//www.youtube.com/embed/TWGvntl9itE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Djinn tells Alithea that he was trapped in the bottle roughly three millennia ago by King Solomon. The only way for him to be freed is to grant three wishes to any human who possesses the bottle. You’d think that Alithea would jump at the chance, but being an expert on stories, she knows that wishes have a way of backfiring. And so she refuses to play along.\u003c/p>\n\u003cp>Alithea has long seemed content with her solitary existence. She was married once but now has no family, and books have provided the only companionship she needs. But as she talks to the Djinn, her long-forgotten desires for love and connection begin to surface. The movie’s point seems to be that these desires, or longings, lie at the heart of every great story.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The Djinn knows this firsthand: He tells Alithea about all the women he’s fallen for over the centuries, starting with his first great love, the Queen of Sheba. More recently, his bottle fell into the hands of a brilliant 19th-century woman who used her wishes not to acquire power or riches, but rather to gain more knowledge about the world. Their love burned bright for a spell but ended, like the others, in tragedy. This is why the Djinn has never been able to break free; his love for the humans who command him proves his undoing.\u003c/p>\n\u003cp>Miller dramatizes those stories in vibrant flashbacks decorated with all manner of ornate visual effects; sometimes the results can be garish, but sometimes they’re genuinely entrancing. At their best, the Djinn’s stories achieve the quality of a great page-turner. But the movie becomes less effective as it raises the possibility of romance between Alithea and the Djinn. Swinton and Elba are both superb and have a sweet, touching chemistry, but they never forge the kind of bond that feels passionate enough to transcend time and space.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The movie tosses off some fascinating ideas in the closing stretch, including the way a Djinn might feel redundant in a world where technology has become its own modern-day magic. But \u003cem>Three Thousand Years of Longing \u003c/em>ends on a muted, uncertain note. It left me faintly curious about what might happen next, which is not quite the same thing as wanting more.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Three+Thousand+Years+of+Longing%27+will+leave+you+charmed+%E2%80%94+and+a+little+worn+out&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Crossroads 2022 Celebrates Avant-Garde Film’s Pandemic Poets",
"headTitle": "Crossroads 2022 Celebrates Avant-Garde Film’s Pandemic Poets | KQED",
"content": "\u003cp>The first film in the first program of \u003ca href=\"https://www.sfcinematheque.org/festival/crossroads-2022/\" target=\"_blank\" rel=\"noopener noreferrer\">Crossroads\u003c/a>, San Francisco Cinematheque’s annual festival of experimental film, wittily probes an animated character’s inner despair. Thai filmmaker Tulapop Saenjaroen employed a cadre of artists for his wildly creative and weirdly disturbing 18-minute marriage of live action, animation and digital manipulation, yet \u003cem>Squish!\u003c/em> plays like a pastel shriek of isolation depression. And that’s just the festival’s Side 1, Track 1, as it were.\u003c/p>\n\u003cp>Organized across 10 programs this weekend (Aug. 26-28) at Gray Area in the Mission, Crossroads 2022 includes some 67 works, all carefully arranged by longtime Cinematheque director and curator par excellence Steve Polta. The majority were created over the last year—that is, post-lockdown. Yet many of them, crafted start to finish by a single filmmaker, exude a delicate feeling of introspective solitude. Maybe it’s the occasional whiff of obsessiveness that wafts through the lineup, or perhaps just my imagination that the 13th Crossroads festival is as much a reflection (and record) of the pandemic as last year’s edition.\u003c/p>\n\u003cfigure id=\"attachment_13918071\" class=\"wp-caption aligncenter\" style=\"max-width: 594px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/6-Prometheus-Angerame-1.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918071\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/6-Prometheus-Angerame-1.jpeg\" alt=\"a black and white abstract image\" width=\"594\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/6-Prometheus-Angerame-1.jpeg 594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/6-Prometheus-Angerame-1-160x130.jpeg 160w\" sizes=\"(max-width: 594px) 100vw, 594px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A still from ‘Prometheus’ by Dominic Angerame. \u003ccite>(San Francisco Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pensive portraits of states of mind, no matter how piercing or profound, may not comport with those hustling across town or around the globe to recapture lost social time and shed the pandemic mentality. But Crossroads’ return to in-person screenings, and the mysterious magic of strangers sharing tone- and mood-shifting experiences in the dark, should counteract the manic impulses of the present moment.