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"content": "\u003cp>Ruby Rossi (Emilia Jones) is in her last year of high school. She doesn’t have much of a plan beyond graduation, because she assumes she’s going to continue as she has been, working with her father and brother on the family fishing boat out of Gloucester, Mass. Ruby loves music and loves to sing, but the idea of actually trying to study or explore music seems like an impossible idea, even after her choir teacher (Eugenio Derbez) sees promise in her and encourages her to apply to Berklee College of Music in Boston.\u003c/p>\n\u003cp>Deciding whether to work in the family business or strike out on your own is always tough, but for Ruby, it has an added wrinkle: her parents (Marlee Matlin and Troy Kotsur) and her brother (Daniel Durant) are deaf. Ruby herself is not; she is what’s called a CODA: a Child of Deaf Adults.\u003c/p>\n\u003cp>[aside postid='arts_13853573']Directed and written by Sian Heder, \u003cem>CODA\u003c/em> is closely based on a 2014 French film called \u003cem>La Famille Bélier\u003c/em>, but this version has one important quality that \u003ca href=\"https://www.theguardian.com/commentisfree/2014/dec/19/la-familie-belier-insult-deaf-community\" target=\"_blank\" rel=\"noopener noreferrer\">the French film didn’t\u003c/a>: The deaf characters are played by deaf actors. Matlin is probably the most famous deaf actor in the United States, but \u003cem>CODA\u003c/em> also has hugely appealing turns from Kotsur and Durant, \u003ca href=\"https://www.hollywoodreporter.com/movies/movie-features/coda-film-representation-1234991797/\" target=\"_blank\" rel=\"noopener noreferrer\">both of whom have worked with the Deaf West Theatre in Los Angeles\u003c/a>, including on its lauded production of \u003cem>Spring Awakening. \u003c/em>Matlin has worked there, too.\u003c/p>\n\u003cp>The fundamental conflict for Ruby is the disruption it would cause in her family for her to leave. She’s been her parents’ interpreter since she was a child, and she feels responsible for things like making sure her father isn’t cheated when he sells his fish at the end of every day.\u003c/p>\n\u003cp>Her parents—especially her mother—wonder what they would do without her to act as a bridge to the local community, which seems to have made no effort at all, either socially or in business terms, to communicate with the Rossis. This weighs on her parents, and it weighs on Ruby. It cannot go on like this forever, but what, her mother wonders, is the alternative?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0pmfrE1YL4I\u003c/p>\n\u003cp>\u003cem>CODA\u003c/em> is a cheerfully conventional story in many respects: a kid discovers what she loves and has to figure out what she’s willing to give up to follow her dream. She has an inspirational teacher who believes in her. She’s met a boy, and that relationship is also making her think about life beyond the family she defends fiercely and sometimes resents. It’s a predictable piece in structure that’s sharp in execution, and that’s so inventive and fresh in some of its particulars that it almost disguises the most conventional story beats.\u003c/p>\n\u003cp>Widely released films rarely embrace ASL as much as \u003cem>CODA\u003c/em> does, even for deaf characters: here, rather than speech being prioritized for hearing audiences, the actors sign and are subtitled, and the language is allowed to breathe in a way that’s moving, often funny, and very effective. (\u003ca href=\"https://variety.com/2015/film/reviews/la-famille-belier-review-1201486329/\" target=\"_blank\" rel=\"noopener noreferrer\">According to \u003cem>Variety\u003c/em>\u003c/a>, the French film didn’t subtitle the signing; hearing audiences only understood it through the daughter repeating or responding to it.)\u003c/p>\n\u003cp>[aside postid='pop_104339']There is no question that Ruby’s awakening about music can be vigorously corny—but the thing is… so are a lot of real high school awakenings about art. I myself went to a summer music camp as a teenager where lots of people were very serious musicians headed for conservatories. We learned the song \u003ca href=\"https://www.youtube.com/watch?v=tG-wl2qqD7Y&ab_channel=yaddayaddayoooou\" target=\"_blank\" rel=\"noopener noreferrer\">“I Sing the Body Electric”\u003c/a> from \u003cem>Fame\u003c/em>—from actual, literal \u003cem>Fame\u003c/em>, for heaven’s sake!—and believe me, at 15 I was deeply moved by singing lines like “I’ll look back on Venus, look back on Mars/ and I’ll burn with the fire of ten million stars.” It was \u003cem>extremely\u003c/em> corny and it meant the world to me. What’s more, our choral director believed everyone should know how to learn parts by ear, so she taught us that one without sheet music, just standing around together, which made it feel even more like a thing that would… you know, happen in a movie.\u003c/p>\n\u003cp>So while Ruby’s path is audience-ready and feels engineered to cause tears, sometimes music and theater kids are exactly that swept up in what they’re doing. It might be cheesy, but if you’re going to go for this kind of grand emotion, this actually might be the right setting for it.\u003c/p>\n\u003cp>And in the meantime, you get a much more subtle story alongside that about the ways in which this family dynamic both hurts and serves everyone in it. Ruby feels like she’s sacrificed a great deal for her family; her brother senses that she gets something from being the only person she thinks can communicate with the rest of the world effectively. This gentle study of patterns in families, where everybody can love each other while still being stuck in habits they need to break, doesn’t have the bombast of the musical sequences, but it has its own resonance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Did \u003cem>CODA \u003c/em>deserve to \u003ca href=\"https://variety.com/2021/film/news/sundance-2021-award-winners-1234898775/\" target=\"_blank\" rel=\"noopener noreferrer\">crowd out everything else to the degree that it did \u003c/a>when Sundance handed out its awards? Probably not. But there is a place for the crowd-pleaser, the tear-jerker, the movie that wants to manipulate your emotions and make you cry—particularly if it manages to bring something new to an old formula. The performances here, especially from Kotsur and Durant, neither of whom were actors I had seen much of, are excellent. And if it feels silly to cry while people sing, then, well, as we all learn in time, there are worse reasons for tears.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27CODA%27+Will+Yank+Shamelessly+On+Your+Heartstrings+...+But+It%27s+Very+Good+At+It&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ruby Rossi (Emilia Jones) is in her last year of high school. She doesn’t have much of a plan beyond graduation, because she assumes she’s going to continue as she has been, working with her father and brother on the family fishing boat out of Gloucester, Mass. Ruby loves music and loves to sing, but the idea of actually trying to study or explore music seems like an impossible idea, even after her choir teacher (Eugenio Derbez) sees promise in her and encourages her to apply to Berklee College of Music in Boston.\u003c/p>\n\u003cp>Deciding whether to work in the family business or strike out on your own is always tough, but for Ruby, it has an added wrinkle: her parents (Marlee Matlin and Troy Kotsur) and her brother (Daniel Durant) are deaf. Ruby herself is not; she is what’s called a CODA: a Child of Deaf Adults.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Directed and written by Sian Heder, \u003cem>CODA\u003c/em> is closely based on a 2014 French film called \u003cem>La Famille Bélier\u003c/em>, but this version has one important quality that \u003ca href=\"https://www.theguardian.com/commentisfree/2014/dec/19/la-familie-belier-insult-deaf-community\" target=\"_blank\" rel=\"noopener noreferrer\">the French film didn’t\u003c/a>: The deaf characters are played by deaf actors. Matlin is probably the most famous deaf actor in the United States, but \u003cem>CODA\u003c/em> also has hugely appealing turns from Kotsur and Durant, \u003ca href=\"https://www.hollywoodreporter.com/movies/movie-features/coda-film-representation-1234991797/\" target=\"_blank\" rel=\"noopener noreferrer\">both of whom have worked with the Deaf West Theatre in Los Angeles\u003c/a>, including on its lauded production of \u003cem>Spring Awakening. \u003c/em>Matlin has worked there, too.\u003c/p>\n\u003cp>The fundamental conflict for Ruby is the disruption it would cause in her family for her to leave. She’s been her parents’ interpreter since she was a child, and she feels responsible for things like making sure her father isn’t cheated when he sells his fish at the end of every day.\u003c/p>\n\u003cp>Her parents—especially her mother—wonder what they would do without her to act as a bridge to the local community, which seems to have made no effort at all, either socially or in business terms, to communicate with the Rossis. This weighs on her parents, and it weighs on Ruby. It cannot go on like this forever, but what, her mother wonders, is the alternative?\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/0pmfrE1YL4I'\n title='//www.youtube.com/embed/0pmfrE1YL4I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>CODA\u003c/em> is a cheerfully conventional story in many respects: a kid discovers what she loves and has to figure out what she’s willing to give up to follow her dream. She has an inspirational teacher who believes in her. She’s met a boy, and that relationship is also making her think about life beyond the family she defends fiercely and sometimes resents. It’s a predictable piece in structure that’s sharp in execution, and that’s so inventive and fresh in some of its particulars that it almost disguises the most conventional story beats.\u003c/p>\n\u003cp>Widely released films rarely embrace ASL as much as \u003cem>CODA\u003c/em> does, even for deaf characters: here, rather than speech being prioritized for hearing audiences, the actors sign and are subtitled, and the language is allowed to breathe in a way that’s moving, often funny, and very effective. (\u003ca href=\"https://variety.com/2015/film/reviews/la-famille-belier-review-1201486329/\" target=\"_blank\" rel=\"noopener noreferrer\">According to \u003cem>Variety\u003c/em>\u003c/a>, the French film didn’t subtitle the signing; hearing audiences only understood it through the daughter repeating or responding to it.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There is no question that Ruby’s awakening about music can be vigorously corny—but the thing is… so are a lot of real high school awakenings about art. I myself went to a summer music camp as a teenager where lots of people were very serious musicians headed for conservatories. We learned the song \u003ca href=\"https://www.youtube.com/watch?v=tG-wl2qqD7Y&ab_channel=yaddayaddayoooou\" target=\"_blank\" rel=\"noopener noreferrer\">“I Sing the Body Electric”\u003c/a> from \u003cem>Fame\u003c/em>—from actual, literal \u003cem>Fame\u003c/em>, for heaven’s sake!—and believe me, at 15 I was deeply moved by singing lines like “I’ll look back on Venus, look back on Mars/ and I’ll burn with the fire of ten million stars.” It was \u003cem>extremely\u003c/em> corny and it meant the world to me. What’s more, our choral director believed everyone should know how to learn parts by ear, so she taught us that one without sheet music, just standing around together, which made it feel even more like a thing that would… you know, happen in a movie.\u003c/p>\n\u003cp>So while Ruby’s path is audience-ready and feels engineered to cause tears, sometimes music and theater kids are exactly that swept up in what they’re doing. It might be cheesy, but if you’re going to go for this kind of grand emotion, this actually might be the right setting for it.\u003c/p>\n\u003cp>And in the meantime, you get a much more subtle story alongside that about the ways in which this family dynamic both hurts and serves everyone in it. Ruby feels like she’s sacrificed a great deal for her family; her brother senses that she gets something from being the only person she thinks can communicate with the rest of the world effectively. This gentle study of patterns in families, where everybody can love each other while still being stuck in habits they need to break, doesn’t have the bombast of the musical sequences, but it has its own resonance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Did \u003cem>CODA \u003c/em>deserve to \u003ca href=\"https://variety.com/2021/film/news/sundance-2021-award-winners-1234898775/\" target=\"_blank\" rel=\"noopener noreferrer\">crowd out everything else to the degree that it did \u003c/a>when Sundance handed out its awards? Probably not. But there is a place for the crowd-pleaser, the tear-jerker, the movie that wants to manipulate your emotions and make you cry—particularly if it manages to bring something new to an old formula. The performances here, especially from Kotsur and Durant, neither of whom were actors I had seen much of, are excellent. And if it feels silly to cry while people sing, then, well, as we all learn in time, there are worse reasons for tears.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27CODA%27+Will+Yank+Shamelessly+On+Your+Heartstrings+...+But+It%27s+Very+Good+At+It&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Aretha Franklin Biopic Pays Proper 'Respect' to the Queen of Soul",
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"content": "\u003cp>The average musical biopic—and most of them are pretty average—follows a predictable arc: the troubled childhood marked by flashes of genius; the record deals and hit album montages; the marriages torn apart by affairs, addiction and the ravages of fame. Even when these clichés are drawn from real life, it’s disappointing to see great artists reduced to formulas.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/15662553/aretha-franklin\" target=\"_blank\" rel=\"noopener noreferrer\">Aretha Franklin\u003c/a> was one of our greatest artists, and \u003cem>Respect\u003c/em>, the new movie about her early years, doesn’t entirely avoid those biopic conventions. But there’s real intelligence and feeling in it all the same.\u003c/p>\n\u003cp>[aside postid='arts_13867229']This is the first feature from director Liesl Tommy and screenwriter Tracey Scott Wilson, both of whom have worked for many years in theater and television, and they seem to know that even well-worn notes can sound newly resonant in the right hands. That’s one of the lessons of Franklin’s own career: \u003cem>Respect\u003c/em> of course draws its title from an Otis Redding song that Franklin brilliantly made her own.\u003c/p>\n\u003cp>Like Diana Ross as Billie Holiday in \u003cem>Lady Sings the Blues—\u003c/em>or more recently, \u003ca href=\"https://www.npr.org/2019/09/26/764746668/ren-e-zellweger-on-playing-late-judy-garland-a-different-kind-of-triumph\" target=\"_blank\" rel=\"noopener noreferrer\">Renée Zellweger\u003c/a> as Judy Garland in \u003ca href=\"https://www.npr.org/2019/09/26/764642573/ren-e-zellweger-dazzles-in-a-go-for-broke-portrayal-of-judy-garland\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Judy\u003c/em>\u003c/a>—star \u003ca href=\"https://www.npr.org/artists/100407553/jennifer-hudson\" target=\"_blank\" rel=\"noopener noreferrer\">Jennifer Hudson\u003c/a> doesn’t try to mimic her real-life subject so much as channel her spirit. The illusion doesn’t always take hold; notably, the actor seems less evocative of Franklin than Cynthia Erivo was in the recent miniseries \u003ca href=\"https://www.npr.org/2021/03/19/979056315/national-geographic-honors-aretha-franklin-in-new-miniseries\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Genius: Aretha\u003c/em>\u003c/a>\u003cem>. \u003c/em>But Hudson is a vocal powerhouse, and her musical performances are frequently electrifying in what’s easily her most significant role since her Oscar-winning debut 15 years ago in \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=6631528\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Dreamgirls\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qTtxoz3OIlU\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hudson and the filmmakers mean to show us a still-unformed Aretha, who doesn’t yet possess the strong artistic identity and business savvy that will define her reign as the Queen of Soul. We first meet her in 1952 Detroit as a 10-year-old nicely played by Skye Dakota Turner, already wowing churches and house parties with her singing talent. \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=7030749\" target=\"_blank\" rel=\"noopener noreferrer\">Forest Whitaker\u003c/a> is her father, the influential Baptist minister and civil rights activist C.L. Franklin, who exercises a heavy hand over his daughter’s future music career. But Aretha is even more profoundly shaped by her mother, the gospel singer Barbara Franklin, warmly played by \u003ca href=\"https://www.npr.org/artists/15396807/audra-mcdonald\" target=\"_blank\" rel=\"noopener noreferrer\">Audra McDonald\u003c/a>. Barbara dies soon after we meet her, but not before warning the young Aretha never to let her father or any other man exploit her talent, which is a gift from God.\u003c/p>\n\u003cp>\u003cem>Respect\u003c/em> has a good grasp of the tightly interwoven forces—family, religion, activism and music—that shaped Aretha and sometimes threatened to tear her apart. Aretha tries to flee her father’s control by marrying Ted White, played by Marlon Wayans, who becomes her manager. But it soon becomes clear that she’s merely exchanged one domineering man for another. Meanwhile, her musical versatility—there’s nothing she can’t sing — ironically proves something of an obstacle at first. She’s not certain what kind of artist she wants to be.\u003c/p>\n\u003cp>[aside postid='arts_13858541']That changes when she signs with Atlantic Records and joins forces with the legendary producer \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=93625915\" target=\"_blank\" rel=\"noopener noreferrer\">Jerry Wexler\u003c/a>—a terrific \u003ca href=\"https://www.kqed.org/arts/13886679/watch-marc-maron-having-the-same-existential-crises-as-you-only-funnier\" target=\"_blank\" rel=\"noopener noreferrer\">Marc Maron\u003c/a>—who in 1966 sends her to record with a scrappy but first-rate band in Muscle Shoals, Ala. \u003cem>Respect\u003c/em> surges to life in these sequences: It’s a thrill to watch the often soft-spoken, deferential Aretha seize control of her recording sessions, tweaking the arrangement on her first big hit, “I Never Loved a Man (the Way I Love You),” and building a strong rapport with her collaborators. We recognize her brilliance as not just a singer but also an impromptu songwriter.\u003c/p>\n\u003cp>By the time Aretha is singing immortal tunes like “(You Make Me Feel like a) Natural Woman,” she’s also mustered the courage to leave her abusive husband. From there, the movie becomes more uneven and overwrought, as Aretha’s alcoholism threatens to torpedo her career and family life.\u003c/p>\n\u003cp>Some of these scenes feel rushed, and they expose other cracks in the storytelling: We spend a lot of time with Aretha’s sisters, both also singers, but her four sons are only partly glimpsed. The movie is also vague in its sense of Aretha as a political figure, apart from brief scenes in which we see her singing at the funeral of the Rev. Martin Luther King Jr. and defending Angela Davis after her arrest.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The road is bumpy, but the film’s final destination is moving. \u003cem>Respect\u003c/em> climaxes with perhaps Franklin’s finest achievement, her landmark 1972 album, \u003cem>Amazing Grace, \u003c/em>presented here as not just her return to her gospel roots but also her recommitment to God. It’s a lovely sequence that made me want to revisit the electrifying documentary \u003ca href=\"https://www.npr.org/2019/04/07/710247560/aretha-franklins-amazing-grace-gets-la-premiere-in-the-church-where-it-took-plac\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Amazing Grace\u003c/em>\u003c/a>, which was filmed during those recording sessions, and which is easily the greatest Aretha Franklin movie ever. As even decent musical biopics remind us, there ain’t nothing like the real thing.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=Aretha+Franklin+Biopic+Pays+Proper+%27Respect%27+To+The+Queen+Of+Soul+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The average musical biopic—and most of them are pretty average—follows a predictable arc: the troubled childhood marked by flashes of genius; the record deals and hit album montages; the marriages torn apart by affairs, addiction and the ravages of fame. Even when these clichés are drawn from real life, it’s disappointing to see great artists reduced to formulas.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/15662553/aretha-franklin\" target=\"_blank\" rel=\"noopener noreferrer\">Aretha Franklin\u003c/a> was one of our greatest artists, and \u003cem>Respect\u003c/em>, the new movie about her early years, doesn’t entirely avoid those biopic conventions. But there’s real intelligence and feeling in it all the same.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This is the first feature from director Liesl Tommy and screenwriter Tracey Scott Wilson, both of whom have worked for many years in theater and television, and they seem to know that even well-worn notes can sound newly resonant in the right hands. That’s one of the lessons of Franklin’s own career: \u003cem>Respect\u003c/em> of course draws its title from an Otis Redding song that Franklin brilliantly made her own.\u003c/p>\n\u003cp>Like Diana Ross as Billie Holiday in \u003cem>Lady Sings the Blues—\u003c/em>or more recently, \u003ca href=\"https://www.npr.org/2019/09/26/764746668/ren-e-zellweger-on-playing-late-judy-garland-a-different-kind-of-triumph\" target=\"_blank\" rel=\"noopener noreferrer\">Renée Zellweger\u003c/a> as Judy Garland in \u003ca href=\"https://www.npr.org/2019/09/26/764642573/ren-e-zellweger-dazzles-in-a-go-for-broke-portrayal-of-judy-garland\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Judy\u003c/em>\u003c/a>—star \u003ca href=\"https://www.npr.org/artists/100407553/jennifer-hudson\" target=\"_blank\" rel=\"noopener noreferrer\">Jennifer Hudson\u003c/a> doesn’t try to mimic her real-life subject so much as channel her spirit. The illusion doesn’t always take hold; notably, the actor seems less evocative of Franklin than Cynthia Erivo was in the recent miniseries \u003ca href=\"https://www.npr.org/2021/03/19/979056315/national-geographic-honors-aretha-franklin-in-new-miniseries\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Genius: Aretha\u003c/em>\u003c/a>\u003cem>. \u003c/em>But Hudson is a vocal powerhouse, and her musical performances are frequently electrifying in what’s easily her most significant role since her Oscar-winning debut 15 years ago in \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=6631528\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Dreamgirls\u003c/em>\u003c/a>.