\u003c/p>\n\u003cp>Given its dearth of images and reliance on sound, Ernst Karel and Veronika Kusumaryati’s feature-length \u003cem>Expedition Content\u003c/em> (program 5) represents a unique act of mass conjuring. The filmmakers excavated the 1961 audio recordings made by one Michael Rockefeller (an heir to the Standard Oil family fortune) during a five-month Harvard Peabody expedition focused on the Hubula (or Dani) people in West Papua, then known as Netherlands New Guinea. \u003cem>Expedition Content\u003c/em> exposes the fault lines in ethnography (fascinatingly), and colonialism (naturally), from a historical distance that shrinks as the work progresses.\u003c/p>\n\u003cfigure id=\"attachment_13918070\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/3-CurveNightSky-Ahwesh-1-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918070\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/3-CurveNightSky-Ahwesh-1-800x534.jpg\" alt=\"a starry night sky with trees\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/3-CurveNightSky-Ahwesh-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/3-CurveNightSky-Ahwesh-1-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/3-CurveNightSky-Ahwesh-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/3-CurveNightSky-Ahwesh-1-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/3-CurveNightSky-Ahwesh-1-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/3-CurveNightSky-Ahwesh-1-2048x1368.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/3-CurveNightSky-Ahwesh-1-1920x1282.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A still from ‘Curve the Night Sky’ by Peggy Ahwesh. \u003ccite>(Courtesy San Francisco Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Poetry and film are both web-spinning art forms, of course. Jodie Mack’s color 16mm marvel, \u003cem>Wasteland No. 3: Moons, Sons\u003c/em> (in program 2, \u003cem>table of the elements\u003c/em>) mesmerizes with time-lapse studies of flowered orbs that transport us from wherever we are to a strange yet familiar world. It is preceded by a pair of digital videos by Oregon artist Brandon Wilson: \u003cem>The Day Lives Briefly Unscented\u003c/em> honors his late grandmother and the fleeting, ephemeral nature of life through vintage snapshots and images of water, fire, smoke and suburban life, while the monochrome, electrified \u003cem>Ghost is Hungry\u003c/em> evokes an elemental, non-human force field hunting in the woods.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This program also features the U.S. premiere of Canadian filmmaker Matthieu Hallé’s candle-lit (via video feed) 2017 work \u003cem>The Waterfall\u003c/em>, accompanied by a live performance of the score by Unitions (Umesh Mallery & Marshall Trammell).\u003c/p>\n\u003cp>Because the viewer experiences Crossroads through an entire program, describing individual films risks taking them out of context. In addition, Polta has framed each collection with an enveloping yet open-ended, Ferlinghettian lower-case title: \u003cem>it takes the world to make a feather fall; before you witnessed this entropy; i remember those days (it could have been different); around her the shadows trembled.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13918069\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/4-puncture-Maur-3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918069\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/4-puncture-Maur-3-800x570.jpg\" alt=\"a red background with the word 'us' in white\" width=\"800\" height=\"570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/4-puncture-Maur-3-800x570.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/4-puncture-Maur-3-1020x727.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/4-puncture-Maur-3-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/4-puncture-Maur-3-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/4-puncture-Maur-3-1536x1095.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/4-puncture-Maur-3-2048x1460.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/4-puncture-Maur-3-1920x1369.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A still from ‘Puncture’ by Carleen Maur \u003ccite>(Courtesy San Francisco Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But I can’t resist citing some of my favorites. In Carleen Maur’s cryptic off-road video \u003cem>Puncture\u003c/em> (in program 4, \u003cem>before you witnessed this entropy\u003c/em>), the word “us” is repeated over a montage of trees on fire, at first slowly and deliberately, then faster until the female speaker becomes orgasmic. Brooklyn master Peggy Ahwesh’s painterly \u003cem>Curve the Night Sky\u003c/em> (in program 7, \u003cem>we have tasted planets\u003c/em>), shot in her backyard in 2020, highlights the abundant beauty in nocturnal compositions. San Francisco stalwart Dominic Angerame returns with the brutally direct \u003cem>Prometheus\u003c/em> (program 8, \u003cem>divisions of labor\u003c/em>), a black-and-white experiment in abstract terror.\u003c/p>\n\u003cp>The aforementioned opening program, enticingly titled \u003cem>beauty can fool you\u003c/em>, is dedicated to longtime S.F. video artist Dale Hoyt, who passed away earlier this year. Hoyt is represented with a rueful 2009 rumination on childhood naiveté and adult disillusionment that’s set to, and takes its title from, the sensuous, seductive strains of composer/singer Annette Peacock’s \u003cem>Young,\u003c/em> (with comma). A powerful music video that serves as an ode to father-daughter connection as well as lingering loss, it’s suited to a period of reflection, regret and ravage—like the one from which we are presently emerging.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Crossroads Film Festival runs Aug. 26-28 at Gray Area in San Francisco. Tickets to individual programs are $12 and up; \u003ca href=\"https://www.sfcinematheque.org/festival/crossroads-2022/\">more details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first film in the first program of \u003ca href=\"https://www.sfcinematheque.org/festival/crossroads-2022/\" target=\"_blank\" rel=\"noopener noreferrer\">Crossroads\u003c/a>, San Francisco Cinematheque’s annual festival of experimental film, wittily probes an animated character’s inner despair. Thai filmmaker Tulapop Saenjaroen employed a cadre of artists for his wildly creative and weirdly disturbing 18-minute marriage of live action, animation and digital manipulation, yet \u003cem>Squish!\u003c/em> plays like a pastel shriek of isolation depression. And that’s just the festival’s Side 1, Track 1, as it were.\u003c/p>\n\u003cp>Organized across 10 programs this weekend (Aug. 26-28) at Gray Area in the Mission, Crossroads 2022 includes some 67 works, all carefully arranged by longtime Cinematheque director and curator par excellence Steve Polta. The majority were created over the last year—that is, post-lockdown. Yet many of them, crafted start to finish by a single filmmaker, exude a delicate feeling of introspective solitude. Maybe it’s the occasional whiff of obsessiveness that wafts through the lineup, or perhaps just my imagination that the 13th Crossroads festival is as much a reflection (and record) of the pandemic as last year’s edition.\u003c/p>\n\u003cfigure id=\"attachment_13918071\" class=\"wp-caption aligncenter\" style=\"max-width: 594px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/6-Prometheus-Angerame-1.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918071\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/6-Prometheus-Angerame-1.jpeg\" alt=\"a black and white abstract image\" width=\"594\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/6-Prometheus-Angerame-1.jpeg 594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/6-Prometheus-Angerame-1-160x130.jpeg 160w\" sizes=\"(max-width: 594px) 100vw, 594px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A still from ‘Prometheus’ by Dominic Angerame. \u003ccite>(San Francisco Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pensive portraits of states of mind, no matter how piercing or profound, may not comport with those hustling across town or around the globe to recapture lost social time and shed the pandemic mentality. But Crossroads’ return to in-person screenings, and the mysterious magic of strangers sharing tone- and mood-shifting experiences in the dark, should counteract the manic impulses of the present moment.\u003c/p>\n\u003cp>Given its dearth of images and reliance on sound, Ernst Karel and Veronika Kusumaryati’s feature-length \u003cem>Expedition Content\u003c/em> (program 5) represents a unique act of mass conjuring. The filmmakers excavated the 1961 audio recordings made by one Michael Rockefeller (an heir to the Standard Oil family fortune) during a five-month Harvard Peabody expedition focused on the Hubula (or Dani) people in West Papua, then known as Netherlands New Guinea. \u003cem>Expedition Content\u003c/em> exposes the fault lines in ethnography (fascinatingly), and colonialism (naturally), from a historical distance that shrinks as the work progresses.\u003c/p>\n\u003cfigure id=\"attachment_13918070\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/3-CurveNightSky-Ahwesh-1-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918070\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/3-CurveNightSky-Ahwesh-1-800x534.jpg\" alt=\"a starry night sky with trees\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/3-CurveNightSky-Ahwesh-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/3-CurveNightSky-Ahwesh-1-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/3-CurveNightSky-Ahwesh-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/3-CurveNightSky-Ahwesh-1-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/3-CurveNightSky-Ahwesh-1-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/3-CurveNightSky-Ahwesh-1-2048x1368.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/3-CurveNightSky-Ahwesh-1-1920x1282.