\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/qTtxoz3OIlU'\n title='//www.youtube.com/embed/qTtxoz3OIlU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hudson and the filmmakers mean to show us a still-unformed Aretha, who doesn’t yet possess the strong artistic identity and business savvy that will define her reign as the Queen of Soul. We first meet her in 1952 Detroit as a 10-year-old nicely played by Skye Dakota Turner, already wowing churches and house parties with her singing talent. \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=7030749\" target=\"_blank\" rel=\"noopener noreferrer\">Forest Whitaker\u003c/a> is her father, the influential Baptist minister and civil rights activist C.L. Franklin, who exercises a heavy hand over his daughter’s future music career. But Aretha is even more profoundly shaped by her mother, the gospel singer Barbara Franklin, warmly played by \u003ca href=\"https://www.npr.org/artists/15396807/audra-mcdonald\" target=\"_blank\" rel=\"noopener noreferrer\">Audra McDonald\u003c/a>. Barbara dies soon after we meet her, but not before warning the young Aretha never to let her father or any other man exploit her talent, which is a gift from God.\u003c/p>\n\u003cp>\u003cem>Respect\u003c/em> has a good grasp of the tightly interwoven forces—family, religion, activism and music—that shaped Aretha and sometimes threatened to tear her apart. Aretha tries to flee her father’s control by marrying Ted White, played by Marlon Wayans, who becomes her manager. But it soon becomes clear that she’s merely exchanged one domineering man for another. Meanwhile, her musical versatility—there’s nothing she can’t sing — ironically proves something of an obstacle at first. She’s not certain what kind of artist she wants to be.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That changes when she signs with Atlantic Records and joins forces with the legendary producer \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=93625915\" target=\"_blank\" rel=\"noopener noreferrer\">Jerry Wexler\u003c/a>—a terrific \u003ca href=\"https://www.kqed.org/arts/13886679/watch-marc-maron-having-the-same-existential-crises-as-you-only-funnier\" target=\"_blank\" rel=\"noopener noreferrer\">Marc Maron\u003c/a>—who in 1966 sends her to record with a scrappy but first-rate band in Muscle Shoals, Ala. \u003cem>Respect\u003c/em> surges to life in these sequences: It’s a thrill to watch the often soft-spoken, deferential Aretha seize control of her recording sessions, tweaking the arrangement on her first big hit, “I Never Loved a Man (the Way I Love You),” and building a strong rapport with her collaborators. We recognize her brilliance as not just a singer but also an impromptu songwriter.\u003c/p>\n\u003cp>By the time Aretha is singing immortal tunes like “(You Make Me Feel like a) Natural Woman,” she’s also mustered the courage to leave her abusive husband. From there, the movie becomes more uneven and overwrought, as Aretha’s alcoholism threatens to torpedo her career and family life.\u003c/p>\n\u003cp>Some of these scenes feel rushed, and they expose other cracks in the storytelling: We spend a lot of time with Aretha’s sisters, both also singers, but her four sons are only partly glimpsed. The movie is also vague in its sense of Aretha as a political figure, apart from brief scenes in which we see her singing at the funeral of the Rev. Martin Luther King Jr. and defending Angela Davis after her arrest.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The road is bumpy, but the film’s final destination is moving. \u003cem>Respect\u003c/em> climaxes with perhaps Franklin’s finest achievement, her landmark 1972 album, \u003cem>Amazing Grace, \u003c/em>presented here as not just her return to her gospel roots but also her recommitment to God. It’s a lovely sequence that made me want to revisit the electrifying documentary \u003ca href=\"https://www.npr.org/2019/04/07/710247560/aretha-franklins-amazing-grace-gets-la-premiere-in-the-church-where-it-took-plac\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Amazing Grace\u003c/em>\u003c/a>, which was filmed during those recording sessions, and which is easily the greatest Aretha Franklin movie ever. As even decent musical biopics remind us, there ain’t nothing like the real thing.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=Aretha+Franklin+Biopic+Pays+Proper+%27Respect%27+To+The+Queen+Of+Soul+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"headTitle": "A Grand Lake Homecoming for Pete Nicks’ ‘Homeroom’ | KQED",
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"content": "\u003cp>On Wednesday night, filmmaker Pete Nicks sat next to me on stage at the Grand Lake Theatre after a screening of his new documentary, \u003cem>Homeroom\u003c/em>, and got personal.\u003c/p>\n\u003cp>\u003ci>Homeroom\u003c/i> is the third in Nicks’ trilogy of films examining how people interface with public institutions, including acclaimed documentaries \u003cem>The Force\u003c/em>, about the Oakland Police Department, and \u003cem>The Waiting Room\u003c/em>, about the public healthcare system as shown through Highland Hospital.\u003c/p>\n\u003cp>Both of those films come from lived experiences, he told me. But his inspiration for completing \u003cem>Homeroom\u003c/em>, about Oakland’s public schools system, was especially close to home.\u003c/p>\n\u003cp>Nicks’ daughter Karina, an OUSD student who loved art, had worked at the very theater where the screening took place. Set to graduate with the class of 2020, she had long suffered from depression. She passed unexpectedly as the production of \u003cem>Homeroom\u003c/em> was getting underway.\u003c/p>\n\u003cfigure id=\"attachment_13901233\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901233\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Homeroom_081121_016-800x503.jpg\" alt=\"Filmmaker Pete Nicks holds the microphone as he discusses his film Homeroom.\" width=\"800\" height=\"503\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Homeroom_081121_016-800x503.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Homeroom_081121_016-1020x641.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Homeroom_081121_016-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Homeroom_081121_016-768x483.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Homeroom_081121_016-1536x965.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Homeroom_081121_016-2048x1287.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Homeroom_081121_016-1920x1206.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Filmmaker Pete Nicks discusses his film ‘Homeroom.’ \u003ccite>(Craig Lee/ Hulu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Opening the post-screening discussion, Nicks honored his late daughter and pointed out some of Karina’s friends in the audience, letting everyone know that the film is dedicated to her.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Homeroom\u003c/em> follows the lives of students at the city’s oldest pubic high school, Oakland High. It focuses in on the class of 2020, and students’ split attention between their phones and their teachers. The news of President Trump’s impeachment is background noise as students aim for higher scores on their SATs, and the celebration of a new year—a year the students had awaited their entire academic careers—is overshadowed by the COVID-19 pandemic.\u003c/p>\n\u003cp>[aside postID='arts_13901197']Between dealing with the impacts of gentrification and participating in mass protests following the extrajudicial executions of George Floyd and Breonna Taylor, the students attend pep rallies, football games and parties where they dance, red cups are lifted high. They take selfies, crack jokes and discuss pop culture during lunch. They live “normal” high school lives—save for all of the historically traumatic events of last year.\u003c/p>\n\u003cp>Along with Nicks, onstage with me were some of those students who star in the film: recent OUSD graduates Denilson Garibo, Jessica Ramos, and Dwayne Davis; as well as another former OUSD student, the musician and filmmaker Boots Riley.\u003c/p>\n\u003cfigure id=\"attachment_13901234\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901234\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Homeroom_081121_022-800x517.jpg\" alt=\"Dwayne Davis holds the microphone as he sits on a panel between Denilson Garibo and Jessica Ramos, discussing the film Homeroom. \" width=\"800\" height=\"517\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Homeroom_081121_022-800x517.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Homeroom_081121_022-1020x659.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Homeroom_081121_022-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Homeroom_081121_022-768x496.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Homeroom_081121_022-1536x993.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Homeroom_081121_022-2048x1324.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Homeroom_081121_022-1920x1241.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dwayne Davis speaks on a panel, between Denilson Garibo and Jessica Ramos, discussing Pete Nicks’ film ‘Homeroom.’ \u003ccite>(Craig Lee/ Hulu.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My first question to the young folks on stage was, given how they’ve navigated one of the most memorable years on record, what could they teach other students about healing from the trauma that the educational experience can bring?\u003c/p>\n\u003cp>In one way or another, they all mentioned taking agency, being involved in the decision making process, and taking action \u003cem>right now.\u003c/em>\u003c/p>\n\u003cp>Extrapolating on that idea, Boots suggested that by simply telling your story, you’re offering something that wasn’t there before and inherently shifting the paradigm. Storytelling is a way to take agency and impact a wide audience, he said.\u003c/p>\n\u003cfigure id=\"attachment_13901237\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13901237\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Homeroom_081121_027-1020x1295.jpg\" alt=\"Boots Riley, wearing a crochet head piece and glasses, leans forward in his chair to discuss the film Homeroom during a panel discussion at Grand Lake Theatre in Oakland.\" width=\"640\" height=\"813\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Homeroom_081121_027-1020x1295.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Homeroom_081121_027-800x1016.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Homeroom_081121_027-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Homeroom_081121_027-768x975.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Homeroom_081121_027-1210x1536.jpg 1210w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Homeroom_081121_027-1613x2048.jpg 1613w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Homeroom_081121_027.jpg 1890w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Boots Riley discusses the film ‘Homeroom’ during a panel discussion at Grand Lake Theatre in Oakland. \u003ccite>(Craig Lee/ Hulu.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The film, executive produced by Ryan Coogler’ Proximity Media and debuting on Hulu on Aug. 13, follows Boots’ \u003cem>Sorry To Bother You\u003c/em>as well as \u003cem>Blindspotting\u003c/em> and other productions recently made in Oakland that have reached national audiences.\u003c/p>\n\u003cp>Each of these stories adds to the ongoing saga of this complex town. It never gets old seeing community members, friends, and familiar faces on the big screen, just as it’s always fascinating to watch recent history retold, just months removed, and sitting in a room full of people who lived through it.\u003c/p>\n\u003cp>Take \u003cem>Homeroom\u003c/em>‘s chronicling of June of 2020, when a large group of students and allies \u003ca href=\"https://www.berkeleyside.org/2020/06/11/de-fund-the-police-protesters-march-to-oakland-mayors-house\" target=\"_blank\" rel=\"noopener noreferrer\">marched to Mayor Libby Schaaf’s house\u003c/a> to push for defunding the police and removing police from school campuses. As the film retold the events of that evening, including clips of Denilson Garibo leading a chant in front of the mayor’s house, Mayor Schaaf sat watching from a seat in front of me.\u003c/p>\n\u003cp>When the scene outside her house filled the theater’s large screen, she kind of threw her arms up, palms toward the sky, in a bit of playful gesture of surrender.\u003c/p>\n\u003cfigure id=\"attachment_13901238\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901238\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Homeroom_081121_004-800x533.jpg\" alt=\"Filmmaker Pete Nicks and Oakland Mayor Libby Schaaf, both wear masks as they share a moment in the lobby of Oakland's Grand Lake Theatre.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Homeroom_081121_004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Homeroom_081121_004-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Homeroom_081121_004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Homeroom_081121_004-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Homeroom_081121_004-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Homeroom_081121_004-2048x1364.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Homeroom_081121_004-1920x1278.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Filmmaker Pete Nicks and Oakland Mayor Libby Schaaf both wear masks as they share a moment in the lobby of Oakland’s Grand Lake Theatre. \u003ccite>(Craig Lee/ Hulu. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As we now know, despite increased spending on alternatives to policing and cuts to a proposed budget increase for police, \u003ca href=\"https://oaklandside.org/2021/06/25/oakland-2021-2023-budget-defund-police-alternatives-violence-prevention/\" target=\"_blank\" rel=\"noopener noreferrer\">the Oakland Police Department has not been defunded\u003c/a>. But the police have been \u003ca href=\"https://www.kqed.org/arts/13893831/oakland-eliminated-its-school-police-force-so-what-happens-now\" target=\"_blank\" rel=\"noopener noreferrer\">removed from the schools\u003c/a>, a decision the school board made in the wake of the killing of George Floyd.\u003c/p>\n\u003cp>By focusing on the battle to remove the police from schools—a presence that students say causes them to be mentally triggered—\u003cem>Homeroom\u003c/em> gives voice to those pushing toward a healthier environment at public schools.\u003c/p>\n\u003cp>And in that, the reason Nicks chose to do a trilogy on a hospital, a police force, and a public school becomes very apparent.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Before the conclusion of the panel discussion, Pete Nicks explicitly told the audience that he believes the problems in our society are interconnected, and you can’t fix one without fixing the other. Most importantly, you can’t fix anything without addressing the root causes of the issue—and the best way to do that is through telling the story, in all of its nuances.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Wednesday night, filmmaker Pete Nicks sat next to me on stage at the Grand Lake Theatre after a screening of his new documentary, \u003cem>Homeroom\u003c/em>, and got personal.\u003c/p>\n\u003cp>\u003ci>Homeroom\u003c/i> is the third in Nicks’ trilogy of films examining how people interface with public institutions, including acclaimed documentaries \u003cem>The Force\u003c/em>, about the Oakland Police Department, and \u003cem>The Waiting Room\u003c/em>, about the public healthcare system as shown through Highland Hospital.\u003c/p>\n\u003cp>Both of those films come from lived experiences, he told me. But his inspiration for completing \u003cem>Homeroom\u003c/em>, about Oakland’s public schools system, was especially close to home.\u003c/p>\n\u003cp>Nicks’ daughter Karina, an OUSD student who loved art, had worked at the very theater where the screening took place. Set to graduate with the class of 2020, she had long suffered from depression. She passed unexpectedly as the production of \u003cem>Homeroom\u003c/em> was getting underway.\u003c/p>\n\u003cfigure id=\"attachment_13901233\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901233\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Homeroom_081121_016-800x503.jpg\" alt=\"Filmmaker Pete Nicks holds the microphone as he discusses his film Homeroom.\" width=\"800\" height=\"503\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Homeroom_081121_016-800x503.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Homeroom_081121_016-1020x641.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Homeroom_081121_016-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Homeroom_081121_016-768x483.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Homeroom_081121_016-1536x965.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Homeroom_081121_016-2048x1287.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Homeroom_081121_016-1920x1206.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Filmmaker Pete Nicks discusses his film ‘Homeroom.’ \u003ccite>(Craig Lee/ Hulu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Opening the post-screening discussion, Nicks honored his late daughter and pointed out some of Karina’s friends in the audience, letting everyone know that the film is dedicated to her.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Homeroom\u003c/em> follows the lives of students at the city’s oldest pubic high school, Oakland High. It focuses in on the class of 2020, and students’ split attention between their phones and their teachers. The news of President Trump’s impeachment is background noise as students aim for higher scores on their SATs, and the celebration of a new year—a year the students had awaited their entire academic careers—is overshadowed by the COVID-19 pandemic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Between dealing with the impacts of gentrification and participating in mass protests following the extrajudicial executions of George Floyd and Breonna Taylor, the students attend pep rallies, football games and parties where they dance, red cups are lifted high. They take selfies, crack jokes and discuss pop culture during lunch. They live “normal” high school lives—save for all of the historically traumatic events of last year.\u003c/p>\n\u003cp>Along with Nicks, onstage with me were some of those students who star in the film: recent OUSD graduates Denilson Garibo, Jessica Ramos, and Dwayne Davis; as well as another former OUSD student, the musician and filmmaker Boots Riley.\u003c/p>\n\u003cfigure id=\"attachment_13901234\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901234\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Homeroom_081121_022-800x517.jpg\" alt=\"Dwayne Davis holds the microphone as he sits on a panel between Denilson Garibo and Jessica Ramos, discussing the film Homeroom. \" width=\"800\" height=\"517\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Homeroom_081121_022-800x517.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Homeroom_081121_022-1020x659.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Homeroom_081121_022-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Homeroom_081121_022-768x496.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Homeroom_081121_022-1536x993.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Homeroom_081121_022-2048x1324.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Homeroom_081121_022-1920x1241.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dwayne Davis speaks on a panel, between Denilson Garibo and Jessica Ramos, discussing Pete Nicks’ film ‘Homeroom.’ \u003ccite>(Craig Lee/ Hulu.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My first question to the young folks on stage was, given how they’ve navigated one of the most memorable years on record, what could they teach other students about healing from the trauma that the educational experience can bring?\u003c/p>\n\u003cp>In one way or another, they all mentioned taking agency, being involved in the decision making process, and taking action \u003cem>right now.\u003c/em>\u003c/p>\n\u003cp>Extrapolating on that idea, Boots suggested that by simply telling your story, you’re offering something that wasn’t there before and inherently shifting the paradigm. Storytelling is a way to take agency and impact a wide audience, he said.\u003c/p>\n\u003cfigure id=\"attachment_13901237\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13901237\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Homeroom_081121_027-1020x1295.jpg\" alt=\"Boots Riley, wearing a crochet head piece and glasses, leans forward in his chair to discuss the film Homeroom during a panel discussion at Grand Lake Theatre in Oakland.\" width=\"640\" height=\"813\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Homeroom_081121_027-1020x1295.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Homeroom_081121_027-800x1016.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Homeroom_081121_027-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Homeroom_081121_027-768x975.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Homeroom_081121_027-1210x1536.jpg 1210w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Homeroom_081121_027-1613x2048.jpg 1613w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Homeroom_081121_027.jpg 1890w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Boots Riley discusses the film ‘Homeroom’ during a panel discussion at Grand Lake Theatre in Oakland. \u003ccite>(Craig Lee/ Hulu.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The film, executive produced by Ryan Coogler’ Proximity Media and debuting on Hulu on Aug. 13, follows Boots’ \u003cem>Sorry To Bother You\u003c/em>as well as \u003cem>Blindspotting\u003c/em> and other productions recently made in Oakland that have reached national audiences.\u003c/p>\n\u003cp>Each of these stories adds to the ongoing saga of this complex town. It never gets old seeing community members, friends, and familiar faces on the big screen, just as it’s always fascinating to watch recent history retold, just months removed, and sitting in a room full of people who lived through it.\u003c/p>\n\u003cp>Take \u003cem>Homeroom\u003c/em>‘s chronicling of June of 2020, when a large group of students and allies \u003ca href=\"https://www.berkeleyside.org/2020/06/11/de-fund-the-police-protesters-march-to-oakland-mayors-house\" target=\"_blank\" rel=\"noopener noreferrer\">marched to Mayor Libby Schaaf’s house\u003c/a> to push for defunding the police and removing police from school campuses. As the film retold the events of that evening, including clips of Denilson Garibo leading a chant in front of the mayor’s house, Mayor Schaaf sat watching from a seat in front of me.\u003c/p>\n\u003cp>When the scene outside her house filled the theater’s large screen, she kind of threw her arms up, palms toward the sky, in a bit of playful gesture of surrender.\u003c/p>\n\u003cfigure id=\"attachment_13901238\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901238\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Homeroom_081121_004-800x533.jpg\" alt=\"Filmmaker Pete Nicks and Oakland Mayor Libby Schaaf, both wear masks as they share a moment in the lobby of Oakland's Grand Lake Theatre.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Homeroom_081121_004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Homeroom_081121_004-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Homeroom_081121_004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Homeroom_081121_004-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Homeroom_081121_004-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Homeroom_081121_004-2048x1364.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Homeroom_081121_004-1920x1278.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Filmmaker Pete Nicks and Oakland Mayor Libby Schaaf both wear masks as they share a moment in the lobby of Oakland’s Grand Lake Theatre. \u003ccite>(Craig Lee/ Hulu. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As we now know, despite increased spending on alternatives to policing and cuts to a proposed budget increase for police, \u003ca href=\"https://oaklandside.org/2021/06/25/oakland-2021-2023-budget-defund-police-alternatives-violence-prevention/\" target=\"_blank\" rel=\"noopener noreferrer\">the Oakland Police Department has not been defunded\u003c/a>. But the police have been \u003ca href=\"https://www.kqed.org/arts/13893831/oakland-eliminated-its-school-police-force-so-what-happens-now\" target=\"_blank\" rel=\"noopener noreferrer\">removed from the schools\u003c/a>, a decision the school board made in the wake of the killing of George Floyd.\u003c/p>\n\u003cp>By focusing on the battle to remove the police from schools—a presence that students say causes them to be mentally triggered—\u003cem>Homeroom\u003c/em> gives voice to those pushing toward a healthier environment at public schools.\u003c/p>\n\u003cp>And in that, the reason Nicks chose to do a trilogy on a hospital, a police force, and a public school becomes very apparent.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Before the conclusion of the panel discussion, Pete Nicks explicitly told the audience that he believes the problems in our society are interconnected, and you can’t fix one without fixing the other. Most importantly, you can’t fix anything without addressing the root causes of the issue—and the best way to do that is through telling the story, in all of its nuances.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! Oakland High Seniors Meet, Greet the Moment in ‘Homeroom’",