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A still from ‘Curve the Night Sky’ by Peggy Ahwesh. \u003ccite>(Courtesy San Francisco Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Poetry and film are both web-spinning art forms, of course. Jodie Mack’s color 16mm marvel, \u003cem>Wasteland No. 3: Moons, Sons\u003c/em> (in program 2, \u003cem>table of the elements\u003c/em>) mesmerizes with time-lapse studies of flowered orbs that transport us from wherever we are to a strange yet familiar world. It is preceded by a pair of digital videos by Oregon artist Brandon Wilson: \u003cem>The Day Lives Briefly Unscented\u003c/em> honors his late grandmother and the fleeting, ephemeral nature of life through vintage snapshots and images of water, fire, smoke and suburban life, while the monochrome, electrified \u003cem>Ghost is Hungry\u003c/em> evokes an elemental, non-human force field hunting in the woods.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This program also features the U.S. premiere of Canadian filmmaker Matthieu Hallé’s candle-lit (via video feed) 2017 work \u003cem>The Waterfall\u003c/em>, accompanied by a live performance of the score by Unitions (Umesh Mallery & Marshall Trammell).\u003c/p>\n\u003cp>Because the viewer experiences Crossroads through an entire program, describing individual films risks taking them out of context. In addition, Polta has framed each collection with an enveloping yet open-ended, Ferlinghettian lower-case title: \u003cem>it takes the world to make a feather fall; before you witnessed this entropy; i remember those days (it could have been different); around her the shadows trembled.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13918069\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/4-puncture-Maur-3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918069\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/4-puncture-Maur-3-800x570.jpg\" alt=\"a red background with the word 'us' in white\" width=\"800\" height=\"570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/4-puncture-Maur-3-800x570.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/4-puncture-Maur-3-1020x727.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/4-puncture-Maur-3-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/4-puncture-Maur-3-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/4-puncture-Maur-3-1536x1095.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/4-puncture-Maur-3-2048x1460.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/4-puncture-Maur-3-1920x1369.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A still from ‘Puncture’ by Carleen Maur \u003ccite>(Courtesy San Francisco Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But I can’t resist citing some of my favorites. In Carleen Maur’s cryptic off-road video \u003cem>Puncture\u003c/em> (in program 4, \u003cem>before you witnessed this entropy\u003c/em>), the word “us” is repeated over a montage of trees on fire, at first slowly and deliberately, then faster until the female speaker becomes orgasmic. Brooklyn master Peggy Ahwesh’s painterly \u003cem>Curve the Night Sky\u003c/em> (in program 7, \u003cem>we have tasted planets\u003c/em>), shot in her backyard in 2020, highlights the abundant beauty in nocturnal compositions. San Francisco stalwart Dominic Angerame returns with the brutally direct \u003cem>Prometheus\u003c/em> (program 8, \u003cem>divisions of labor\u003c/em>), a black-and-white experiment in abstract terror.\u003c/p>\n\u003cp>The aforementioned opening program, enticingly titled \u003cem>beauty can fool you\u003c/em>, is dedicated to longtime S.F. video artist Dale Hoyt, who passed away earlier this year. Hoyt is represented with a rueful 2009 rumination on childhood naiveté and adult disillusionment that’s set to, and takes its title from, the sensuous, seductive strains of composer/singer Annette Peacock’s \u003cem>Young,\u003c/em> (with comma). A powerful music video that serves as an ode to father-daughter connection as well as lingering loss, it’s suited to a period of reflection, regret and ravage—like the one from which we are presently emerging.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Crossroads Film Festival runs Aug. 26-28 at Gray Area in San Francisco. Tickets to individual programs are $12 and up; \u003ca href=\"https://www.sfcinematheque.org/festival/crossroads-2022/\">more details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A new grant program announced Wednesday by the \u003ca href=\"https://annenberg.usc.edu/research/aii\" target=\"_blank\" rel=\"noopener noreferrer\">Annenberg Inclusion Initiative\u003c/a>, a think tank based at the University of Southern California that studies diversity and inclusion in the entertainment industry, aims to support undergraduate filmmakers whose work focuses on reproductive rights.\u003c/p>\n\u003cp>[aside postid='arts_13912860']According to a statement shared with NPR, the “Reproductive Rights Accelerator” program will provide a minimum of three students with $25,000 in funding each to support the script development and production of short films.