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"content": "\u003cp>Childhood and adolescence may provide some protection from the anxieties and traumas of adulthood, but insulation from reality also breeds apathy. In \u003cem>Homeroom\u003c/em>, East Bay filmmaker Peter Nicks’ verité portrait of the disorienting and reorienting senior year of Oakland High School’s class of 2020, we are presented with a cadre of determined teens who are anything but apathetic. Confronted with the budget-cutting condescension of the Oakland Unified School District and the ineffectual platitudes of Mayor Libby Schaaf (“I want you to know your power and claim it”), they keep organizing, speechifying and holding their ground.\u003c/p>\n\u003cp>By “they” I primarily mean Denilson Garibo, one of two student board directors on the OUSD Board of Education. Lots of kids sign up for organizations and activities to pad their college applications; Garibo is a committed activist in the forefront of the community campaign to remove Oakland cops from schools and redirect that money to student programs on the chopping block.\u003c/p>\n\u003cfigure id=\"attachment_13901219\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FRAME-GRAB-SELECTGS.00_48_37_06.Still005_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13901219\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FRAME-GRAB-SELECTGS.00_48_37_06.Still005_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FRAME-GRAB-SELECTGS.00_48_37_06.Still005_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FRAME-GRAB-SELECTGS.00_48_37_06.Still005_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FRAME-GRAB-SELECTGS.00_48_37_06.Still005_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FRAME-GRAB-SELECTGS.00_48_37_06.Still005_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Mica Smith-Dahl and Denilson Garibo in ‘Homeroom.’ \u003ccite>(Courtesy Hulu, LLC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When the board votes down the proposal, Garibo promises to fight on, but we all know how rare it is to change the system—even in Oakland, where it seems everyone is perpetually clamoring for improvement. Nicks is a firsthand observer; he piercingly exposed the power that Oakland institutions have on everyday people, and the struggle of individuals to transform those entities, in \u003cem>The Waiting Room\u003c/em> (about Highland Hospital) and \u003cem>The Force\u003c/em> (about the Oakland Police Department). Hulu has acquired streaming rights to those exceptionally crafted documentaries, which portray America’s big-city challenges with fairness as well as unexpected emotion.\u003c/p>\n\u003cp>[aside postID='arts_13901157']\u003cem>Homeroom\u003c/em> is briefly derailed at the one-hour mark, along with Oakland High’s senior class, by COVID-19. Sure, there’s ample footage of the students in isolation—their’s is the Facetime, Instagram, smartphone generation on steroids—but it’s as uninspiring as your shelter-in-place videos and Zoom calls. (The film didn’t acknowledge or include parents before the pandemic, so we don’t miss them during the pandemic hiatus.)\u003c/p>\n\u003cp>What sets the Oakland High students, and \u003cem>Homeroom\u003c/em>, back on track, is the rising tide of protests propelling everyone into the streets following the murder of George Floyd. One of the film’s strengths, thanks to some succinct segments early on that reveal the students’ adverse experiences with police, is to convey that the community’s response (and the Black Lives Matter movement) didn’t come out of nowhere.\u003c/p>\n\u003cfigure id=\"attachment_13901221\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/HOMEROOM-FRAME-GRAB-03_1200.jpg\" alt=\"\" width=\"1200\" height=\"633\" class=\"size-full wp-image-13901221\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/HOMEROOM-FRAME-GRAB-03_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/HOMEROOM-FRAME-GRAB-03_1200-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/HOMEROOM-FRAME-GRAB-03_1200-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/HOMEROOM-FRAME-GRAB-03_1200-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/HOMEROOM-FRAME-GRAB-03_1200-768x405.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Homeroom.’ \u003ccite>(Courtesy Hulu, LLC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Skill and luck are required to impart a shape and structure to verité docs, and \u003cem>Homeroom\u003c/em> benefits from a second vote by the Oakland Unified School District board—shocked into action by Floyd’s killing and so many others—on the issue of cops in schools. Nicks also bookends his film with what might sound trivial by comparison, that is, a student rap.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Early in the film, the lad stumbles over his words onstage prior to an assembly, coming off like a glib and typically self-conscious adolescent. But when he delivers the poem to his family at the graduation celebration in his concrete backyard, it’s a moving assertion of both his cultural identity and creative pride. Nicks leaves us with a resounding reminder that Joe Strummer was unquestionably right: The future is unwritten.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Homeroom’ opens Aug. 12 at Oakland’s Grand Lake Theatre, San Francisco’s AMC Kabuki 8 and is now streaming on \u003ca href=\"https://press.hulu.com/shows/homeroom/\" rel=\"noopener noreferrer\" target=\"_blank\">Hulu\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Childhood and adolescence may provide some protection from the anxieties and traumas of adulthood, but insulation from reality also breeds apathy. In \u003cem>Homeroom\u003c/em>, East Bay filmmaker Peter Nicks’ verité portrait of the disorienting and reorienting senior year of Oakland High School’s class of 2020, we are presented with a cadre of determined teens who are anything but apathetic. Confronted with the budget-cutting condescension of the Oakland Unified School District and the ineffectual platitudes of Mayor Libby Schaaf (“I want you to know your power and claim it”), they keep organizing, speechifying and holding their ground.\u003c/p>\n\u003cp>By “they” I primarily mean Denilson Garibo, one of two student board directors on the OUSD Board of Education. Lots of kids sign up for organizations and activities to pad their college applications; Garibo is a committed activist in the forefront of the community campaign to remove Oakland cops from schools and redirect that money to student programs on the chopping block.\u003c/p>\n\u003cfigure id=\"attachment_13901219\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FRAME-GRAB-SELECTGS.00_48_37_06.Still005_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13901219\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FRAME-GRAB-SELECTGS.00_48_37_06.Still005_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FRAME-GRAB-SELECTGS.00_48_37_06.Still005_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FRAME-GRAB-SELECTGS.00_48_37_06.Still005_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FRAME-GRAB-SELECTGS.00_48_37_06.Still005_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FRAME-GRAB-SELECTGS.00_48_37_06.Still005_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Mica Smith-Dahl and Denilson Garibo in ‘Homeroom.’ \u003ccite>(Courtesy Hulu, LLC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When the board votes down the proposal, Garibo promises to fight on, but we all know how rare it is to change the system—even in Oakland, where it seems everyone is perpetually clamoring for improvement. Nicks is a firsthand observer; he piercingly exposed the power that Oakland institutions have on everyday people, and the struggle of individuals to transform those entities, in \u003cem>The Waiting Room\u003c/em> (about Highland Hospital) and \u003cem>The Force\u003c/em> (about the Oakland Police Department). Hulu has acquired streaming rights to those exceptionally crafted documentaries, which portray America’s big-city challenges with fairness as well as unexpected emotion.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Homeroom\u003c/em> is briefly derailed at the one-hour mark, along with Oakland High’s senior class, by COVID-19. Sure, there’s ample footage of the students in isolation—their’s is the Facetime, Instagram, smartphone generation on steroids—but it’s as uninspiring as your shelter-in-place videos and Zoom calls. (The film didn’t acknowledge or include parents before the pandemic, so we don’t miss them during the pandemic hiatus.)\u003c/p>\n\u003cp>What sets the Oakland High students, and \u003cem>Homeroom\u003c/em>, back on track, is the rising tide of protests propelling everyone into the streets following the murder of George Floyd. One of the film’s strengths, thanks to some succinct segments early on that reveal the students’ adverse experiences with police, is to convey that the community’s response (and the Black Lives Matter movement) didn’t come out of nowhere.\u003c/p>\n\u003cfigure id=\"attachment_13901221\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/HOMEROOM-FRAME-GRAB-03_1200.jpg\" alt=\"\" width=\"1200\" height=\"633\" class=\"size-full wp-image-13901221\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/HOMEROOM-FRAME-GRAB-03_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/HOMEROOM-FRAME-GRAB-03_1200-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/HOMEROOM-FRAME-GRAB-03_1200-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/HOMEROOM-FRAME-GRAB-03_1200-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/HOMEROOM-FRAME-GRAB-03_1200-768x405.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Homeroom.’ \u003ccite>(Courtesy Hulu, LLC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Skill and luck are required to impart a shape and structure to verité docs, and \u003cem>Homeroom\u003c/em> benefits from a second vote by the Oakland Unified School District board—shocked into action by Floyd’s killing and so many others—on the issue of cops in schools. Nicks also bookends his film with what might sound trivial by comparison, that is, a student rap.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Early in the film, the lad stumbles over his words onstage prior to an assembly, coming off like a glib and typically self-conscious adolescent. But when he delivers the poem to his family at the graduation celebration in his concrete backyard, it’s a moving assertion of both his cultural identity and creative pride. Nicks leaves us with a resounding reminder that Joe Strummer was unquestionably right: The future is unwritten.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Homeroom’ opens Aug. 12 at Oakland’s Grand Lake Theatre, San Francisco’s AMC Kabuki 8 and is now streaming on \u003ca href=\"https://press.hulu.com/shows/homeroom/\" rel=\"noopener noreferrer\" target=\"_blank\">Hulu\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>As the creator of popular documentaries for public television like \u003cem>Baseball\u003c/em> and \u003cem>The Civil War,\u003c/em> Ken Burns often seems like the face of documentary filmmaking at PBS.\u003c/p>\n\u003cp>So, when Burns faced journalists at a virtual press conference Wednesday, he was asked a probing question: Does he “take umbrage” at being considered an example of “white producer privilege” after more than \u003ca href=\"https://www.kqed.org/arts/13894917/filmmakers-call-out-pbs-for-a-lack-of-diversity-over-reliance-on-ken-burns\" target=\"_blank\" rel=\"noopener noreferrer\">140 filmmakers signed an open letter\u003c/a> to PBS citing him as an example of how the service unfairly highlights white creators?\u003c/p>\n\u003cp>[aside postid='arts_13894917']“I didn’t take it personally at all,” said Burns, speaking during PBS’ portion of the Television Critics Association’s summer press tour, touting his upcoming four-part series on boxing champion Muhammad Ali. “We will take this on and we will figure out how to make it right and do a better job. I personally commit to that. … How could you possible take umbrage at the idea there could be more empowerment, there could be more representation, there could be more stories told?”\u003c/p>\n\u003cp>His response—saying, essentially, we do a good job, but we’ll work hard to do better—mirrors the reaction at the Public Broadcasting Service.\u003c/p>\n\u003cp>On Tuesday, PBS revealed $11 million in grants for diversity initiatives, including funding for mentoring programs, a series of short-form videos on science and technology issues featuring Black and Hispanic communicators and several new digital series featuring a diversity of creators. The service also hired a new senior vice president of diversity, equity and inclusion.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But at least one of the filmmakers who signed the open letter, released in March, remained skeptical—saying the initiatives announced so far don’t set specific goals for diversity levels or reveal detailed information about the diversity of major projects on PBS.\u003c/p>\n\u003cp>Citing data from Burns’ website, \u003ca href=\"https://www.bipocmakers.com/\" target=\"_blank\" rel=\"noopener noreferrer\">the open letter\u003c/a> noted he has created about 211 hours of programming for PBS over 40 years, through an exclusive relationship with the service that will last until at least 2022.\u003c/p>\n\u003cp>A PBS spokesman countered by saying, over the past five years, PBS aired 58 hours of programming from Burns and 74 hours of projects by Henry Louis Gates, Jr., an African American scholar, director, executive producer and host of programs like \u003cem>The Black Church\u003c/em> and \u003cem>Finding Your Roots\u003c/em>.\u003c/p>\n\u003cp>Still, producer Grace Lee expressed concerns PBS hasn’t revealed the kind of data needed to judge its progress on systemic changes.\u003c/p>\n\u003cp>[aside postid='arts_13894863']“We asked PBS for transparency and accountability around the data, and these announcements sort of missed the point of the questions we posed,” said Lee, a producer on the PBS documentary \u003cem>Asian Americans\u003c/em>. She’s also a member of \u003ca href=\"https://www.bipocmakers.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Beyond Inclusion\u003c/a>, the group which drafted the open letter; a non-profit collective of non-fiction filmmakers and executives led by individuals who are Black Indigenous and People of Color (BIPOC).\u003c/p>\n\u003cp>“We don’t see answers to how this will lead to structural change,” Lee added. “You can’t fix deep rooted structural concerns with a few months of thinking from the same folks who created the system in the first place.”\u003c/p>\n\u003cp>At issue is the question of who controls the non-fiction stories told on PBS, and which stories—or filmmakers—get the most financial support.\u003c/p>\n\u003ch3>PBS president says she “did not fully appreciate” the problem\u003c/h3>\n\u003cp>PBS President and CEO Paula Kerger said she convened a diversity council within the service to consider diversity, equity and inclusion issues last year, not long after the murder of George Floyd by a police officer kicked off a worldwide civil rights reckoning.\u003c/p>\n\u003cp>But the letter from Beyond Inclusion convinced Kerger that even mid-career filmmakers of color with some success felt disenfranchised. And the problems with inclusion reached beyond PBS to the producers and companies which funnel programming to the service.\u003c/p>\n\u003cp>“When that letter landed, it really made me stop and think, let’s dig a little deeper,” she added. “Let’s really look at the organization. Let’s consider whether there are more ways that we can be the kind of organization that brings all stories forward.”\u003c/p>\n\u003cp>[aside postid='arts_13898108']Kerger announced a raft of diversity initiatives Tuesday during a virtual press conference at the Television Critics Association’s summer press tour. Among them: partnering with the Corporation for Public Broadcasting to give $5.5 million to \u003ca href=\"https://www.firelightmedia.tv/\" target=\"_blank\" rel=\"noopener noreferrer\">Firelight Media\u003c/a>, a non-profit founded by Black filmmakers Stanley Nelson and Marcia Smith, to fund fellowships and mentoring programs supporting filmmakers from underrepresented groups.\u003c/p>\n\u003cp>The CPB will also provide a $3 million grant to \u003ca href=\"https://www.pbs.org/digital-studios/\" target=\"_blank\" rel=\"noopener noreferrer\">PBS Digital Studios\u003c/a> for up to 15 new digital series featuring a diversity of content creators on platforms like YouTube, Facebook and TikTok. The National Science Foundation will provide a $2.5 million grant to PBS Digital Studios for creation of short form YouTube videos on science, technology, engineering and math with a focus on Black and Hispanic communicators.\u003c/p>\n\u003cp>PBS will require producers to \u003ca href=\"https://www.pbs.org/about/producing-pbs/pbs-dei-criteria/general-audience-programming-digital-studios/\" target=\"_blank\" rel=\"noopener noreferrer\">outline their own diversity and inclusion plans\u003c/a> for projects, setting goals and eventually explaining whether they were met. And PBS hired a new senior vice president of diversity and inclusion, Cecilia Loving.\u003c/p>\n\u003cp>When asked about PBS’ current diversity figures, Kerger cited an \u003ca href=\"https://www.pbs.org/about/about-pbs/inclusion/\" target=\"_blank\" rel=\"noopener noreferrer\">area of the service’s website\u003c/a> that lists some numbers, including: 35% of its primetime schedule for 2021 was produced by BIPOC creators and 41% featured BIPOC talent. Among its staff, 40% identify as BIPOC—compared to 35% in 2016—and 28% of its managers.\u003c/p>\n\u003ch3>Seeking diversity data with context\u003c/h3>\n\u003cp>The open letter from Beyond Inclusion asked for different figures: the hours of PBS programming over the past 10 years created by BIPOC filmmakers vs. white people; the percentage of spending on PBS programs over the last 10 years which went to projects led by BIPOC filmmakers and a list of which production companies, among the top 25 organizations that produce the most programming for PBS, are led by BIPOC creators.\u003c/p>\n\u003cp>Lee noted that none of the initiatives announced by PBS Tuesday outlined specific diversity goals or provided details on how—or if—any of the data gathered from producers would be made public (Kerger said the data would likely show up in a more general report similar to the figures already posted on its website).\u003c/p>\n\u003cp>[aside postid='arts_13899758']“One of the reasons data is important is because we need to know the benchmarks to measure success or failure,” said Lee. “We’ll take [the recent announcements] as a sign that the pressure we’re applying is effective. And it’s encouraging us to keep asking these questions until we’re satisfied with the answers.”\u003c/p>\n\u003cp>Burns noted that the staff which assembled his four-part docuseries \u003cem>Muhammad Ali\u003c/em> was 40 percent people of color and 53 percent female. When asked whether PBS should have hired a non-white storyteller to lead a major documentary project on one of America’s most significant Black sports stars/civil rights activists, the filmmaker resisted that notion.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I have, throughout my professional life, tried to tell the story of this country in an inclusive way,” Burns added. “That means talking about race and trying to tell stories from multiple perspectives… But I do not accept that only people of a particular background can tell certain stories about our past, particularly in the United States of America.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=PBS+And+Ken+Burns+Vow+To+Do+Better+On+Diversity+But+Critics+Aren%27t+Convinced&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the creator of popular documentaries for public television like \u003cem>Baseball\u003c/em> and \u003cem>The Civil War,\u003c/em> Ken Burns often seems like the face of documentary filmmaking at PBS.\u003c/p>\n\u003cp>So, when Burns faced journalists at a virtual press conference Wednesday, he was asked a probing question: Does he “take umbrage” at being considered an example of “white producer privilege” after more than \u003ca href=\"https://www.kqed.org/arts/13894917/filmmakers-call-out-pbs-for-a-lack-of-diversity-over-reliance-on-ken-burns\" target=\"_blank\" rel=\"noopener noreferrer\">140 filmmakers signed an open letter\u003c/a> to PBS citing him as an example of how the service unfairly highlights white creators?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I didn’t take it personally at all,” said Burns, speaking during PBS’ portion of the Television Critics Association’s summer press tour, touting his upcoming four-part series on boxing champion Muhammad Ali. “We will take this on and we will figure out how to make it right and do a better job. I personally commit to that. … How could you possible take umbrage at the idea there could be more empowerment, there could be more representation, there could be more stories told?”\u003c/p>\n\u003cp>His response—saying, essentially, we do a good job, but we’ll work hard to do better—mirrors the reaction at the Public Broadcasting Service.\u003c/p>\n\u003cp>On Tuesday, PBS revealed $11 million in grants for diversity initiatives, including funding for mentoring programs, a series of short-form videos on science and technology issues featuring Black and Hispanic communicators and several new digital series featuring a diversity of creators. The service also hired a new senior vice president of diversity, equity and inclusion.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But at least one of the filmmakers who signed the open letter, released in March, remained skeptical—saying the initiatives announced so far don’t set specific goals for diversity levels or reveal detailed information about the diversity of major projects on PBS.\u003c/p>\n\u003cp>Citing data from Burns’ website, \u003ca href=\"https://www.bipocmakers.com/\" target=\"_blank\" rel=\"noopener noreferrer\">the open letter\u003c/a> noted he has created about 211 hours of programming for PBS over 40 years, through an exclusive relationship with the service that will last until at least 2022.\u003c/p>\n\u003cp>A PBS spokesman countered by saying, over the past five years, PBS aired 58 hours of programming from Burns and 74 hours of projects by Henry Louis Gates, Jr., an African American scholar, director, executive producer and host of programs like \u003cem>The Black Church\u003c/em> and \u003cem>Finding Your Roots\u003c/em>.\u003c/p>\n\u003cp>Still, producer Grace Lee expressed concerns PBS hasn’t revealed the kind of data needed to judge its progress on systemic changes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We asked PBS for transparency and accountability around the data, and these announcements sort of missed the point of the questions we posed,” said Lee, a producer on the PBS documentary \u003cem>Asian Americans\u003c/em>. She’s also a member of \u003ca href=\"https://www.bipocmakers.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Beyond Inclusion\u003c/a>, the group which drafted the open letter; a non-profit collective of non-fiction filmmakers and executives led by individuals who are Black Indigenous and People of Color (BIPOC).\u003c/p>\n\u003cp>“We don’t see answers to how this will lead to structural change,” Lee added. “You can’t fix deep rooted structural concerns with a few months of thinking from the same folks who created the system in the first place.”\u003c/p>\n\u003cp>At issue is the question of who controls the non-fiction stories told on PBS, and which stories—or filmmakers—get the most financial support.\u003c/p>\n\u003ch3>PBS president says she “did not fully appreciate” the problem\u003c/h3>\n\u003cp>PBS President and CEO Paula Kerger said she convened a diversity council within the service to consider diversity, equity and inclusion issues last year, not long after the murder of George Floyd by a police officer kicked off a worldwide civil rights reckoning.\u003c/p>\n\u003cp>But the letter from Beyond Inclusion convinced Kerger that even mid-career filmmakers of color with some success felt disenfranchised. And the problems with inclusion reached beyond PBS to the producers and companies which funnel programming to the service.\u003c/p>\n\u003cp>“When that letter landed, it really made me stop and think, let’s dig a little deeper,” she added. “Let’s really look at the organization. Let’s consider whether there are more ways that we can be the kind of organization that brings all stories forward.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Kerger announced a raft of diversity initiatives Tuesday during a virtual press conference at the Television Critics Association’s summer press tour. Among them: partnering with the Corporation for Public Broadcasting to give $5.5 million to \u003ca href=\"https://www.firelightmedia.tv/\" target=\"_blank\" rel=\"noopener noreferrer\">Firelight Media\u003c/a>, a non-profit founded by Black filmmakers Stanley Nelson and Marcia Smith, to fund fellowships and mentoring programs supporting filmmakers from underrepresented groups.\u003c/p>\n\u003cp>The CPB will also provide a $3 million grant to \u003ca href=\"https://www.pbs.org/digital-studios/\" target=\"_blank\" rel=\"noopener noreferrer\">PBS Digital Studios\u003c/a> for up to 15 new digital series featuring a diversity of content creators on platforms like YouTube, Facebook and TikTok. The National Science Foundation will provide a $2.5 million grant to PBS Digital Studios for creation of short form YouTube videos on science, technology, engineering and math with a focus on Black and Hispanic communicators.\u003c/p>\n\u003cp>PBS will require producers to \u003ca href=\"https://www.pbs.org/about/producing-pbs/pbs-dei-criteria/general-audience-programming-digital-studios/\" target=\"_blank\" rel=\"noopener noreferrer\">outline their own diversity and inclusion plans\u003c/a> for projects, setting goals and eventually explaining whether they were met. And PBS hired a new senior vice president of diversity and inclusion, Cecilia Loving.\u003c/p>\n\u003cp>When asked about PBS’ current diversity figures, Kerger cited an \u003ca href=\"https://www.pbs.org/about/about-pbs/inclusion/\" target=\"_blank\" rel=\"noopener noreferrer\">area of the service’s website\u003c/a> that lists some numbers, including: 35% of its primetime schedule for 2021 was produced by BIPOC creators and 41% featured BIPOC talent. Among its staff, 40% identify as BIPOC—compared to 35% in 2016—and 28% of its managers.\u003c/p>\n\u003ch3>Seeking diversity data with context\u003c/h3>\n\u003cp>The open letter from Beyond Inclusion asked for different figures: the hours of PBS programming over the past 10 years created by BIPOC filmmakers vs. white people; the percentage of spending on PBS programs over the last 10 years which went to projects led by BIPOC filmmakers and a list of which production companies, among the top 25 organizations that produce the most programming for PBS, are led by BIPOC creators.\u003c/p>\n\u003cp>Lee noted that none of the initiatives announced by PBS Tuesday outlined specific diversity goals or provided details on how—or if—any of the data gathered from producers would be made public (Kerger said the data would likely show up in a more general report similar to the figures already posted on its website).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'What If...?' Gives the Marvel Universe an Animated Remix for Disney+",
"headTitle": "‘What If…?’ Gives the Marvel Universe an Animated Remix for Disney+ | KQED",
"content": "\u003cp>The Marvel anthology comic \u003cem>What If…?\u003c/em> ran off-and-on from 1977 through 1998; mostly, it was narrated by the mysterious Uatu the Watcher, an alien who’d kick-off each issue by picking an established and familiar event (the formation of a super-team, say, or the death of a beloved side character) and introduce the reader to an alternate universe in which things were utterly changed in ways large and small (a different hero joined that team, or that character didn’t die).\u003c/p>\n\u003cp>If that all sounds to you like a dry, insular, hopelessly wonky engine for storytelling, you are not a reader of superhero comics. \u003cem>What If…?\u003c/em> spoke directly and bracingly to fans by taking the Marvel Universe’s central tenet—that all these characters and stories exist alongside each other, with events in one book sending ripples through others—and briefly permitting even the most ravenous Marvel zombie to relax, and enjoy a story outside of that sometimes oppressive continuity.\u003c/p>\n\u003cp>[aside postid='arts_13896604']Said stories could depict thought-experiments that appealed to very casual readers (“What If … \u003cem>Spider-Man\u003c/em> Had Joined the Fantastic Four?”) or pose far more specialized alternatives that rewarded the hardcore obsessive’s AP-level knowledge of some of the Marvel Universe’s less frequented narrative cul-de-sacs (“What If … The War Machine Had \u003cem>Not \u003c/em>Destroyed the Living Laser?”).\u003c/p>\n\u003cp>It functioned as a kind of release valve, providing both creators and fans with a place to chronicle endless alt-histories of the Marvel Universe free of the gravid portent that “real” storylines often imposed. The best issues represented exercises is imagination that revealed new sides to well-established characters by placing them in situations they could never experience in the pages of their own comic.\u003c/p>\n\u003cp>The new Disney+ animated anthology \u003cem>What If…? \u003c/em>does for the Marvel Cinematic Universe precisely what the original \u003cem>What If…?\u003c/em> series did for the Marvel Comics Universe. It’s bright, bold, cleverly written and fluidly animated—and it features over 50 of the actors who portrayed various MCU characters on the big screen returning to voice them.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=x9D0uUKJ5KI\u003c/p>\n\u003cp>The series’ character designs are closely based on those original actors, and there is often a rotoscopic, motion-captured quality to the animation, which occasionally locates the series in the darkest depths of the uncanny valley. But the series takes full advantage of its status as an animated property in which the special effects budget is unlimited, and employs those effects in deft, stylized flourishes.\u003c/p>\n\u003cp>[aside postid='arts_13891309']It is perfectly natural to want to go into any given episode knowing precisely which MCU storyline is about to get tweaked, and how. Smartly, however, none of the three episodes made available to critics gave away the game upfront in the episode title, say. I’d recommend going into each episode knowing as little as possible, as the creators have deliberately structured them with built-in red herrings and minor misdirects; the reveals of these twists are a big part of this show’s appeal.\u003c/p>\n\u003cp>Jeffrey Wright voices the shadowy, mysterious Uatu the Watcher, introducing each episode with the required all-knowing detachment. It has been widely publicized that the second episode features the late Chadwick Boseman’s final performance, reprising the role of T’Challa with all the warmth and conviction he embodied onscreen. And while it can be puzzling for MCU actors’ voices to show up as briefly as many do here (credit Disney+ money for getting Stanley Tucci to schlep into a studio to deliver two lousy lines into a microphone), it does lend the whole affair a familiarity that firmly grounds each episode.\u003c/p>\n\u003cfigure id=\"attachment_13901048\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901048\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/101_aga0230_comp_v904_20201218_r709_775055d0_wide-dbffd1b6db7bf070be4718d316d7e01dafa01adf-800x449.jpe\" alt=\"Peggy Carter (voiced by Hayley Atwell) takes up the shield in 'What If...?'\" width=\"800\" height=\"449\">\u003cfigcaption class=\"wp-caption-text\">Peggy Carter (voiced by Hayley Atwell) takes up the shield in ‘What If…?’ \u003ccite>(Disney+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>In the run-up to this series’ debut, there’s been widespread speculation that it might somehow advance or at least acknowledge the events of Disney+’s previous MCU show \u003cem>Loki , \u003c/em>which made a lot of hay out of the creation of a Marvel multiverse, and the looming threat to all existence that came with it. Here, though, the existence of a multiverse teeming with alternate \u003cem>worlds \u003c/em>(NOTE: the word “timeline,” so essential to the \u003cem>Loki \u003c/em>series, never comes up) seems a long-established fact, and a pretty mundane one at that. Uatu, certainly, doesn’t seem worried overmuch—but then, anyone with that guy’s fashion sense (a high, Ming-the-Merciless collar, really? \u003cem>Before \u003c/em>Labor Day?) is probably pretty unflappable.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27What+If...%3F%27+Gives+The+Marvel+Cinematic+Universe+An+Animated+Banger+Of+A+Remix&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Said stories could depict thought-experiments that appealed to very casual readers (“What If … \u003cem>Spider-Man\u003c/em> Had Joined the Fantastic Four?”) or pose far more specialized alternatives that rewarded the hardcore obsessive’s AP-level knowledge of some of the Marvel Universe’s less frequented narrative cul-de-sacs (“What If … The War Machine Had \u003cem>Not \u003c/em>Destroyed the Living Laser?”).\u003c/p>\n\u003cp>It functioned as a kind of release valve, providing both creators and fans with a place to chronicle endless alt-histories of the Marvel Universe free of the gravid portent that “real” storylines often imposed. The best issues represented exercises is imagination that revealed new sides to well-established characters by placing them in situations they could never experience in the pages of their own comic.\u003c/p>\n\u003cp>The new Disney+ animated anthology \u003cem>What If…? \u003c/em>does for the Marvel Cinematic Universe precisely what the original \u003cem>What If…?\u003c/em> series did for the Marvel Comics Universe. It’s bright, bold, cleverly written and fluidly animated—and it features over 50 of the actors who portrayed various MCU characters on the big screen returning to voice them.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It is perfectly natural to want to go into any given episode knowing precisely which MCU storyline is about to get tweaked, and how. Smartly, however, none of the three episodes made available to critics gave away the game upfront in the episode title, say. I’d recommend going into each episode knowing as little as possible, as the creators have deliberately structured them with built-in red herrings and minor misdirects; the reveals of these twists are a big part of this show’s appeal.\u003c/p>\n\u003cp>Jeffrey Wright voices the shadowy, mysterious Uatu the Watcher, introducing each episode with the required all-knowing detachment. It has been widely publicized that the second episode features the late Chadwick Boseman’s final performance, reprising the role of T’Challa with all the warmth and conviction he embodied onscreen. And while it can be puzzling for MCU actors’ voices to show up as briefly as many do here (credit Disney+ money for getting Stanley Tucci to schlep into a studio to deliver two lousy lines into a microphone), it does lend the whole affair a familiarity that firmly grounds each episode.\u003c/p>\n\u003cfigure id=\"attachment_13901048\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901048\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/101_aga0230_comp_v904_20201218_r709_775055d0_wide-dbffd1b6db7bf070be4718d316d7e01dafa01adf-800x449.jpe\" alt=\"Peggy Carter (voiced by Hayley Atwell) takes up the shield in 'What If...?'\" width=\"800\" height=\"449\">\u003cfigcaption class=\"wp-caption-text\">Peggy Carter (voiced by Hayley Atwell) takes up the shield in ‘What If…?’ \u003ccite>(Disney+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>In the run-up to this series’ debut, there’s been widespread speculation that it might somehow advance or at least acknowledge the events of Disney+’s previous MCU show \u003cem>Loki , \u003c/em>which made a lot of hay out of the creation of a Marvel multiverse, and the looming threat to all existence that came with it. Here, though, the existence of a multiverse teeming with alternate \u003cem>worlds \u003c/em>(NOTE: the word “timeline,” so essential to the \u003cem>Loki \u003c/em>series, never comes up) seems a long-established fact, and a pretty mundane one at that. Uatu, certainly, doesn’t seem worried overmuch—but then, anyone with that guy’s fashion sense (a high, Ming-the-Merciless collar, really? \u003cem>Before \u003c/em>Labor Day?) is probably pretty unflappable.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27What+If...%3F%27+Gives+The+Marvel+Cinematic+Universe+An+Animated+Banger+Of+A+Remix&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Amanda Knox: 'Stillwater' Movie Repeats 'Fiction' Pushed By Italian Prosecutor",
"headTitle": "Amanda Knox: ‘Stillwater’ Movie Repeats ‘Fiction’ Pushed By Italian Prosecutor | KQED",
"content": "\u003cp>Amanda Knox—who once spent almost four years in an Italian prison for murder—was long ago exonerated by Italy’s highest court, which ruled that “\u003ca href=\"https://www.theguardian.com/us-news/2015/sep/07/amanda-knox-acquitted-because-of-stunning-flaws-in-investigation\" target=\"_blank\" rel=\"noopener noreferrer\">stunning flaws\u003c/a>” in the police investigation had inappropriately led to Knox’s conviction for the murder of her roommate, British exchange student Meredith Kercher.\u003c/p>\n\u003cp>It’s been 10 years since Knox was freed from that Italian prison. But, despite attempts to move on with her life, the \u003ca href=\"https://www.vanityfair.com/hollywood/2021/07/stillwater-movie-matt-damon-amanda-knox\" target=\"_blank\" rel=\"noopener noreferrer\">“Amanda Knox saga”\u003c/a> continues to follow her. The new film \u003cem>Stillwater\u003c/em>, which fictionalizes elements of her story, has prompted Knox to speak out about how it feels to lose control of her own narrative.\u003c/p>\n\u003cp>“Whenever I encounter the world, I am constantly in conversation with a horrendous thing that happened, that I had no control over, that I had no agency,” Knox told NPR’s Sarah McCammon in an interview on \u003cem>All Things Considered\u003c/em>. “And the identity of Amanda Knox is always, always, always viewed through that lens.”\u003c/p>\n\u003cp>[aside postid='pop_103508']In the case of \u003cem>Stillwater\u003c/em>, directed by Tom McCarthy and starring Matt Damon, the Knox-inspired character is reimagined as Allison, a college student abroad who is convicted of murdering—and indirectly responsible for the death of—her roommate who is also her lover. The choices made to establish Allison’s character are reminiscent of how Italian prosecutors had \u003ca href=\"https://www.npr.org/sections/thetwo-way/2013/03/26/175336714/italian-court-orders-retrial-for-amanda-knox\" target=\"_blank\" rel=\"noopener noreferrer\">presented their case against Knox\u003c/a> when they called Kercher a victim of a drug-fueled sex game gone wrong.\u003c/p>\n\u003cp>“As a storyteller, I firmly believe that art is very much entitled to take from reality, and in fact it always does,” Knox said. “That doesn’t excuse the kinds of ethical considerations in choosing what stories we tell and how we tell them.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>McCarthy told \u003ca href=\"https://www.vanityfair.com/hollywood/2021/07/stillwater-movie-matt-damon-amanda-knox\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Vanity Fair\u003c/em>\u003c/a> that he was directly inspired by the Knox story, and couldn’t help but imagine what it would be like to be in Knox’s shoes.\u003c/p>\n\u003cp>Knox’s story, the director and co-writer said, ultimately became a jumping off point for the movie.\u003c/p>\n\u003cp>“We decided, ‘Hey, let’s leave the Amanda Knox case behind,'” McCarthy told the magazine. “But let me take this piece of the story—an American woman studying abroad involved in some kind of sensational crime and she ends up in jail—and fictionalize everything around it.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9cq1lPPeMUY\u003c/p>\n\u003cp>But Knox says that McCarthy didn’t completely fictionalize everything; he simply “chose to explicitly repeat the fiction that was invented by my prosecutor.”\u003c/p>\n\u003cp>Nor did McCarthy “do the empathy and effort to reach out” to understand how his re-telling might impact her, she said.\u003c/p>\n\u003cp>“My story is not the sordid trial and saga and the murder, but it is the experience of a person who is swept up in something way bigger than herself that she had nothing to do with, who survives a very harsh prison environment and then who enters into a world that has pre-defined her based on a false premise,” Knox said. “That’s an interesting story. And it’s not the story that \u003cem>Stillwater\u003c/em> told.”\u003c/p>\n\u003cp>After the publication of the \u003cem>Vanity Fair\u003c/em> story last week, Knox criticized the film, \u003ca href=\"https://twitter.com/amandaknox/status/1420871392266911746?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">in a Twitter thread \u003c/a>and in an \u003ca href=\"https://www.theatlantic.com/ideas/archive/2021/07/amanda-knox-stillwater-matt-damon/619628/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Atlantic \u003c/em>essay\u003c/a>, for profiting off of her name and likeness without her permission.\u003c/p>\n\u003cp>https://twitter.com/amandaknox/status/1420871392266911746?s=20\u003c/p>\n\u003cp>Representatives for McCarthy have yet to respond to NPR’s request for comment. In an interview with \u003ca href=\"https://variety.com/2021/film/features/stillwater-tom-mccarthy-matt-damon-amanda-knox-1235036649/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Variety\u003c/em>\u003c/a>, McCarthy said he empathizes with Knox and what she went through. “She has platforms to speak her truth and engage with the media and she is exercising her absolute right to do so,” McCarthy said. “But, by her own account, she has not seen \u003cem>Stillwater\u003c/em> and what she seems to be raising feels very removed from the film we actually made. \u003cem>Stillwater\u003c/em> is a work of fiction and not about her life experience.”\u003c/p>\n\u003cp>In 2008, the Perugia resident Rudy Guede was sentenced to 16 years in prison for Kercher’s murder. Last year, \u003ca href=\"https://www.theguardian.com/world/2020/dec/04/meredith-kerchers-killer-to-complete-sentence-doing-community-service\" target=\"_blank\" rel=\"noopener noreferrer\">a court said\u003c/a> he could finish the rest of his sentence by doing community service.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tyler Bartlam and Natalie Friedman Winston produced and edited the audio version of this story.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Amanda+Knox%3A+%27Stillwater%27+Movie+Repeats+%27Fiction%27+Pushed+By+Italian+Prosecutor&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Amanda Knox—who once spent almost four years in an Italian prison for murder—was long ago exonerated by Italy’s highest court, which ruled that “\u003ca href=\"https://www.theguardian.com/us-news/2015/sep/07/amanda-knox-acquitted-because-of-stunning-flaws-in-investigation\" target=\"_blank\" rel=\"noopener noreferrer\">stunning flaws\u003c/a>” in the police investigation had inappropriately led to Knox’s conviction for the murder of her roommate, British exchange student Meredith Kercher.\u003c/p>\n\u003cp>It’s been 10 years since Knox was freed from that Italian prison. But, despite attempts to move on with her life, the \u003ca href=\"https://www.vanityfair.com/hollywood/2021/07/stillwater-movie-matt-damon-amanda-knox\" target=\"_blank\" rel=\"noopener noreferrer\">“Amanda Knox saga”\u003c/a> continues to follow her. The new film \u003cem>Stillwater\u003c/em>, which fictionalizes elements of her story, has prompted Knox to speak out about how it feels to lose control of her own narrative.\u003c/p>\n\u003cp>“Whenever I encounter the world, I am constantly in conversation with a horrendous thing that happened, that I had no control over, that I had no agency,” Knox told NPR’s Sarah McCammon in an interview on \u003cem>All Things Considered\u003c/em>. “And the identity of Amanda Knox is always, always, always viewed through that lens.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In the case of \u003cem>Stillwater\u003c/em>, directed by Tom McCarthy and starring Matt Damon, the Knox-inspired character is reimagined as Allison, a college student abroad who is convicted of murdering—and indirectly responsible for the death of—her roommate who is also her lover. The choices made to establish Allison’s character are reminiscent of how Italian prosecutors had \u003ca href=\"https://www.npr.org/sections/thetwo-way/2013/03/26/175336714/italian-court-orders-retrial-for-amanda-knox\" target=\"_blank\" rel=\"noopener noreferrer\">presented their case against Knox\u003c/a> when they called Kercher a victim of a drug-fueled sex game gone wrong.\u003c/p>\n\u003cp>“As a storyteller, I firmly believe that art is very much entitled to take from reality, and in fact it always does,” Knox said. “That doesn’t excuse the kinds of ethical considerations in choosing what stories we tell and how we tell them.