\u003c/p>\n\u003cp>“There are too few stories focused on these topics, and they rarely come from young people,” the initiative’s founder Stacy Smith wrote in an email. “We want the generation who will be most affected by current policies around reproductive health to have the chance to illuminate how these policies affect them.”\u003c/p>\n\u003cp>Smith said her organization is planning to reach students through social media and outreach to film schools. She added that any senior studying film in the U.S. can apply for a grant. Applications will open in September and winners will be selected later in the fall.\u003c/p>\n\u003cp>“Undergraduates have important stories to tell but often have limited opportunities to tell them,” said Smith. “This program should help change that.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Films addressing abortion aren’t a new phenomenon. For example, the silent movie \u003cem>Where Are My Children \u003c/em>dealt with the topic way back in 1916. But the genre has exploded in recent times. The \u003ca href=\"https://www.npr.org/2022/01/28/1076360032/highlights-from-the-2022-sundance-film-festival\" target=\"_blank\" rel=\"noopener noreferrer\">Sundance Film Festival\u003c/a> identified films about reproductive rights as “\u003ca href=\"https://www.sundance.org/blogs/festival-blog/what-to-watch-at-the-2022-festival-films-that-examine-the-fight-for-reproductive-rights/\" target=\"_blank\" rel=\"noopener noreferrer\">a clear theme\u003c/a>” in 2022, with such movies as \u003cem>Happening\u003c/em>, \u003cem>Midwives \u003c/em>and \u003cem>The Janes\u003c/em> appearing on this year’s festival lineup. And the organization issued a statement on social media presaging more such films in response to the Supreme Court decision overturning the federal right to an abortion.\u003c/p>\n\u003cp>[aside postid='arts_13914530']Supporters of the grant program point to the importance of the entertainment industry as a tool for highlighting important issues around human rights.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The entertainment community plays a critical role in educating people about their sexual and reproductive health and rights, including abortion,” said Caren Spruch, national director of arts and entertainment engagement for Planned Parenthood Federation of America, in a statement. “With Roe v. Wade overturned and birth control, LGBQT+ and other rights threatened, this new Annenberg Inclusion Initiative project will provide an invaluable tool to ensure audiences are reached with medically and legislatively accurate storytelling about these issues.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+new+student+filmmaking+grant+will+focus+on+reproductive+rights&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>According to a statement shared with NPR, the “Reproductive Rights Accelerator” program will provide a minimum of three students with $25,000 in funding each to support the script development and production of short films.\u003c/p>\n\u003cp>“There are too few stories focused on these topics, and they rarely come from young people,” the initiative’s founder Stacy Smith wrote in an email. “We want the generation who will be most affected by current policies around reproductive health to have the chance to illuminate how these policies affect them.”\u003c/p>\n\u003cp>Smith said her organization is planning to reach students through social media and outreach to film schools. She added that any senior studying film in the U.S. can apply for a grant. Applications will open in September and winners will be selected later in the fall.\u003c/p>\n\u003cp>“Undergraduates have important stories to tell but often have limited opportunities to tell them,” said Smith. “This program should help change that.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Films addressing abortion aren’t a new phenomenon. For example, the silent movie \u003cem>Where Are My Children \u003c/em>dealt with the topic way back in 1916. But the genre has exploded in recent times. The \u003ca href=\"https://www.npr.org/2022/01/28/1076360032/highlights-from-the-2022-sundance-film-festival\" target=\"_blank\" rel=\"noopener noreferrer\">Sundance Film Festival\u003c/a> identified films about reproductive rights as “\u003ca href=\"https://www.sundance.org/blogs/festival-blog/what-to-watch-at-the-2022-festival-films-that-examine-the-fight-for-reproductive-rights/\" target=\"_blank\" rel=\"noopener noreferrer\">a clear theme\u003c/a>” in 2022, with such movies as \u003cem>Happening\u003c/em>, \u003cem>Midwives \u003c/em>and \u003cem>The Janes\u003c/em> appearing on this year’s festival lineup. And the organization issued a statement on social media presaging more such films in response to the Supreme Court decision overturning the federal right to an abortion.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Supporters of the grant program point to the importance of the entertainment industry as a tool for highlighting important issues around human rights.