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>McCarthy told \u003ca href=\"https://www.vanityfair.com/hollywood/2021/07/stillwater-movie-matt-damon-amanda-knox\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Vanity Fair\u003c/em>\u003c/a> that he was directly inspired by the Knox story, and couldn’t help but imagine what it would be like to be in Knox’s shoes.\u003c/p>\n\u003cp>Knox’s story, the director and co-writer said, ultimately became a jumping off point for the movie.\u003c/p>\n\u003cp>“We decided, ‘Hey, let’s leave the Amanda Knox case behind,'” McCarthy told the magazine. “But let me take this piece of the story—an American woman studying abroad involved in some kind of sensational crime and she ends up in jail—and fictionalize everything around it.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/9cq1lPPeMUY'\n title='//www.youtube.com/embed/9cq1lPPeMUY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But Knox says that McCarthy didn’t completely fictionalize everything; he simply “chose to explicitly repeat the fiction that was invented by my prosecutor.”\u003c/p>\n\u003cp>Nor did McCarthy “do the empathy and effort to reach out” to understand how his re-telling might impact her, she said.\u003c/p>\n\u003cp>“My story is not the sordid trial and saga and the murder, but it is the experience of a person who is swept up in something way bigger than herself that she had nothing to do with, who survives a very harsh prison environment and then who enters into a world that has pre-defined her based on a false premise,” Knox said. “That’s an interesting story. And it’s not the story that \u003cem>Stillwater\u003c/em> told.”\u003c/p>\n\u003cp>After the publication of the \u003cem>Vanity Fair\u003c/em> story last week, Knox criticized the film, \u003ca href=\"https://twitter.com/amandaknox/status/1420871392266911746?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">in a Twitter thread \u003c/a>and in an \u003ca href=\"https://www.theatlantic.com/ideas/archive/2021/07/amanda-knox-stillwater-matt-damon/619628/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Atlantic \u003c/em>essay\u003c/a>, for profiting off of her name and likeness without her permission.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Representatives for McCarthy have yet to respond to NPR’s request for comment. In an interview with \u003ca href=\"https://variety.com/2021/film/features/stillwater-tom-mccarthy-matt-damon-amanda-knox-1235036649/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Variety\u003c/em>\u003c/a>, McCarthy said he empathizes with Knox and what she went through. “She has platforms to speak her truth and engage with the media and she is exercising her absolute right to do so,” McCarthy said. “But, by her own account, she has not seen \u003cem>Stillwater\u003c/em> and what she seems to be raising feels very removed from the film we actually made. \u003cem>Stillwater\u003c/em> is a work of fiction and not about her life experience.”\u003c/p>\n\u003cp>In 2008, the Perugia resident Rudy Guede was sentenced to 16 years in prison for Kercher’s murder. Last year, \u003ca href=\"https://www.theguardian.com/world/2020/dec/04/meredith-kerchers-killer-to-complete-sentence-doing-community-service\" target=\"_blank\" rel=\"noopener noreferrer\">a court said\u003c/a> he could finish the rest of his sentence by doing community service.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tyler Bartlam and Natalie Friedman Winston produced and edited the audio version of this story.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Amanda+Knox%3A+%27Stillwater%27+Movie+Repeats+%27Fiction%27+Pushed+By+Italian+Prosecutor&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Strange, Singular, Audacious 'Annette' Works as an Odd, Original Rock Opera",
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"content": "\u003cp>2021 is shaping up to be a significant year for movie musicals: We’ve already seen \u003ca href=\"https://www.npr.org/2021/06/10/1004346682/in-the-heights-review-lin-manuel-miranda-musical-movie\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>In the Heights\u003c/em>\u003c/a>, and several more stage-to-screen adaptations are headed our way, including \u003cem>Dear Evan Hansen\u003c/em>; \u003cem>Tick, Tick … Boom!\u003c/em>; and Steven Spielberg’s remake of \u003cem>West Side Story\u003c/em>.\u003c/p>\n\u003cp>While I’m looking forward to them, I doubt any of them will be as strange and singular as \u003cem>Annette\u003c/em>, an original musical in every sense. It’s an extravagantly emotional rock opera that mixes comedy and tragedy, showbiz satire and doomed romance. It doesn’t all work; if you’re not on its bizarre wavelength, it may not work for you at all. But moment by moment, its go-for-broke audacity left me feeling grateful that it exists.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aUM0NOHdJS0\u003c/p>\n\u003cp>\u003cem>Annette \u003c/em>was directed by \u003ca href=\"https://www.npr.org/2021/08/04/1024834015/annette-is-the-1st-musical-for-director-leos-carax-and-pop-duo-sparks\" target=\"_blank\" rel=\"noopener noreferrer\">Leos Carax\u003c/a>, the French visionary best known for his unhinged 2012 masterpiece, \u003ca href=\"https://www.npr.org/2012/10/16/162781324/holy-motors-an-odd-lovely-love-letter-to-cinema\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Holy Motors\u003c/em>\u003c/a>. The script and songs were written by \u003ca href=\"https://www.npr.org/2021/06/18/1007652595/50-years-of-sparks-the-world-aint-big-enough-for-the-both-of-them\" target=\"_blank\" rel=\"noopener noreferrer\">Ron and Russell Mael\u003c/a>, the musical brothers whose band, Sparks, has enjoyed a cultish following since the ’60s. The director and writers appear on-screen at the beginning of \u003cem>Annette\u003c/em>, in a playful number called “So May We Start,” that also introduces the main actors. It kicks things off on a joyous high note that quickly fades as the film begins spinning a tale of rage, obsession and jealousy.\u003c/p>\n\u003cp>At the heart of the movie is \u003ca href=\"https://www.npr.org/2015/04/09/398528448/former-marine-adam-driver-on-what-acting-and-the-military-have-in-common\" target=\"_blank\" rel=\"noopener noreferrer\">Adam Driver\u003c/a>‘s mesmerizingly anguished performance as Henry, a cynical L.A. standup comedian who rips into himself and his audience every night during a rambling, not-particularly-funny routine. Henry has recently started seeing Ann, a beloved opera soprano played by a luminous \u003ca href=\"https://www.npr.org/2012/11/28/165994360/marion-cotillard-diving-deep-in-rust-and-bone\" target=\"_blank\" rel=\"noopener noreferrer\">Marion Cotillard\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>They’re a counterintuitive pairing, the bad-boy comedian and the soulful tragedian; one gossipy headline dubs them “Beauty and the Bastard.” But there’s real passion in their whirlwind romance, as we see and hear in the song, “We Love Each Other So Much,” which Henry and Ann sing to each other, in part, while in the throes of sexual ecstasy. And why not? Aren’t musical numbers meant to express heightened emotional states?\u003c/p>\n\u003cp>Carax and his collaborators clearly delight in taking the conventions of the form and pushing them to weird, hilarious extremes. Most of the dialogue is sung rather than spoken, and the actors are up to the challenge: Cotillard has long been a singer as well as an actor, and Driver tosses off some of his lyrics with a Sondheim-esque virtuosity that might remind you of his heartfelt rendition of “\u003ca href=\"https://www.youtube.com/watch?v=lWengrlMpok\" target=\"_blank\" rel=\"noopener noreferrer\">Being Alive\u003c/a>” from \u003ca href=\"https://www.npr.org/2019/11/08/777495737/marriage-story-reveals-the-messy-heartbreaking-toll-of-divorce\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Marriage Story\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>[aside postid='pop_105976']Speaking of marriage stories: Henry and Ann soon tie the knot, and almost immediately things begin falling apart. Henry’s comedy career hits the skids, in part because he can’t stop ranting to his audience about his jealousy over his wife’s success. Their private troubles play out in a very public spotlight, in a way that recalls classic Hollywood romances like \u003ca href=\"https://www.kqed.org/pop/106448/will-a-star-is-born-make-you-scream-yaas-gaga-yaas-or-nah-gaga-nah\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>A Star is Born\u003c/em>\u003c/a>. There’s no saving Henry and Ann’s marriage, not even after they have a baby girl, the Annette of the title. In the movie’s most whimsical touch, baby Annette is played by a small wooden puppet—a choice that makes no sense and perfect sense: What better device than a puppet to suggest that for a celebrity couple, all the world’s a stage?\u003c/p>\n\u003cp>\u003cem>Annette\u003c/em> is full of such surreal flights of fancy, but it also has some heavy things to say about the price of fame. That’s an intriguing subject for Carax, who’s had his own barbed relationship with success in France, and for Ron and Russell Mael, who are often hailed as the most famous musicians you’ve never heard of, as seen in their terrific recent documentary \u003ca href=\"https://www.npr.org/2021/06/18/1007652595/50-years-of-sparks-the-world-aint-big-enough-for-the-both-of-them\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Sparks Brothers\u003c/em>. \u003c/a>\u003c/p>\n\u003cp>\u003cem>Annette \u003c/em>paints a grim picture of contemporary stardom, with a passing nod to the #MeToo movement: In one hallucinatory number, Ann imagines that six women have accused Henry of abuse. It’s just a dream, but it’s a hard one to shake, given Henry’s temper and the menacing way that Driver dwarfs Cotillard in the frame.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[aside postid='arts_13898635']I wish there were more of Cotillard in \u003cem>Annette\u003c/em>; as great as Driver is, his rage is so charismatic, so all-consuming, that it leaves the story feeling emotionally lopsided. It also reinforces the gender power imbalance that the movie attempts to critique. But Henry is held somewhat in check by two other key characters. One of them is a music conductor, played by a fine Simon Helberg, who tries to protect Ann and Annette from Henry’s destructive impulses. The other is little Annette herself, whose innocence becomes quietly heroic as the movie approaches its shattering finale. This sweet, sad-eyed puppet reminds you of how so many great musicals work: by taking an artificial conceit and making it seem as real as life.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=Strange%2C+Singular%2C+Audacious+%27Annette%27+Works+As+An+Odd%2C+Original+Rock+Opera&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>2021 is shaping up to be a significant year for movie musicals: We’ve already seen \u003ca href=\"https://www.npr.org/2021/06/10/1004346682/in-the-heights-review-lin-manuel-miranda-musical-movie\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>In the Heights\u003c/em>\u003c/a>, and several more stage-to-screen adaptations are headed our way, including \u003cem>Dear Evan Hansen\u003c/em>; \u003cem>Tick, Tick … Boom!\u003c/em>; and Steven Spielberg’s remake of \u003cem>West Side Story\u003c/em>.\u003c/p>\n\u003cp>While I’m looking forward to them, I doubt any of them will be as strange and singular as \u003cem>Annette\u003c/em>, an original musical in every sense. It’s an extravagantly emotional rock opera that mixes comedy and tragedy, showbiz satire and doomed romance. It doesn’t all work; if you’re not on its bizarre wavelength, it may not work for you at all. But moment by moment, its go-for-broke audacity left me feeling grateful that it exists.\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/aUM0NOHdJS0'\n title='//www.youtube.com/embed/aUM0NOHdJS0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Annette \u003c/em>was directed by \u003ca href=\"https://www.npr.org/2021/08/04/1024834015/annette-is-the-1st-musical-for-director-leos-carax-and-pop-duo-sparks\" target=\"_blank\" rel=\"noopener noreferrer\">Leos Carax\u003c/a>, the French visionary best known for his unhinged 2012 masterpiece, \u003ca href=\"https://www.npr.org/2012/10/16/162781324/holy-motors-an-odd-lovely-love-letter-to-cinema\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Holy Motors\u003c/em>\u003c/a>. The script and songs were written by \u003ca href=\"https://www.npr.org/2021/06/18/1007652595/50-years-of-sparks-the-world-aint-big-enough-for-the-both-of-them\" target=\"_blank\" rel=\"noopener noreferrer\">Ron and Russell Mael\u003c/a>, the musical brothers whose band, Sparks, has enjoyed a cultish following since the ’60s. The director and writers appear on-screen at the beginning of \u003cem>Annette\u003c/em>, in a playful number called “So May We Start,” that also introduces the main actors. It kicks things off on a joyous high note that quickly fades as the film begins spinning a tale of rage, obsession and jealousy.\u003c/p>\n\u003cp>At the heart of the movie is \u003ca href=\"https://www.npr.org/2015/04/09/398528448/former-marine-adam-driver-on-what-acting-and-the-military-have-in-common\" target=\"_blank\" rel=\"noopener noreferrer\">Adam Driver\u003c/a>‘s mesmerizingly anguished performance as Henry, a cynical L.A. standup comedian who rips into himself and his audience every night during a rambling, not-particularly-funny routine. Henry has recently started seeing Ann, a beloved opera soprano played by a luminous \u003ca href=\"https://www.npr.org/2012/11/28/165994360/marion-cotillard-diving-deep-in-rust-and-bone\" target=\"_blank\" rel=\"noopener noreferrer\">Marion Cotillard\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>They’re a counterintuitive pairing, the bad-boy comedian and the soulful tragedian; one gossipy headline dubs them “Beauty and the Bastard.” But there’s real passion in their whirlwind romance, as we see and hear in the song, “We Love Each Other So Much,” which Henry and Ann sing to each other, in part, while in the throes of sexual ecstasy. And why not? Aren’t musical numbers meant to express heightened emotional states?\u003c/p>\n\u003cp>Carax and his collaborators clearly delight in taking the conventions of the form and pushing them to weird, hilarious extremes. Most of the dialogue is sung rather than spoken, and the actors are up to the challenge: Cotillard has long been a singer as well as an actor, and Driver tosses off some of his lyrics with a Sondheim-esque virtuosity that might remind you of his heartfelt rendition of “\u003ca href=\"https://www.youtube.com/watch?v=lWengrlMpok\" target=\"_blank\" rel=\"noopener noreferrer\">Being Alive\u003c/a>” from \u003ca href=\"https://www.npr.org/2019/11/08/777495737/marriage-story-reveals-the-messy-heartbreaking-toll-of-divorce\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Marriage Story\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Speaking of marriage stories: Henry and Ann soon tie the knot, and almost immediately things begin falling apart. Henry’s comedy career hits the skids, in part because he can’t stop ranting to his audience about his jealousy over his wife’s success. Their private troubles play out in a very public spotlight, in a way that recalls classic Hollywood romances like \u003ca href=\"https://www.kqed.org/pop/106448/will-a-star-is-born-make-you-scream-yaas-gaga-yaas-or-nah-gaga-nah\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>A Star is Born\u003c/em>\u003c/a>. There’s no saving Henry and Ann’s marriage, not even after they have a baby girl, the Annette of the title. In the movie’s most whimsical touch, baby Annette is played by a small wooden puppet—a choice that makes no sense and perfect sense: What better device than a puppet to suggest that for a celebrity couple, all the world’s a stage?\u003c/p>\n\u003cp>\u003cem>Annette\u003c/em> is full of such surreal flights of fancy, but it also has some heavy things to say about the price of fame. That’s an intriguing subject for Carax, who’s had his own barbed relationship with success in France, and for Ron and Russell Mael, who are often hailed as the most famous musicians you’ve never heard of, as seen in their terrific recent documentary \u003ca href=\"https://www.npr.org/2021/06/18/1007652595/50-years-of-sparks-the-world-aint-big-enough-for-the-both-of-them\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Sparks Brothers\u003c/em>. \u003c/a>\u003c/p>\n\u003cp>\u003cem>Annette \u003c/em>paints a grim picture of contemporary stardom, with a passing nod to the #MeToo movement: In one hallucinatory number, Ann imagines that six women have accused Henry of abuse. It’s just a dream, but it’s a hard one to shake, given Henry’s temper and the menacing way that Driver dwarfs Cotillard in the frame.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I wish there were more of Cotillard in \u003cem>Annette\u003c/em>; as great as Driver is, his rage is so charismatic, so all-consuming, that it leaves the story feeling emotionally lopsided. It also reinforces the gender power imbalance that the movie attempts to critique. But Henry is held somewhat in check by two other key characters. One of them is a music conductor, played by a fine Simon Helberg, who tries to protect Ann and Annette from Henry’s destructive impulses. The other is little Annette herself, whose innocence becomes quietly heroic as the movie approaches its shattering finale. This sweet, sad-eyed puppet reminds you of how so many great musicals work: by taking an artificial conceit and making it seem as real as life.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=Strange%2C+Singular%2C+Audacious+%27Annette%27+Works+As+An+Odd%2C+Original+Rock+Opera&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC3359842827\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>As the COVID-19 pandemic ravaged the health of individuals and communities around the world, Harvey Lozada focused on the stories coming from the San Francisco neighborhood south of Market Street, the SOMA District.\u003c/p>\n\u003cp>Through the film “It Takes The Hood to Save The Hood,” Lozada shows how community organizations shifted their focus from being community resources, to being first responders.\u003c/p>\n\u003cp>The film shows local organizations coming together to run a grassroots food bank. He got insight from Carla Laurel of \u003ca class=\"c-link\" href=\"http://westbaycenter.org/\" target=\"_blank\" rel=\"noopener noreferrer\" data-stringify-link=\"http://westbaycenter.org/\" data-sk=\"tooltip_parent\">West Bay\u003c/a>, Aureen Almario of \u003ca href=\"https://www.bindlestiffstudio.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Bindlestiff Studio,\u003c/a> and Rudy Corpuz Jr. and Everett Butler (aka Boogie) of \u003ca href=\"https://unitedplayaz.org/\" target=\"_blank\" rel=\"noopener noreferrer\">United Playaz, \u003c/a>an organization whose slogan is used for the title of the film.\u003c/p>\n\u003cp>Through Lozada’s Instagram account, \u003ca href=\"https://www.instagram.com/whysf/\" target=\"_blank\" rel=\"noopener noreferrer\">WhySF\u003c/a>, he also showcases the images he’s gathered of community members. These photos are a part of the “94103” photo series that highlights the people behind the mutual aid efforts in SOMA.\u003c/p>\n\u003cp>This week on the podcast, Harvey Lozada takes us to SOMA to introduce us to the heroes and sheroes who save the hood.\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Harvey Lozada.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: In your film, we hear a kaleidoscope of voices – from social service workers to culture workers – who talk to us about what SOMA means to them. People like Rudy Corpuz Jr. from United Playaz…. I got a message of resilience, is that the narrative that you are trying to push for?\u003c/em>\u003c/p>\n\u003cp>Harvey: Yeah. Like the title, “It takes the Hood to Save the Hood.” That’s exactly what happened. When the pandemic hit, when California said we was finna be in lockdown, these brave sheroes and heroes, they did not pause.\u003c/p>\n\u003cp>Harvey: We lost a lot during a pandemic, but what I hope is that people saw that when folks came together, we can accomplish a lot. The real message is that, we can take care of ourselves, like we got us. If we waited for the government to help us out. Where would we be?\u003c/p>\n\u003cp>\u003cem>Pen: You’re deep into arts and culture, man. And you also have a background in social work. How did the two intertwine?\u003c/em>\u003c/p>\n\u003cp>Harvey: I got to say, I’m privileged enough that they do, it’s not something that’s completely left field… I work with young people who touched down with the justice system and me being a people’s person, I’m able to really get people to where they can tell their truths.\u003c/p>\n\u003cp>\u003cem>Pen: Earlier this year you had a screening of a rough cut of the film at District 6, how did people respond?\u003c/em>\u003c/p>\n\u003cp>Harvey: After [the film], I got on a mic and I asked folks, ‘So what do you think of the film? because it’s a rough cut, I want your honest feedback’ … And it was well received, I was humbled that folks really loved it. The feedback that folks gave me was very helpful [too]. There’s parts of the film in Tagalog, and for a lot of folks, they don’t speak Tagalog. I intentionally didn’t put subtitles because I wanted folks to kind of see what they got to go through to try to get services. These are folks that English is a second language to them. I know for bigger audiences, we got to put the subtitles so folks can understand what these folks are talking about. So they can get the message. I take that feedback and I’m applying all of it.\u003c/p>\n\u003cp>Harvey: I’m a child of immigrants. My parents, English is their second language. And for me, the son who they know as a social worker, they know I take pictures, but they didn’t know I was a filmmaker. And so, you should have seen them, they were smiling ear to ear. The DJ was playing music. My mom was dancing. Pops couldn’t put his phone down. He was on Facebook live so that my relatives in the Philippines could watch, you know what I mean? It was beautiful, it was a beautiful day.\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>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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These photos are a part of the “94103” photo series that highlights the people behind the mutual aid efforts in SOMA.\u003c/p>\n\u003cp>This week on the podcast, Harvey Lozada takes us to SOMA to introduce us to the heroes and sheroes who save the hood.\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Harvey Lozada.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: In your film, we hear a kaleidoscope of voices – from social service workers to culture workers – who talk to us about what SOMA means to them. People like Rudy Corpuz Jr. from United Playaz…. I got a message of resilience, is that the narrative that you are trying to push for?\u003c/em>\u003c/p>\n\u003cp>Harvey: Yeah. Like the title, “It takes the Hood to Save the Hood.” That’s exactly what happened. 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These are folks that English is a second language to them. I know for bigger audiences, we got to put the subtitles so folks can understand what these folks are talking about. So they can get the message. I take that feedback and I’m applying all of it.\u003c/p>\n\u003cp>Harvey: I’m a child of immigrants. My parents, English is their second language. And for me, the son who they know as a social worker, they know I take pictures, but they didn’t know I was a filmmaker. And so, you should have seen them, they were smiling ear to ear. The DJ was playing music. My mom was dancing. Pops couldn’t put his phone down. He was on Facebook live so that my relatives in the Philippines could watch, you know what I mean? It was beautiful, it was a beautiful day.\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>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Now Playing! Truth, Faith and Homosexuality Collide in ‘Pray Away’",
"headTitle": "Now Playing! Truth, Faith and Homosexuality Collide in ‘Pray Away’ | KQED",
"content": "\u003cp>The most remarkable aspect of \u003cem>\u003ca href=\"https://www.netflix.com/title/81040370\" rel=\"noopener noreferrer\" target=\"_blank\">Pray Away\u003c/a>\u003c/em>, Kristine Stolakis’ valuable documentary about reparative or conversion therapy—the pseudoscientific, anti-gay practice inflicted on more than 700,000 LGBTQ+ Christians in the U.S. by Exodus International and other elements of the religious right—is the absence of rancor or fury. \u003c/p>\n\u003cp>I’ve just revealed something about my view of social-issue documentaries as a legacy of ’60s activism, and my endorsement of their implicit (and occasionally explicit) tone of righteous, moral indignation. \u003cem>Pray Away\u003c/em>, which was completed a year ago and debuted this week on Netflix, reveals a lot about the post-ACT-UP generation of filmmakers, who view the LGBTQ+ civil rights movement less as a finite campaign with victories and setbacks than as a continuum of evolving attitudes.\u003c/p>\n\u003cp>Evolving attitudes is both the currency and promise of the film, which toggles between the present and the past to recount the journeys of several former star spokespeople of the evangelical gay-to-straight crusade. Most left the so-called movement a good long while ago, so although their struggles are vivid they aren’t, by and large, immediate. Plenty of filmmakers finesse and manipulate time for maximum dramatic effect, but to her credit, Stolakis, a graduate of Stanford’s vaunted MFA documentary program who made several shorts and \u003cem>Pray Away\u003c/em> in the Bay Area before relocating to New York during the pandemic, doesn’t contrive climaxes and catharses out of years-old life changes.\u003c/p>\n\u003cp>Exodus co-founder Michael Bussee shows up as a powerful witness, as does baby-faced John Paulk, who was booked so frequently on TV with his ex-lesbian wife that he became (in his words) “the most famous ex-gay person in the world.” He recounts that “high point” with a mix of lingering pride and embarrassment that, in one short sentence, suggests the ongoing conversation—or negotiation—between identity, faith and sexuality that troubles so many people.\u003c/p>\n\u003cfigure id=\"attachment_13900792\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Pray_Away_01_35_34_06_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13900792\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Pray_Away_01_35_34_06_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Pray_Away_01_35_34_06_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Pray_Away_01_35_34_06_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Pray_Away_01_35_34_06_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Pray_Away_01_35_34_06_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Julie Rodgers (in white, center) in ‘Pray Away,’ 2021. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No doubt some view Bussee and Paulk as perpetrators who did enormous harm to others, rather than as victims. So Stolakis constructs her film around Julie Rodgers, whose just-published memoir \u003cem>Outlove: A Queer Christian Survival Story\u003c/em> recounts her saga of exploitation, self-loathing and self-harm.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Stolakis made another important structural decision, one with important thematic implications. The very first person we meet in \u003cem>Pray Away\u003c/em> is Jeffrey McCall, a next-generation, Georgia-based, street- and internet-focused “ex-gay” man picking up where the now-defunct Exodus left off. Stolakis also ends her film with him, pointedly reminding us—without mocking or denigrating McCall, a true believer—that religious intolerance of homosexuality persists.\u003c/p>\n\u003cp>\u003cem>Pray Away\u003c/em> skillfully leaves us with a clear question: Will McCall’s journey mirror Bussee and Paulk’s? The achievement of this film doesn’t live in its accumulated anecdotal histories but in its acknowledgement of the LGBTQ+ people who grapple with sexuality and faith every day.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Pray Away’ is now streaming on Netflix. \u003ca href=\"https://www.netflix.com/title/81040370\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The most remarkable aspect of \u003cem>\u003ca href=\"https://www.netflix.com/title/81040370\" rel=\"noopener noreferrer\" target=\"_blank\">Pray Away\u003c/a>\u003c/em>, Kristine Stolakis’ valuable documentary about reparative or conversion therapy—the pseudoscientific, anti-gay practice inflicted on more than 700,000 LGBTQ+ Christians in the U.S. by Exodus International and other elements of the religious right—is the absence of rancor or fury. \u003c/p>\n\u003cp>I’ve just revealed something about my view of social-issue documentaries as a legacy of ’60s activism, and my endorsement of their implicit (and occasionally explicit) tone of righteous, moral indignation. \u003cem>Pray Away\u003c/em>, which was completed a year ago and debuted this week on Netflix, reveals a lot about the post-ACT-UP generation of filmmakers, who view the LGBTQ+ civil rights movement less as a finite campaign with victories and setbacks than as a continuum of evolving attitudes.\u003c/p>\n\u003cp>Evolving attitudes is both the currency and promise of the film, which toggles between the present and the past to recount the journeys of several former star spokespeople of the evangelical gay-to-straight crusade. Most left the so-called movement a good long while ago, so although their struggles are vivid they aren’t, by and large, immediate. Plenty of filmmakers finesse and manipulate time for maximum dramatic effect, but to her credit, Stolakis, a graduate of Stanford’s vaunted MFA documentary program who made several shorts and \u003cem>Pray Away\u003c/em> in the Bay Area before relocating to New York during the pandemic, doesn’t contrive climaxes and catharses out of years-old life changes.\u003c/p>\n\u003cp>Exodus co-founder Michael Bussee shows up as a powerful witness, as does baby-faced John Paulk, who was booked so frequently on TV with his ex-lesbian wife that he became (in his words) “the most famous ex-gay person in the world.” He recounts that “high point” with a mix of lingering pride and embarrassment that, in one short sentence, suggests the ongoing conversation—or negotiation—between identity, faith and sexuality that troubles so many people.\u003c/p>\n\u003cfigure id=\"attachment_13900792\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Pray_Away_01_35_34_06_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13900792\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Pray_Away_01_35_34_06_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Pray_Away_01_35_34_06_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Pray_Away_01_35_34_06_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Pray_Away_01_35_34_06_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Pray_Away_01_35_34_06_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Julie Rodgers (in white, center) in ‘Pray Away,’ 2021. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No doubt some view Bussee and Paulk as perpetrators who did enormous harm to others, rather than as victims. So Stolakis constructs her film around Julie Rodgers, whose just-published memoir \u003cem>Outlove: A Queer Christian Survival Story\u003c/em> recounts her saga of exploitation, self-loathing and self-harm.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Stolakis made another important structural decision, one with important thematic implications. The very first person we meet in \u003cem>Pray Away\u003c/em> is Jeffrey McCall, a next-generation, Georgia-based, street- and internet-focused “ex-gay” man picking up where the now-defunct Exodus left off. Stolakis also ends her film with him, pointedly reminding us—without mocking or denigrating McCall, a true believer—that religious intolerance of homosexuality persists.\u003c/p>\n\u003cp>\u003cem>Pray Away\u003c/em> skillfully leaves us with a clear question: Will McCall’s journey mirror Bussee and Paulk’s? The achievement of this film doesn’t live in its accumulated anecdotal histories but in its acknowledgement of the LGBTQ+ people who grapple with sexuality and faith every day.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Pray Away’ is now streaming on Netflix. \u003ca href=\"https://www.netflix.com/title/81040370\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "There’s Nothing Like Seeing Moving Images in the Dark",
"headTitle": "There’s Nothing Like Seeing Moving Images in the Dark | KQED",
"content": "\u003cp>Some of the most thrilling art experiences I’ve had in the Bay Area have been under the flickering light of a film projector. One was a fog-filled room and Lis Rhodes’ hypnotic, screeching \u003ci>Light Music\u003c/i>, two striated beams crossing each other in space. Another involved Morgan Fisher’s \u003ci>Projection Instructions\u003c/i>, which bossily issues commands to its projectionists like “throw out of focus” and “turn lamp off.” Even watching Kathryn Bigelow’s vampire-horror-Western \u003ci>Near Dark\u003c/i> has become a cherished memory because of the conversations it fueled hours and days later.\u003c/p>\n\u003cp>So when I heard the news that the San Francisco Museum of Modern Art would “sunset” its film program at the end of the fall 2021 season, I was shocked and disappointed, but ultimately unsurprised. To me and other members of the Bay Area arts community, the cut was an unpleasant form of déja vù.\u003c/p>\n\u003cp>Three years ago, nearby Yerba Buena Center for the Arts also laid off its film and video curatorial staff, and put the 21-year-old program \u003ca href=\"https://www.kqed.org/arts/13841205/curatorial-crisis-bay-area-art-institutions\" target=\"_blank\" rel=\"noopener noreferrer\">on indefinite hiatus\u003c/a>. A planned “reimagining” of the film program at YBCA has yet to take solid shape.[aside postID='arts_13900144']\u003c/p>\n\u003cp>SFMOMA doesn’t plan to stop with just film. As \u003ca href=\"https://www.kqed.org/arts/13900144/sfmomas-cuts-to-film-other-programs-cause-widespread-outrage\" target=\"_blank\" rel=\"noopener noreferrer\">previously reported\u003c/a>, the museum plans to discontinue Open Space, the museum’s experimental publishing platform; the Artists Gallery, a Fort Mason outpost that facilitated the rental and sales of local artists’ work; and \u003ci>Raw Material\u003c/i>, a podcast helmed each season by different voices.\u003c/p>\n\u003cp>In the name of attracting “\u003ca href=\"https://www.sfmoma.org/press-release/statement-on-strategic-goals-and-programmatic-updates/\" target=\"_blank\" rel=\"noopener noreferrer\">larger, more diverse audiences\u003c/a>,” these cuts eliminate, paradoxically, some of the museum’s most accessible and diverse programming, along with seven staff positions. Loss of any SFMOMA staff is a loss of institutional history and public trust, and the end result is a further fraying of the connective structures that once made the Bay Area arts community a functioning ecosystem.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In my darkest moments, it feels like the scene’s been whittled down to fit on the head of a pin. But others remind me that the region’s most exciting culture has always existed in opposition to (and despite) mainstream, commercial art movements. Nimble, small-scale and decidedly experimental efforts are, in fact, the best parts of the Bay Area’s film scene.\u003c/p>\n\u003cp>While some already mourn SFMOMA’s film program, others refuse to accept this decision as final. A \u003ca href=\"https://www.change.org/p/neal-benezra-oppose-the-program-and-position-cuts-at-sfmoma\" target=\"_blank\" rel=\"noopener noreferrer\">petition addressed to SFMOMA director Neal Benezra\u003c/a> has over 2,700 signatures, and a gathering this Thursday at the museum’s 3rd Street entrance is timed for 6–8pm to coincide with the SFMOMA’s \u003ca href=\"https://tickets.sfmoma.org/tickets/entry?performanceId=5930&type=ga\" target=\"_blank\" rel=\"noopener noreferrer\">extended hours and free entry\u003c/a> for Bay Area residents.\u003c/p>\n\u003cp>But in this latest institutional letdown, there’s also an opportunity to take stock of what persists, and determine how to best support a film community with a huge history. It’s a community that thrives in artist-run celluloid festivals, microcinemas, resource sharing and a dedication to high-quality presentations of moving-image work.\u003c/p>\n\u003cfigure id=\"attachment_13900673\" class=\"wp-caption aligncenter\" style=\"max-width: 1222px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13900673\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Stauffacher_Telegram.jpg\" alt=\"\" width=\"1222\" height=\"881\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Stauffacher_Telegram.jpg 1222w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Stauffacher_Telegram-800x577.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Stauffacher_Telegram-1020x735.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Stauffacher_Telegram-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Stauffacher_Telegram-768x554.jpg 768w\" sizes=\"(max-width: 1222px) 100vw, 1222px\">\u003cfigcaption class=\"wp-caption-text\">A Western Union telegram sent to Frank Stauffacher from the New York City film society Cinema 16 in 1949, part of BAMPFA’s Art in Cinema collection. \u003ccite>(University of California, Berkeley Art Museum and Pacific Film Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Bay Area Alternative Film Starts at SFMOMA\u003c/h2>\n\u003cp>“Over the past half-century, no American city has become more consistently identified with alternative cinema than San Francisco and its environs,” Scott MacDonald writes in the introduction to his 2006 publication \u003ci>Art in Cinema: Documents Toward a History of the Film Society\u003c/i>. A long list follows of famous film and videomakers with Bay Area ties (\u003ca href=\"https://www.kqed.org/arts/12265794/bruce-conner-artist-who-twice-declared-himself-dead-lives-on-at-sfmoma\" target=\"_blank\" rel=\"noopener noreferrer\">Bruce Conner\u003c/a>, Bruce Baillie, George and Mike Kuchar, Trinh T. Minh-ha, Marlon Riggs, \u003ca href=\"https://www.kqed.org/arts/13892105/artist-cauleen-smith-on-black-utopia-in-california\" target=\"_blank\" rel=\"noopener noreferrer\">Cauleen Smith\u003c/a>), and the institutions that supported them (SFAI, Canyon Cinema, the Berkeley Art Museum and Pacific Film Archive, SF Cinematheque).\u003c/p>\n\u003cp>“But before any of these organizations began to make major contributions to independent media,” MacDonald continues, “the Art in Cinema film series … had demonstrated not only that there \u003ci>was\u003c/i> an alternative film history and an audience for it, but that the Bay Area could be one of its nodal points.”\u003c/p>\n\u003cp>Helmed between 1946 and 1954 by legendary artist and exhibitor Frank Stauffacher, Art in Cinema was one of the first regular film program at an American museum. Today, it seems only natural that film would be part of a contemporary art museum’s programming. “It’s such a complex and fascinating art with its own history, of the moving image, from celluloid to digital,” says Susan Oxtoby, BAMPFA’s director of film and senior film curator. “All of the complexities of the art form of cinema are ones that should be part of a contemporary art museum.”\u003c/p>\n\u003cp>In recent years, under the leadership of Manager of Film Programs Gina Basso, SFMOMA would screen three to six films a month, including the \u003ci>\u003ca href=\"https://www.sfmoma.org/series/past-seasons-of-modern-cinema/\" target=\"_blank\" rel=\"noopener noreferrer\">Modern Cinema\u003c/a>\u003c/i> program, which ran for 10 seasons and focused on critically acclaimed filmmakers like Werner Herzog, Claire Denis and Satyajit Ray, as well as themes within contemporary cinema. (2019’s \u003ci>Haunted! Gothic Tales by Women\u003c/i> was a personal favorite.)\u003c/p>\n\u003cp>[pullquote size='large' align='right' citation='Gina Basso, Manager of Film Programs']‘Everyone knows how to go see a film. It’s really an experience that people understand.’[/pullquote]\u003c/p>\n\u003cp>In contrast to other museum departments, where curators may only meet their audience at member events, artist talks or exhibition walk-throughs, Basso or her film program associate was present at every screening, introducing the selection and its context. “It really was a sense of walking in and having someone know my name or I knew the name of a frequent audience member,” she says. Regulars would save each other seats; some with preferred spots would cast sidelong glances if others encroached on their territory.\u003c/p>\n\u003cp>A crucial element of what makes film events so transcendent is the presence of the audience, that finite time spent together solely focused on one thing. The collective experience of watching a film is immeasurably different from streaming the same film at home. “You miss the essence of the community,” Basso says of home viewings, “which is conversation and people commiserating in the lobby for so long that I actually have to kick them out.”\u003c/p>\n\u003cp>SFMOMA’s film audiences, Basso says, were diverse and intergenerational. The barrier to entry with film is low—much lower, often, than other museum programming. “Everyone knows how to go see a film,” she says. “It’s really an experience that people understand.”\u003c/p>\n\u003cfigure id=\"attachment_13900700\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13900700\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Shapeshifters_1200.jpg\" alt=\"A man stands with his back to camera surrounded by audio and video equipment, some of which projects bright abstract pink, purple and blue shapes onto the wall in front of him.\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Shapeshifters_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Shapeshifters_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Shapeshifters_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Shapeshifters_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Shapeshifters_1200-768x576.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">During the pandemic shutdown, Shapeshifters livestreamed 20 shows, with about half recorded in their space. On Nov. 1, 2020 it was live video, film and light projections by Projection Art (Dennis Keefe and Jim Baldocchi), Lori Varga & Kit Young. \u003ccite>(Shapeshifters Cinema)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘New Things Popping Up All the Time’\u003c/h2>\n\u003cp>Of course, the Bay Area’s alternative film scene, as MacDonald detailed, is now much more than SFMOMA.\u003c/p>\n\u003cp>Before the pandemic necessitated a sudden stop to all indoor public gatherings, \u003ca href=\"http://www.atasite.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Artists’ Television Access\u003c/a> (ATA), a storefront theater on San Francisco’s Valencia Street, hosted events two to three times a week. \u003ca href=\"https://www.mcevoyarts.org/\" target=\"_blank\" rel=\"noopener noreferrer\">McEvoy Foundation for the Arts\u003c/a>, a nonprofit space that opened in 2017, purposefully built a dedicated screening room into its gallery floor plan, showing curated programs of short films alongside their art exhibitions. \u003ca href=\"http://www.othercinema.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Other Cinema\u003c/a>, organized by local filmmaker Craig Baldwin, showcased an eclectic and adventurous program of experimental film, video and performance—many featuring the artists in person—at ATA once a week. March 2020—that fateful month—was meant to usher in the fourth iteration of Light Field’s \u003ca href=\"https://www.kqed.org/arts/13876247/light-field-film-festival-returns-to-push-the-limits-of-celluloid\" target=\"_blank\" rel=\"noopener noreferrer\">celluloid film festival\u003c/a> at San Francisco’s alternative art space The Lab.[aside postID='arts_13874349']\u003c/p>\n\u003cp>Across the bay, the Berkeley Art Museum and Pacific Film Archive boasted around 500 film events a year. \u003ca href=\"http://shapeshifterscinema.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Shapeshifters Cinema\u003c/a>, run by Gilbert Guerrero and Kathleen Quillian, was \u003ca href=\"https://www.kqed.org/arts/13874349/shapeshifters-cinema-and-brewery-promises-art-film-refuge-in-an-oakland-victorian\" target=\"_blank\" rel=\"noopener noreferrer\">poised to fully open\u003c/a> their microcinema and brewery in Oakland’s Jack London Square, building off their once-a-month expanded cinema programming at Temescal Arts Center. Business, as they say, was booming.\u003c/p>\n\u003cp>Even when their doors closed, programs and spaces pivoted, as so many did, to online screenings and \u003ca href=\"http://shapeshifterscinema.com/past-workshops/\" target=\"_blank\" rel=\"noopener noreferrer\">workshops\u003c/a>. \u003ca href=\"https://www.sfcinematheque.org/\" target=\"_blank\" rel=\"noopener noreferrer\">SF Cinematheque\u003c/a>’s director Steve Polta transitioned \u003ca href=\"https://www.kqed.org/arts/13885180/at-a-crossroads-sf-cinematheques-avant-garde-festival-goes-online\" target=\"_blank\" rel=\"noopener noreferrer\">Crossroads\u003c/a>, a festival of experimental and avant-garde film (which previously took place at SFMOMA), into a free online format. \u003ca href=\"http://canyoncinema.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Canyon Cinema\u003c/a>, a nonprofit film distribution company that started as a backyard cinema in 1961, focused on expanding its digital holdings, and now offers more than 1,000 titles for distribution in digital formats. And in the past two months, the renegade spirit of the Bay Area has reemerged in events like \u003ca href=\"https://www.instagram.com/sfmagiclantern/\" target=\"_blank\" rel=\"noopener noreferrer\">Magic Lantern\u003c/a>’s screenings at the North Beach bar Vesuvio, held outside in Kerouac Alley. Curated by Anthony Buchanan and Lapo Guzzini, the series most recently celebrated the origins of DIY culture in San Francisco with \u003ca href=\"https://www.instagram.com/p/CR4TTVBrmjB/\" target=\"_blank\" rel=\"noopener noreferrer\">a program of punk rock films\u003c/a>.\u003c/p>\n\u003cp>“There are a lot of things happening, but they’re just not happening under a big spotlight with the imprint and resources of an institution,” says Brett Kashmere, Canyon Cinema’s executive director. “There’s new things popping up all the time.”