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The entertainment community plays a critical role in educating people about their sexual and reproductive health and rights, including abortion,” said Caren Spruch, national director of arts and entertainment engagement for Planned Parenthood Federation of America, in a statement. “With Roe v. Wade overturned and birth control, LGBQT+ and other rights threatened, this new Annenberg Inclusion Initiative project will provide an invaluable tool to ensure audiences are reached with medically and legislatively accurate storytelling about these issues.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+new+student+filmmaking+grant+will+focus+on+reproductive+rights&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Nearly 50 years after Sacheen Littlefeather stood on the Academy Awards stage on behalf of Marlon Brando to speak about the depiction of Native Americans in Hollywood films, the Academy of Motion Pictures Arts and Sciences apologized to her for the abuse she endured.\u003c/p>\n\u003cp>On Aug. 15, the Academy Museum of Motion Pictures said that it will host Littlefeather, now 75, for an evening of “conversation, healing and celebration” on Sept. 17.\u003c/p>\n\u003cp>[aside postID='news_11800021,arts_13869074,news_11897041,news_11788540'] When Brando won best actor for \u003ci>The Godfather\u003c/i>, Littlefeather, wearing buckskin dress and moccasins, took the stage, becoming the first Native American woman ever to do so at the Academy Awards. In a 60-second speech, she explained that Brando could not accept the award due to “the treatment of American Indians today by the film industry.”\u003c/p>\n\u003cp>Some in the audience booed her. John Wayne, who was backstage at the time, was reportedly furious. The 1973 Oscars were held during the American Indian Movement’s \u003ca href=\"https://www.history.com/this-day-in-history/aim-occupation-of-wounded-knee-begins\" target=\"_blank\" rel=\"noopener noreferrer\">two-month occupation of Wounded Knee\u003c/a> in South Dakota. In the years since, Littlefeather has said she’s been mocked, discriminated against and personally attacked for her brief Academy Awards appearance.\u003c/p>\n\u003cp>In making the announcement, the Academy Museum shared a letter sent June 18 to Littlefeather by David Rubin, academy president, about the iconic Oscar moment. Rubin called Littlefeather’s speech “a powerful statement that continues to remind us of the necessity of respect and the importance of human dignity.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The abuse you endured because of this statement was unwarranted and unjustified,” wrote Rubin. “The emotional burden you have lived through and the cost to your own career in our industry are irreparable. For too long the courage you showed has been unacknowledged. For this, we offer both our deepest apologies and our sincere admiration.”\u003c/p>\n\u003cfigure id=\"attachment_13917706\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917706\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/GettyImages-1408780562-scaled.jpg\" alt=\"People sit on chairs facing left, one has a 'Blackfeet Nation' banner\" width=\"2560\" height=\"1678\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1408780562-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1408780562-800x524.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1408780562-1020x669.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1408780562-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1408780562-768x503.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1408780562-1536x1007.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1408780562-2048x1342.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1408780562-1920x1258.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">From left, Aurora Mamea, Sacheen Littlefeather and Jonathan Lucero attend a ceremony to commemorate the 50th anniversary of the Native American occupation of Alcatraz Island in San Francisco on Nov. 20, 2019. Littlefeather briefly occupied the island along with Lucero. \u003ccite>(Paul Chinn/The San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Littlefeather, in a statement, said it is “profoundly heartening to see how much has changed since I did not accept the Academy Award 50 years ago.”\u003c/p>\n\u003cp>“Regarding the Academy’s apology to me, we Indians are very patient people—it’s only been 50 years!” said Littlefeather. “We need to keep our sense of humor about this at all times. It’s our method of survival.”\u003c/p>\n\u003cp>At the Academy Museum event in Los Angeles, Littlefeather will sit for a conversation with producer Bird Runningwater, co-chair of the academy’s Indigenous Alliance.\u003c/p>\n\u003cp>In \u003ca href=\"https://omny.fm/shows/academy/1973-marlon-brando-cannot-accept-this-very-generou\" target=\"_blank\" rel=\"noopener noreferrer\">a podcast\u003c/a> earlier this year with Jacqueline Stewart, a film scholar and director of the Academy Museum, Littlefeather reflected on what compelled her to speak out in 1973.\u003c/p>\n\u003cp>“I felt that there should be Native people, Black people, Asian people, Chicano people—I felt there should be an inclusion of everyone,” said Littlefeather. “A rainbow of people that should be involved in creating their own image.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2022 \u003ca href=\"https://apnews.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Associated Press\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp> When Brando won best actor for \u003ci>The Godfather\u003c/i>, Littlefeather, wearing buckskin dress and moccasins, took the stage, becoming the first Native American woman ever to do so at the Academy Awards. In a 60-second speech, she explained that Brando could not accept the award due to “the treatment of American Indians today by the film industry.”\u003c/p>\n\u003cp>Some in the audience booed her. John Wayne, who was backstage at the time, was reportedly furious. The 1973 Oscars were held during the American Indian Movement’s \u003ca href=\"https://www.history.com/this-day-in-history/aim-occupation-of-wounded-knee-begins\" target=\"_blank\" rel=\"noopener noreferrer\">two-month occupation of Wounded Knee\u003c/a> in South Dakota. In the years since, Littlefeather has said she’s been mocked, discriminated against and personally attacked for her brief Academy Awards appearance.\u003c/p>\n\u003cp>In making the announcement, the Academy Museum shared a letter sent June 18 to Littlefeather by David Rubin, academy president, about the iconic Oscar moment. Rubin called Littlefeather’s speech “a powerful statement that continues to remind us of the necessity of respect and the importance of human dignity.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The abuse you endured because of this statement was unwarranted and unjustified,” wrote Rubin. “The emotional burden you have lived through and the cost to your own career in our industry are irreparable. For too long the courage you showed has been unacknowledged. For this, we offer both our deepest apologies and our sincere admiration.”\u003c/p>\n\u003cfigure id=\"attachment_13917706\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917706\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/GettyImages-1408780562-scaled.jpg\" alt=\"People sit on chairs facing left, one has a 'Blackfeet Nation' banner\" width=\"2560\" height=\"1678\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1408780562-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1408780562-800x524.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1408780562-1020x669.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1408780562-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1408780562-768x503.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1408780562-1536x1007.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1408780562-2048x1342.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1408780562-1920x1258.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">From left, Aurora Mamea, Sacheen Littlefeather and Jonathan Lucero attend a ceremony to commemorate the 50th anniversary of the Native American occupation of Alcatraz Island in San Francisco on Nov. 20, 2019. Littlefeather briefly occupied the island along with Lucero. \u003ccite>(Paul Chinn/The San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Littlefeather, in a statement, said it is “profoundly heartening to see how much has changed since I did not accept the Academy Award 50 years ago.”\u003c/p>\n\u003cp>“Regarding the Academy’s apology to me, we Indians are very patient people—it’s only been 50 years!” said Littlefeather. “We need to keep our sense of humor about this at all times. It’s our method of survival.”\u003c/p>\n\u003cp>At the Academy Museum event in Los Angeles, Littlefeather will sit for a conversation with producer Bird Runningwater, co-chair of the academy’s Indigenous Alliance.\u003c/p>\n\u003cp>In \u003ca href=\"https://omny.fm/shows/academy/1973-marlon-brando-cannot-accept-this-very-generou\" target=\"_blank\" rel=\"noopener noreferrer\">a podcast\u003c/a> earlier this year with Jacqueline Stewart, a film scholar and director of the Academy Museum, Littlefeather reflected on what compelled her to speak out in 1973.\u003c/p>\n\u003cp>“I felt that there should be Native people, Black people, Asian people, Chicano people—I felt there should be an inclusion of everyone,” said Littlefeather. “A rainbow of people that should be involved in creating their own image.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2022 \u003ca href=\"https://apnews.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Associated Press\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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},
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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}
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"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"id": "fresh-air",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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