\u003c/p>\n\u003cfigure id=\"attachment_13900701\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13900701\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/LightField_63_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/LightField_63_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/LightField_63_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/LightField_63_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/LightField_63_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/LightField_63_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The audience watches Lis Rhodes’ ‘Light Music’ at the 2017 Light Field Film Festival at The Lab. \u003ccite>(Raphael Villet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Deeply Collaborative Ecosystem\u003c/h2>\n\u003cp>Attend two events at any of the above spaces and you’ll immediately recognize faces. Quillian describes a deeply collaborative and interconnected ecosystem. She and Guerrero met as volunteers at Artists’ Television Access, where Guerrero is now a board member. “I learned about experimental films by hanging out and being at ATA, as well as how to run a nonprofit organization,” Quillian says. “I was an intern at Canyon like a million years ago, that’s when I learned about the big-name experimental filmmakers.” SF Cinematheque is Shapeshifters’ fiscal sponsor. Craig Baldwin often connects artists showing at Other Cinema with Quillian and Guerrero to set up shows in the East Bay.\u003c/p>\n\u003cp>“The commonality amongst these organizations and projects is that they’re light in infrastructure and adaptable,” Kashmere points out. “And I think that’s something that’s consistent with Bay Area film culture, that sense of self-reliance and collaboration and adaptability, and being light on your feet.”\u003c/p>\n\u003cp>Even so, smaller organizations and artist-run projects across the Bay Area have historically benefitted from the presence of larger-scale institutions. Earlier this year, SFMOMA and SF Cinematheque co-presented \u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/assembly-of-images/\" target=\"_blank\" rel=\"noopener noreferrer\">Assembly of Images\u003c/a>\u003c/i>, an online film program curated by Basso featuring work that explored the representation of African Americans in photography and film. A piece from Canyon Cinema’s holdings, Christopher Harris’ \u003ci>Reckless Eyeballing\u003c/i>, was included in the program, and Kashmere says SFMOMA’s screening fee covered roughly half the cost of digitization.\u003c/p>\n\u003cfigure id=\"attachment_13900674\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13900674\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Harris_RecklessEyeballing_2.jpeg\" alt=\"\" width=\"800\" height=\"597\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Harris_RecklessEyeballing_2.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Harris_RecklessEyeballing_2-160x119.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Harris_RecklessEyeballing_2-768x573.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from Christopher Harris’ ‘Reckless Eyeballing,’ 2004. \u003ccite>(Courtesy the artist and Canyon Cinema)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Guerrero, similarly, describes instances when a larger institution might have the resources to bring an artist to town and install technically complex or difficult-to-show work that’s beyond Shapeshifters’ capacity. “But then these smaller venues get to feed off that and artists can show maybe early works or things they’re experimenting on,” he explains.\u003c/p>\n\u003cp>Collaboration—even for larger venues like BAMPFA—is a financial necessity. “When we all coordinate,” says Susan Oxtoby, BAMPFA’s director of film and senior film curator, “it allows us to bring interesting filmmakers to the Bay Area and for them to have a show in the city, a show in the East Bay, maybe partnering with the Rafael in Marin County. The audiences are all around the region, and it’s really important to make certain the venues in different parts of the Bay Area are doing the best programming.”\u003c/p>\n\u003cp>In fact, when the pandemic hit, it was the final days of BAMPFA and SFMOMA’s co-presented retrospective of the French filmmaker Agnès Varda.\u003c/p>\n\u003ch2>A ‘Stunning Disavowal of its Own History’\u003c/h2>\n\u003cp>On its \u003ca href=\"https://www.sfmoma.org/artists-artworks/film/\" target=\"_blank\" rel=\"noopener noreferrer\">own website\u003c/a>, SFMOMA describes a commitment to “exhibiting film as an essential medium of modern and contemporary art.”\u003c/p>\n\u003cp>And yet, in a July 19 email to staff titled “Connecting People to the Art of Our Time,” Benezra described film as a program that failed to drive attendance at the museum, one that “has historically had low attendance.” The flimsiest of predictions for its preemptive cancellation followed: the program “would inevitably struggle as films are increasingly streamed.”\u003c/p>\n\u003cp>According to an SFMOMA spokesperson, “While there was no specific goal for attendance at film programs, we have seen a steady decline that preceded the pandemic, from 6,700 in FY17 to 3,800 in FY20, and only 4% of our current membership have attended films.” (FY20 covers July 2019–June 2020, during which the museum was closed for 3.5 months.)\u003c/p>\n\u003cp>Just because something has existed for a long time does not inherently mean it must continue to exist. SFMOMA’s film program was certainly waxed and waned over its 84 years. But to reduce its past—and present—to “low attendance” versus “streaming” denies the existence of the film program’s very mission, and gives it no chance to flourish in a reopened museum. (The Phyllis Wattis Theater has remained closed since the March 2020 shutdown.)\u003c/p>\n\u003cp>[aside postID='arts_13841205']Practically, the end of SFMOMA’s film program means the loss of \u003ca href=\"https://www.kqed.org/arts/13841205/curatorial-crisis-bay-area-art-institutions\" target=\"_blank\" rel=\"noopener noreferrer\">yet another\u003c/a> Bay Area curatorial position—Basso’s job ends with the close of her fall 2021 season. It’s unclear how the cuts will affect on-call projectionists and other theater staff, many of whom are artists and filmmakers themselves. With less events, there will certainly be less shifts to fill.\u003c/p>\n\u003cp>Physically, there’s the question of what SFMOMA will do with its Wattis Theater—according to Kashmere, “maybe the best screening room in all of San Francisco.” An SFMOMA spokesperson side-stepped questions about future uses for the space, citing rising concerns about the spread of the delta variant.\u003c/p>\n\u003cp>But psychically, having the Bay Area’s largest and best-funded art museum essentially state that film does \u003ci>not belong\u003c/i> within its walls is utterly demoralizing. In a \u003ca href=\"https://canyoncinema.com/2021/07/23/canyon-cinema-response-to-the-elimination-of-sfmomas-film-program/\" target=\"_blank\" rel=\"noopener noreferrer\">fiery response\u003c/a> to SFMOMA’s “stunning disavowal of its own history,” Canyon Cinema’s staff and board collectively demanded the museum change its name.\u003c/p>\n\u003cp>If SFMOMA eliminates film from its institutional purview, the letter argues, the museum ceases to be a “modern art” institution.\u003c/p>\n\u003cfigure id=\"attachment_13900677\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13900677\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/BAMPFA_Film_3_1200.jpg\" alt=\"\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/BAMPFA_Film_3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/BAMPFA_Film_3_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/BAMPFA_Film_3_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/BAMPFA_Film_3_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/BAMPFA_Film_3_1200-768x576.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A moment from BAMPFA’s tribute to Norwegian actress Liv Ullmann in 2018. \u003ccite>(Courtesy Berkeley Art Museum and Pacific Film Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘A Better Future for Film’\u003c/h2>\n\u003cp>So many of the people I spoke to for this article mentioned the experimental filmmaker Paul Clipson, who worked as a projectionist at SFMOMA and died in 2018. Clipson loaned equipment to Light Field for their second festival in 2017; Basso watched him project his own work in the Wattis Theater during lunch breaks; Polta says after Crossroads found a home at SFMOMA he learned Clipson had been lobbying for the partnership internally.\u003c/p>\n\u003cp>That one person can have such an impact on the Bay Area’s film scene speaks to Clipson’s talent and generosity, but also to the fact that individual connections are much stronger than institutions. Even in the long-term—especially in the long-term.\u003c/p>\n\u003cp>“That’s maybe the new world that we’re going to live in,” Guerrero says, “which is ‘fuck the institutions and their money, we’re just going to collaborate with each other to build our own independent ecosystem.’ We’ll pull the money together to get artists out here, and have a circuit they can go through and really collaborate more around programming and supporting artists.”\u003c/p>\n\u003cp>Light Field co-programmer Patricia Villon shares this sentiment. “I hope that this can be a reflective moment to remember we can build a better future for film in the Bay Area,” Villion wrote via email, “with or without the workings of the museum and despite these cuts.”\u003c/p>\n\u003cp>Already, the months ahead are packed: partnerships between the Roxie Theater, \u003ca href=\"https://www.mcevoyarts.org/event/the-mirror/\" target=\"_blank\" rel=\"noopener noreferrer\">McEvoy\u003c/a>, \u003ca href=\"https://canyoncinema.com/2021/07/30/canyon-cinema-and-the-roxie-theater-to-launch-new-programming-partnership/\" target=\"_blank\" rel=\"noopener noreferrer\">Canyon Cinema\u003c/a> and \u003ca href=\"https://www.sfcinematheque.org/screenings/good-skies-almost-all-the-time-bruce-baillie-memorial-screening-publication-launch/\" target=\"_blank\" rel=\"noopener noreferrer\">SF Cinematheque\u003c/a>; the Sept. 1 return of indoor screenings at BAMPFA; the Sept. 11–16 livestreaming of Crossroads.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>SFMOMA may have launched the Bay Area’s alternative film scene, but its presence may not be necessary for all the thrilling, flickering projections to come.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Some of the most thrilling art experiences I’ve had in the Bay Area have been under the flickering light of a film projector. One was a fog-filled room and Lis Rhodes’ hypnotic, screeching \u003ci>Light Music\u003c/i>, two striated beams crossing each other in space. Another involved Morgan Fisher’s \u003ci>Projection Instructions\u003c/i>, which bossily issues commands to its projectionists like “throw out of focus” and “turn lamp off.” Even watching Kathryn Bigelow’s vampire-horror-Western \u003ci>Near Dark\u003c/i> has become a cherished memory because of the conversations it fueled hours and days later.\u003c/p>\n\u003cp>So when I heard the news that the San Francisco Museum of Modern Art would “sunset” its film program at the end of the fall 2021 season, I was shocked and disappointed, but ultimately unsurprised. To me and other members of the Bay Area arts community, the cut was an unpleasant form of déja vù.\u003c/p>\n\u003cp>Three years ago, nearby Yerba Buena Center for the Arts also laid off its film and video curatorial staff, and put the 21-year-old program \u003ca href=\"https://www.kqed.org/arts/13841205/curatorial-crisis-bay-area-art-institutions\" target=\"_blank\" rel=\"noopener noreferrer\">on indefinite hiatus\u003c/a>. A planned “reimagining” of the film program at YBCA has yet to take solid shape.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>SFMOMA doesn’t plan to stop with just film. As \u003ca href=\"https://www.kqed.org/arts/13900144/sfmomas-cuts-to-film-other-programs-cause-widespread-outrage\" target=\"_blank\" rel=\"noopener noreferrer\">previously reported\u003c/a>, the museum plans to discontinue Open Space, the museum’s experimental publishing platform; the Artists Gallery, a Fort Mason outpost that facilitated the rental and sales of local artists’ work; and \u003ci>Raw Material\u003c/i>, a podcast helmed each season by different voices.\u003c/p>\n\u003cp>In the name of attracting “\u003ca href=\"https://www.sfmoma.org/press-release/statement-on-strategic-goals-and-programmatic-updates/\" target=\"_blank\" rel=\"noopener noreferrer\">larger, more diverse audiences\u003c/a>,” these cuts eliminate, paradoxically, some of the museum’s most accessible and diverse programming, along with seven staff positions. Loss of any SFMOMA staff is a loss of institutional history and public trust, and the end result is a further fraying of the connective structures that once made the Bay Area arts community a functioning ecosystem.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In my darkest moments, it feels like the scene’s been whittled down to fit on the head of a pin. But others remind me that the region’s most exciting culture has always existed in opposition to (and despite) mainstream, commercial art movements. Nimble, small-scale and decidedly experimental efforts are, in fact, the best parts of the Bay Area’s film scene.\u003c/p>\n\u003cp>While some already mourn SFMOMA’s film program, others refuse to accept this decision as final. A \u003ca href=\"https://www.change.org/p/neal-benezra-oppose-the-program-and-position-cuts-at-sfmoma\" target=\"_blank\" rel=\"noopener noreferrer\">petition addressed to SFMOMA director Neal Benezra\u003c/a> has over 2,700 signatures, and a gathering this Thursday at the museum’s 3rd Street entrance is timed for 6–8pm to coincide with the SFMOMA’s \u003ca href=\"https://tickets.sfmoma.org/tickets/entry?performanceId=5930&type=ga\" target=\"_blank\" rel=\"noopener noreferrer\">extended hours and free entry\u003c/a> for Bay Area residents.\u003c/p>\n\u003cp>But in this latest institutional letdown, there’s also an opportunity to take stock of what persists, and determine how to best support a film community with a huge history. It’s a community that thrives in artist-run celluloid festivals, microcinemas, resource sharing and a dedication to high-quality presentations of moving-image work.\u003c/p>\n\u003cfigure id=\"attachment_13900673\" class=\"wp-caption aligncenter\" style=\"max-width: 1222px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13900673\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Stauffacher_Telegram.jpg\" alt=\"\" width=\"1222\" height=\"881\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Stauffacher_Telegram.jpg 1222w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Stauffacher_Telegram-800x577.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Stauffacher_Telegram-1020x735.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Stauffacher_Telegram-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Stauffacher_Telegram-768x554.jpg 768w\" sizes=\"(max-width: 1222px) 100vw, 1222px\">\u003cfigcaption class=\"wp-caption-text\">A Western Union telegram sent to Frank Stauffacher from the New York City film society Cinema 16 in 1949, part of BAMPFA’s Art in Cinema collection. \u003ccite>(University of California, Berkeley Art Museum and Pacific Film Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Bay Area Alternative Film Starts at SFMOMA\u003c/h2>\n\u003cp>“Over the past half-century, no American city has become more consistently identified with alternative cinema than San Francisco and its environs,” Scott MacDonald writes in the introduction to his 2006 publication \u003ci>Art in Cinema: Documents Toward a History of the Film Society\u003c/i>. A long list follows of famous film and videomakers with Bay Area ties (\u003ca href=\"https://www.kqed.org/arts/12265794/bruce-conner-artist-who-twice-declared-himself-dead-lives-on-at-sfmoma\" target=\"_blank\" rel=\"noopener noreferrer\">Bruce Conner\u003c/a>, Bruce Baillie, George and Mike Kuchar, Trinh T. Minh-ha, Marlon Riggs, \u003ca href=\"https://www.kqed.org/arts/13892105/artist-cauleen-smith-on-black-utopia-in-california\" target=\"_blank\" rel=\"noopener noreferrer\">Cauleen Smith\u003c/a>), and the institutions that supported them (SFAI, Canyon Cinema, the Berkeley Art Museum and Pacific Film Archive, SF Cinematheque).\u003c/p>\n\u003cp>“But before any of these organizations began to make major contributions to independent media,” MacDonald continues, “the Art in Cinema film series … had demonstrated not only that there \u003ci>was\u003c/i> an alternative film history and an audience for it, but that the Bay Area could be one of its nodal points.”\u003c/p>\n\u003cp>Helmed between 1946 and 1954 by legendary artist and exhibitor Frank Stauffacher, Art in Cinema was one of the first regular film program at an American museum. Today, it seems only natural that film would be part of a contemporary art museum’s programming. “It’s such a complex and fascinating art with its own history, of the moving image, from celluloid to digital,” says Susan Oxtoby, BAMPFA’s director of film and senior film curator. “All of the complexities of the art form of cinema are ones that should be part of a contemporary art museum.”\u003c/p>\n\u003cp>In recent years, under the leadership of Manager of Film Programs Gina Basso, SFMOMA would screen three to six films a month, including the \u003ci>\u003ca href=\"https://www.sfmoma.org/series/past-seasons-of-modern-cinema/\" target=\"_blank\" rel=\"noopener noreferrer\">Modern Cinema\u003c/a>\u003c/i> program, which ran for 10 seasons and focused on critically acclaimed filmmakers like Werner Herzog, Claire Denis and Satyajit Ray, as well as themes within contemporary cinema. (2019’s \u003ci>Haunted! Gothic Tales by Women\u003c/i> was a personal favorite.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In contrast to other museum departments, where curators may only meet their audience at member events, artist talks or exhibition walk-throughs, Basso or her film program associate was present at every screening, introducing the selection and its context. “It really was a sense of walking in and having someone know my name or I knew the name of a frequent audience member,” she says. Regulars would save each other seats; some with preferred spots would cast sidelong glances if others encroached on their territory.\u003c/p>\n\u003cp>A crucial element of what makes film events so transcendent is the presence of the audience, that finite time spent together solely focused on one thing. The collective experience of watching a film is immeasurably different from streaming the same film at home. “You miss the essence of the community,” Basso says of home viewings, “which is conversation and people commiserating in the lobby for so long that I actually have to kick them out.”\u003c/p>\n\u003cp>SFMOMA’s film audiences, Basso says, were diverse and intergenerational. The barrier to entry with film is low—much lower, often, than other museum programming. “Everyone knows how to go see a film,” she says. “It’s really an experience that people understand.”\u003c/p>\n\u003cfigure id=\"attachment_13900700\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13900700\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Shapeshifters_1200.jpg\" alt=\"A man stands with his back to camera surrounded by audio and video equipment, some of which projects bright abstract pink, purple and blue shapes onto the wall in front of him.\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Shapeshifters_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Shapeshifters_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Shapeshifters_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Shapeshifters_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Shapeshifters_1200-768x576.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">During the pandemic shutdown, Shapeshifters livestreamed 20 shows, with about half recorded in their space. On Nov. 1, 2020 it was live video, film and light projections by Projection Art (Dennis Keefe and Jim Baldocchi), Lori Varga & Kit Young. \u003ccite>(Shapeshifters Cinema)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘New Things Popping Up All the Time’\u003c/h2>\n\u003cp>Of course, the Bay Area’s alternative film scene, as MacDonald detailed, is now much more than SFMOMA.\u003c/p>\n\u003cp>Before the pandemic necessitated a sudden stop to all indoor public gatherings, \u003ca href=\"http://www.atasite.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Artists’ Television Access\u003c/a> (ATA), a storefront theater on San Francisco’s Valencia Street, hosted events two to three times a week. \u003ca href=\"https://www.mcevoyarts.org/\" target=\"_blank\" rel=\"noopener noreferrer\">McEvoy Foundation for the Arts\u003c/a>, a nonprofit space that opened in 2017, purposefully built a dedicated screening room into its gallery floor plan, showing curated programs of short films alongside their art exhibitions. \u003ca href=\"http://www.othercinema.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Other Cinema\u003c/a>, organized by local filmmaker Craig Baldwin, showcased an eclectic and adventurous program of experimental film, video and performance—many featuring the artists in person—at ATA once a week. March 2020—that fateful month—was meant to usher in the fourth iteration of Light Field’s \u003ca href=\"https://www.kqed.org/arts/13876247/light-field-film-festival-returns-to-push-the-limits-of-celluloid\" target=\"_blank\" rel=\"noopener noreferrer\">celluloid film festival\u003c/a> at San Francisco’s alternative art space The Lab.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Across the bay, the Berkeley Art Museum and Pacific Film Archive boasted around 500 film events a year. \u003ca href=\"http://shapeshifterscinema.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Shapeshifters Cinema\u003c/a>, run by Gilbert Guerrero and Kathleen Quillian, was \u003ca href=\"https://www.kqed.org/arts/13874349/shapeshifters-cinema-and-brewery-promises-art-film-refuge-in-an-oakland-victorian\" target=\"_blank\" rel=\"noopener noreferrer\">poised to fully open\u003c/a> their microcinema and brewery in Oakland’s Jack London Square, building off their once-a-month expanded cinema programming at Temescal Arts Center. Business, as they say, was booming.\u003c/p>\n\u003cp>Even when their doors closed, programs and spaces pivoted, as so many did, to online screenings and \u003ca href=\"http://shapeshifterscinema.com/past-workshops/\" target=\"_blank\" rel=\"noopener noreferrer\">workshops\u003c/a>. \u003ca href=\"https://www.sfcinematheque.org/\" target=\"_blank\" rel=\"noopener noreferrer\">SF Cinematheque\u003c/a>’s director Steve Polta transitioned \u003ca href=\"https://www.kqed.org/arts/13885180/at-a-crossroads-sf-cinematheques-avant-garde-festival-goes-online\" target=\"_blank\" rel=\"noopener noreferrer\">Crossroads\u003c/a>, a festival of experimental and avant-garde film (which previously took place at SFMOMA), into a free online format. \u003ca href=\"http://canyoncinema.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Canyon Cinema\u003c/a>, a nonprofit film distribution company that started as a backyard cinema in 1961, focused on expanding its digital holdings, and now offers more than 1,000 titles for distribution in digital formats. And in the past two months, the renegade spirit of the Bay Area has reemerged in events like \u003ca href=\"https://www.instagram.com/sfmagiclantern/\" target=\"_blank\" rel=\"noopener noreferrer\">Magic Lantern\u003c/a>’s screenings at the North Beach bar Vesuvio, held outside in Kerouac Alley. Curated by Anthony Buchanan and Lapo Guzzini, the series most recently celebrated the origins of DIY culture in San Francisco with \u003ca href=\"https://www.instagram.com/p/CR4TTVBrmjB/\" target=\"_blank\" rel=\"noopener noreferrer\">a program of punk rock films\u003c/a>.\u003c/p>\n\u003cp>“There are a lot of things happening, but they’re just not happening under a big spotlight with the imprint and resources of an institution,” says Brett Kashmere, Canyon Cinema’s executive director. “There’s new things popping up all the time.”\u003c/p>\n\u003cfigure id=\"attachment_13900701\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13900701\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/LightField_63_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/LightField_63_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/LightField_63_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/LightField_63_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/LightField_63_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/LightField_63_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The audience watches Lis Rhodes’ ‘Light Music’ at the 2017 Light Field Film Festival at The Lab. \u003ccite>(Raphael Villet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Deeply Collaborative Ecosystem\u003c/h2>\n\u003cp>Attend two events at any of the above spaces and you’ll immediately recognize faces. Quillian describes a deeply collaborative and interconnected ecosystem. She and Guerrero met as volunteers at Artists’ Television Access, where Guerrero is now a board member. “I learned about experimental films by hanging out and being at ATA, as well as how to run a nonprofit organization,” Quillian says. “I was an intern at Canyon like a million years ago, that’s when I learned about the big-name experimental filmmakers.” SF Cinematheque is Shapeshifters’ fiscal sponsor. Craig Baldwin often connects artists showing at Other Cinema with Quillian and Guerrero to set up shows in the East Bay.\u003c/p>\n\u003cp>“The commonality amongst these organizations and projects is that they’re light in infrastructure and adaptable,” Kashmere points out. “And I think that’s something that’s consistent with Bay Area film culture, that sense of self-reliance and collaboration and adaptability, and being light on your feet.”\u003c/p>\n\u003cp>Even so, smaller organizations and artist-run projects across the Bay Area have historically benefitted from the presence of larger-scale institutions. Earlier this year, SFMOMA and SF Cinematheque co-presented \u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/assembly-of-images/\" target=\"_blank\" rel=\"noopener noreferrer\">Assembly of Images\u003c/a>\u003c/i>, an online film program curated by Basso featuring work that explored the representation of African Americans in photography and film. A piece from Canyon Cinema’s holdings, Christopher Harris’ \u003ci>Reckless Eyeballing\u003c/i>, was included in the program, and Kashmere says SFMOMA’s screening fee covered roughly half the cost of digitization.\u003c/p>\n\u003cfigure id=\"attachment_13900674\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13900674\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Harris_RecklessEyeballing_2.jpeg\" alt=\"\" width=\"800\" height=\"597\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Harris_RecklessEyeballing_2.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Harris_RecklessEyeballing_2-160x119.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Harris_RecklessEyeballing_2-768x573.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from Christopher Harris’ ‘Reckless Eyeballing,’ 2004. \u003ccite>(Courtesy the artist and Canyon Cinema)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Guerrero, similarly, describes instances when a larger institution might have the resources to bring an artist to town and install technically complex or difficult-to-show work that’s beyond Shapeshifters’ capacity. “But then these smaller venues get to feed off that and artists can show maybe early works or things they’re experimenting on,” he explains.\u003c/p>\n\u003cp>Collaboration—even for larger venues like BAMPFA—is a financial necessity. “When we all coordinate,” says Susan Oxtoby, BAMPFA’s director of film and senior film curator, “it allows us to bring interesting filmmakers to the Bay Area and for them to have a show in the city, a show in the East Bay, maybe partnering with the Rafael in Marin County. The audiences are all around the region, and it’s really important to make certain the venues in different parts of the Bay Area are doing the best programming.”\u003c/p>\n\u003cp>In fact, when the pandemic hit, it was the final days of BAMPFA and SFMOMA’s co-presented retrospective of the French filmmaker Agnès Varda.\u003c/p>\n\u003ch2>A ‘Stunning Disavowal of its Own History’\u003c/h2>\n\u003cp>On its \u003ca href=\"https://www.sfmoma.org/artists-artworks/film/\" target=\"_blank\" rel=\"noopener noreferrer\">own website\u003c/a>, SFMOMA describes a commitment to “exhibiting film as an essential medium of modern and contemporary art.”\u003c/p>\n\u003cp>And yet, in a July 19 email to staff titled “Connecting People to the Art of Our Time,” Benezra described film as a program that failed to drive attendance at the museum, one that “has historically had low attendance.” The flimsiest of predictions for its preemptive cancellation followed: the program “would inevitably struggle as films are increasingly streamed.”\u003c/p>\n\u003cp>According to an SFMOMA spokesperson, “While there was no specific goal for attendance at film programs, we have seen a steady decline that preceded the pandemic, from 6,700 in FY17 to 3,800 in FY20, and only 4% of our current membership have attended films.” (FY20 covers July 2019–June 2020, during which the museum was closed for 3.5 months.)\u003c/p>\n\u003cp>Just because something has existed for a long time does not inherently mean it must continue to exist. SFMOMA’s film program was certainly waxed and waned over its 84 years. But to reduce its past—and present—to “low attendance” versus “streaming” denies the existence of the film program’s very mission, and gives it no chance to flourish in a reopened museum. (The Phyllis Wattis Theater has remained closed since the March 2020 shutdown.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Practically, the end of SFMOMA’s film program means the loss of \u003ca href=\"https://www.kqed.org/arts/13841205/curatorial-crisis-bay-area-art-institutions\" target=\"_blank\" rel=\"noopener noreferrer\">yet another\u003c/a> Bay Area curatorial position—Basso’s job ends with the close of her fall 2021 season. It’s unclear how the cuts will affect on-call projectionists and other theater staff, many of whom are artists and filmmakers themselves. With less events, there will certainly be less shifts to fill.\u003c/p>\n\u003cp>Physically, there’s the question of what SFMOMA will do with its Wattis Theater—according to Kashmere, “maybe the best screening room in all of San Francisco.” An SFMOMA spokesperson side-stepped questions about future uses for the space, citing rising concerns about the spread of the delta variant.\u003c/p>\n\u003cp>But psychically, having the Bay Area’s largest and best-funded art museum essentially state that film does \u003ci>not belong\u003c/i> within its walls is utterly demoralizing. In a \u003ca href=\"https://canyoncinema.com/2021/07/23/canyon-cinema-response-to-the-elimination-of-sfmomas-film-program/\" target=\"_blank\" rel=\"noopener noreferrer\">fiery response\u003c/a> to SFMOMA’s “stunning disavowal of its own history,” Canyon Cinema’s staff and board collectively demanded the museum change its name.\u003c/p>\n\u003cp>If SFMOMA eliminates film from its institutional purview, the letter argues, the museum ceases to be a “modern art” institution.\u003c/p>\n\u003cfigure id=\"attachment_13900677\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13900677\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/BAMPFA_Film_3_1200.jpg\" alt=\"\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/BAMPFA_Film_3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/BAMPFA_Film_3_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/BAMPFA_Film_3_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/BAMPFA_Film_3_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/BAMPFA_Film_3_1200-768x576.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A moment from BAMPFA’s tribute to Norwegian actress Liv Ullmann in 2018. \u003ccite>(Courtesy Berkeley Art Museum and Pacific Film Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘A Better Future for Film’\u003c/h2>\n\u003cp>So many of the people I spoke to for this article mentioned the experimental filmmaker Paul Clipson, who worked as a projectionist at SFMOMA and died in 2018. Clipson loaned equipment to Light Field for their second festival in 2017; Basso watched him project his own work in the Wattis Theater during lunch breaks; Polta says after Crossroads found a home at SFMOMA he learned Clipson had been lobbying for the partnership internally.\u003c/p>\n\u003cp>That one person can have such an impact on the Bay Area’s film scene speaks to Clipson’s talent and generosity, but also to the fact that individual connections are much stronger than institutions. Even in the long-term—especially in the long-term.\u003c/p>\n\u003cp>“That’s maybe the new world that we’re going to live in,” Guerrero says, “which is ‘fuck the institutions and their money, we’re just going to collaborate with each other to build our own independent ecosystem.’ We’ll pull the money together to get artists out here, and have a circuit they can go through and really collaborate more around programming and supporting artists.”\u003c/p>\n\u003cp>Light Field co-programmer Patricia Villon shares this sentiment. “I hope that this can be a reflective moment to remember we can build a better future for film in the Bay Area,” Villion wrote via email, “with or without the workings of the museum and despite these cuts.”\u003c/p>\n\u003cp>Already, the months ahead are packed: partnerships between the Roxie Theater, \u003ca href=\"https://www.mcevoyarts.org/event/the-mirror/\" target=\"_blank\" rel=\"noopener noreferrer\">McEvoy\u003c/a>, \u003ca href=\"https://canyoncinema.com/2021/07/30/canyon-cinema-and-the-roxie-theater-to-launch-new-programming-partnership/\" target=\"_blank\" rel=\"noopener noreferrer\">Canyon Cinema\u003c/a> and \u003ca href=\"https://www.sfcinematheque.org/screenings/good-skies-almost-all-the-time-bruce-baillie-memorial-screening-publication-launch/\" target=\"_blank\" rel=\"noopener noreferrer\">SF Cinematheque\u003c/a>; the Sept. 1 return of indoor screenings at BAMPFA; the Sept. 11–16 livestreaming of Crossroads.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>SFMOMA may have launched the Bay Area’s alternative film scene, but its presence may not be necessary for all the thrilling, flickering projections to come.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘No Ordinary Man’ Reintroduces Jazz Musician and Transgender Hero, Billy Tipton",
"headTitle": "‘No Ordinary Man’ Reintroduces Jazz Musician and Transgender Hero, Billy Tipton | KQED",
"content": "\u003cp>Billy Tipton was an \u003ca href=\"https://www.youtube.com/watch?v=f3JAAxFYEws\" target=\"_blank\" rel=\"noopener noreferrer\">accomplished jazz musician\u003c/a> and talent agent, a dedicated husband, and a father of three adopted sons. It was only after he died in 1989, at the age of 74, that his family, friends and fans found out that he had lived in a female body. The public outing that Tipton was subjected to after his death resulted in his being both publicly misgendered \u003cem>and\u003c/em> mis-characterized as a liar; his musical legacy was overshadowed by tabloid trash talk.\u003c/p>\n\u003cp>Now, a new documentary written by \u003ca href=\"https://originalplumbing.bigcartel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Original Plumbing\u003c/em>\u003c/a> co-founder \u003ca href=\"https://twitter.com/theamosmac\" target=\"_blank\" rel=\"noopener noreferrer\">Amos Mac\u003c/a> and \u003ca href=\"https://twitter.com/spectraversa\" target=\"_blank\" rel=\"noopener noreferrer\">Aisling Chin-Yee\u003c/a>—who co-directed the film with \u003ca href=\"https://www.chasejoynt.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Chase Joynt\u003c/a>—seeks to undo that damage. And oh, how beautifully it succeeds. \u003cem>No Ordinary Man\u003c/em> is a moving and consistently thought-provoking tribute to an individual who lived as authentically and boldly as he could, at a time when trans men weren’t only without medical recourse, but weren’t even supposed to exist. “It’s scary,” Zackary Drucker poignantly notes in the film, “when centuries of your survival have been based on not being seen.”\u003c/p>\n\u003cp>https://youtu.be/sLS-Fq8Cbxw\u003c/p>\n\u003cp>Tipton’s life is explored in some depth, including his greatest triumphs—such as playing with jazz legends like Duke Ellington—and painful tragedies. Most devastatingly, Tipton refused to seek medical treatment for the ulcer that ultimately killed him, no doubt fearful of being discovered. His 18-year marriage to Kitty Kelly was also without physical intimacy—Tipton told Kelly that a car crash had left the lower half of his body gravely and permanently injured.\u003c/p>\n\u003cp>What makes \u003cem>No Ordinary Man\u003c/em> truly extraordinary, however, is the way in which it uses Tipton’s story to explore the experiences of all trans men. It probes issues around identity, sexuality and a culture that has historically either erased trans men, or else treated them as an aberration. It analyzes the importance of media representation. And it even examines the inhumane medical neglect that, until fairly recently, trans people were consistently subjected to. (“Trans people going into emergency rooms in the late 1980s,” Jamison Green explains, “were told, ‘We don’t treat people like you. We don’t understand your body.’”)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One of the most impactful methods \u003cem>No Ordinary Man\u003c/em> employs to explore the lived trans-masculine experience is through scenes in which real-life actors audition to play Billy. The pathos that some of them—particularly the exceptional \u003ca href=\"https://www.imdb.com/name/nm9383000/\" target=\"_blank\" rel=\"noopener noreferrer\">Marquise Vilsón\u003c/a>—bring to scenes from Billy’s life elevate our understanding of the knife-edge Tipton must have lived on during his 55 years of “passing.” In Vilsón’s hands, for example, a simple scene in which Tipton prepares to meet Duke Ellington is transformed into an anxiety-laden edge-of-seat moment. Another, in which Tipton unexpectedly meets an out trans man for the first time, becomes quietly devastating.\u003c/p>\n\u003cp>At one point, Vilsón effectively sums up why these audition scenes are so important. “The casting process looks like as many different versions and variations of transness walking into a casting director’s office,” he says. “There are so few accounts of us having access to history that belongs to us, that is being created by us, that is being curated by us, that allows our voice and our vision to be part of the process.”\u003c/p>\n\u003cp>[aside postid='arts_13870056']Also part of the process here is Billy Tipton Jr.—a man you can practically see healing on screen as he finally finds out his dad is a hero to countless others. At the end of his father’s life, Tipton Jr. was hurt and frustrated by his dad’s unwillingness to see a doctor. He acted as a caretaker and was present at Tipton’s death. And in the aftermath, he was caught up in a media sensationalism that swept him onto several prominent daytime talk shows. \u003cem>No Ordinary Man\u003c/em> seems to offer Tipton Jr. a new understanding of all that his father achieved in life and how much he is still respected for it. His shock and relief is palpable.\u003c/p>\n\u003cp>In just 84 minutes, \u003cem>No Ordinary Man\u003c/em> does so much more than introduce us to the “consummate professional” and “gentleman’s gentleman” that was Billy Tipton. It draws a figurative line in the sand and demands that we never again ignore or erase transgender people from our national identity. “Trans men have not existed in the cultural imagination at all really,” Thomas Page McBee says at one point. “So the idea of now having this process of looking back and trying to figure out what our lineage is, it makes a lot of sense to be looking at these sorts of stories.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘No Ordinary Man’ is playing at the \u003ca href=\"https://www.landmarktheatres.com/san-francisco/embarcadero-center-cinema/film-info/no-ordinary-man\" target=\"_blank\" rel=\"noopener noreferrer\">Embarcadero Center Cinema\u003c/a> in San Francisco, and \u003ca href=\"https://www.landmarktheatres.com/san-francisco-east-bay/shattuck-cinemas/film-info/no-ordinary-man\" target=\"_blank\" rel=\"noopener noreferrer\">Shattuck Cinemas\u003c/a> in Berkeley, through Aug. 5.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The new documentary uses Tipton’s life as a jumping-off point to examine trans-masculine experiences—and their cultural erasure.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Billy Tipton was an \u003ca href=\"https://www.youtube.com/watch?v=f3JAAxFYEws\" target=\"_blank\" rel=\"noopener noreferrer\">accomplished jazz musician\u003c/a> and talent agent, a dedicated husband, and a father of three adopted sons. It was only after he died in 1989, at the age of 74, that his family, friends and fans found out that he had lived in a female body. The public outing that Tipton was subjected to after his death resulted in his being both publicly misgendered \u003cem>and\u003c/em> mis-characterized as a liar; his musical legacy was overshadowed by tabloid trash talk.\u003c/p>\n\u003cp>Now, a new documentary written by \u003ca href=\"https://originalplumbing.bigcartel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Original Plumbing\u003c/em>\u003c/a> co-founder \u003ca href=\"https://twitter.com/theamosmac\" target=\"_blank\" rel=\"noopener noreferrer\">Amos Mac\u003c/a> and \u003ca href=\"https://twitter.com/spectraversa\" target=\"_blank\" rel=\"noopener noreferrer\">Aisling Chin-Yee\u003c/a>—who co-directed the film with \u003ca href=\"https://www.chasejoynt.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Chase Joynt\u003c/a>—seeks to undo that damage. And oh, how beautifully it succeeds. \u003cem>No Ordinary Man\u003c/em> is a moving and consistently thought-provoking tribute to an individual who lived as authentically and boldly as he could, at a time when trans men weren’t only without medical recourse, but weren’t even supposed to exist. “It’s scary,” Zackary Drucker poignantly notes in the film, “when centuries of your survival have been based on not being seen.”\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/sLS-Fq8Cbxw'\n title='//www.youtube.com/embed/sLS-Fq8Cbxw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Tipton’s life is explored in some depth, including his greatest triumphs—such as playing with jazz legends like Duke Ellington—and painful tragedies. Most devastatingly, Tipton refused to seek medical treatment for the ulcer that ultimately killed him, no doubt fearful of being discovered. His 18-year marriage to Kitty Kelly was also without physical intimacy—Tipton told Kelly that a car crash had left the lower half of his body gravely and permanently injured.\u003c/p>\n\u003cp>What makes \u003cem>No Ordinary Man\u003c/em> truly extraordinary, however, is the way in which it uses Tipton’s story to explore the experiences of all trans men. It probes issues around identity, sexuality and a culture that has historically either erased trans men, or else treated them as an aberration. It analyzes the importance of media representation. And it even examines the inhumane medical neglect that, until fairly recently, trans people were consistently subjected to. (“Trans people going into emergency rooms in the late 1980s,” Jamison Green explains, “were told, ‘We don’t treat people like you. We don’t understand your body.’”)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One of the most impactful methods \u003cem>No Ordinary Man\u003c/em> employs to explore the lived trans-masculine experience is through scenes in which real-life actors audition to play Billy. The pathos that some of them—particularly the exceptional \u003ca href=\"https://www.imdb.com/name/nm9383000/\" target=\"_blank\" rel=\"noopener noreferrer\">Marquise Vilsón\u003c/a>—bring to scenes from Billy’s life elevate our understanding of the knife-edge Tipton must have lived on during his 55 years of “passing.” In Vilsón’s hands, for example, a simple scene in which Tipton prepares to meet Duke Ellington is transformed into an anxiety-laden edge-of-seat moment. Another, in which Tipton unexpectedly meets an out trans man for the first time, becomes quietly devastating.\u003c/p>\n\u003cp>At one point, Vilsón effectively sums up why these audition scenes are so important. “The casting process looks like as many different versions and variations of transness walking into a casting director’s office,” he says. “There are so few accounts of us having access to history that belongs to us, that is being created by us, that is being curated by us, that allows our voice and our vision to be part of the process.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Also part of the process here is Billy Tipton Jr.—a man you can practically see healing on screen as he finally finds out his dad is a hero to countless others. At the end of his father’s life, Tipton Jr. was hurt and frustrated by his dad’s unwillingness to see a doctor. He acted as a caretaker and was present at Tipton’s death. And in the aftermath, he was caught up in a media sensationalism that swept him onto several prominent daytime talk shows. \u003cem>No Ordinary Man\u003c/em> seems to offer Tipton Jr. a new understanding of all that his father achieved in life and how much he is still respected for it. His shock and relief is palpable.\u003c/p>\n\u003cp>In just 84 minutes, \u003cem>No Ordinary Man\u003c/em> does so much more than introduce us to the “consummate professional” and “gentleman’s gentleman” that was Billy Tipton. It draws a figurative line in the sand and demands that we never again ignore or erase transgender people from our national identity. “Trans men have not existed in the cultural imagination at all really,” Thomas Page McBee says at one point. “So the idea of now having this process of looking back and trying to figure out what our lineage is, it makes a lot of sense to be looking at these sorts of stories.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘No Ordinary Man’ is playing at the \u003ca href=\"https://www.landmarktheatres.com/san-francisco/embarcadero-center-cinema/film-info/no-ordinary-man\" target=\"_blank\" rel=\"noopener noreferrer\">Embarcadero Center Cinema\u003c/a> in San Francisco, and \u003ca href=\"https://www.landmarktheatres.com/san-francisco-east-bay/shattuck-cinemas/film-info/no-ordinary-man\" target=\"_blank\" rel=\"noopener noreferrer\">Shattuck Cinemas\u003c/a> in Berkeley, through Aug. 5.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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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"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.",
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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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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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},
"radiolab": {
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
"science-friday": {
"id": "science-friday",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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