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"content": "\u003cp>If history is indeed written by the winners, why is Hernan Cortez so miserable?\u003c/p>\n\u003cp>For starters, Oakland-based director \u003ca href=\"https://rrcinema.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Rodrigo Reyes\u003c/a> has yanked the 16th-century Spanish conquistador from his eternal rest and dropped him in the lapping water on a deserted Mexican coast. Making his way through picturesque dunes in his heavy boots and clothes, Cortez encounters pollution and culture shock.\u003c/p>\n\u003cp>Worse realizations await, as Cortez (a weary yet curious Eduardo San Juan Breña) sets out on a journey from Veracruz to Tenochtitlan (present-day Mexico City), retracing his steps half a millennium after he and his invading force conquered the Aztec Empire. Reyes presents Cortez—and us—with a litany of painful contemporary sagas ranging from the kidnapping and murder of a journalist to the legions of Latin Americans riding a hope, a prayer and a freight train through Mexico to El Norte. Confronted with the violence and “progress” that are his legacy, the colonial explorer has a crisis of conscience.\u003c/p>\n\u003cfigure id=\"attachment_13894799\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Reyes_Rodrigo_499_Still_1-5_1200.jpg\" alt=\"A man dressed as a conquistador sits on a railway track with other men.\" width=\"1200\" height=\"503\" class=\"size-full wp-image-13894799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Reyes_Rodrigo_499_Still_1-5_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Reyes_Rodrigo_499_Still_1-5_1200-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Reyes_Rodrigo_499_Still_1-5_1200-1020x428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Reyes_Rodrigo_499_Still_1-5_1200-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Reyes_Rodrigo_499_Still_1-5_1200-768x322.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Rodrigo Reyes’ ‘499,’ 2020. \u003ccite>(Alejandro Mejía/AMC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>499\u003c/em> is at once an imaginative dreamscape and a harrowing travelogue that marries documentary and fiction to fascinating effect. While showing us our harsh, messy world through the eyes of an anachronistic figure, the film evokes the universal (and ludicrous) aspiration for immortality through a mix of horror, poetry and droll humor.\u003c/p>\n\u003cp>The big risk that Reyes runs is trivializing the real suffering of real people by incorporating their experiences in his grand conceit. (He originally intended for \u003cem>499\u003c/em> to come out in 2020, on the eve of the 500th anniversary of Spain’s conquest of the Aztec Empire.) And there’s a hurdle that Reyes has to leap with viewers, by drawing a straight (or even wavy line) through five centuries of history.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Wisely, Reyes is less interested in declarations and proclamations than in a universe of mysteries: The price of ego and the wages of power, the persisting beauty of a land riven by human civilization, the rituals of religion and the sway of superstition. The result is that \u003cem>499\u003c/em> turns us into explorers, alongside Cortez.\u003c/p>\n\u003cp>Consequently, and perhaps inevitably, we are implicated along with Cortez for the ravages he left in his wake so long (but not so long) ago. When he finally sheds and discards his armor in a sprawling garbage dump in a demonstration of self-loathing, acceptance and reinvention, we can identify.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘499’ plays Sept. 3–9 at the Roxie. \u003ca href=\"https://www.roxie.com/ai1ec_event/499/?instance_id=41998\" rel=\"noopener noreferrer\" target=\"_blank\">Tickets and showtimes here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cp>Just a few months ago, theater chains and distributors (especially the rapacious studios) were salivating about the turnstile-spinning, popcorn-chomping return of the masses to the multiplex. A few summer superheroes were primed to light up the box office, setting the stage for a steady parade of fall moneymakers, holiday hits and executive Christmas bonuses.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/fallarts2021\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-13901773\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg\" alt=\"\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue-160x160.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/a>\u003c/p>\n\u003cp>Then came the delta variant, possibly postponing the storybook ending yet again. Film festivals have devised a dual-platform approach, with some in-person screenings and a ramped-up online program. The studios, meanwhile, are agonizing over the big, expensive movies (like the latest James Bond adventure, gathering dust on a shelf for the last year and a half) they’re counting on to mint millions in October—if, and only if, theatergoers feel safe crowded together (with or without masks).\u003c/p>\n\u003cp>This is not to overlook streaming, which is a permanent part of the landscape now. But it can never replace the big-screen experience of sitting in the dark with strangers. Here are the highlights of what’s headed our way in the next couple months, that is, if the schedule holds.\u003c/p>\n\u003cp>\u003ci>\u003cb>Reminder:\u003c/b> COVID precautions remain in flux. Proof of vaccination is a requirement for many indoor events. Before making plans, and again before arrival, be sure to check event websites for the latest protocols.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/AXhpTZeG4eg\u003c/p>\n\u003ch2>\u003ca href=\"https://www.20thcenturystudios.com/movies/everybodys-talking-about-jamie\" rel=\"noopener noreferrer\" target=\"_blank\">‘Everybody’s Talking About Jamie’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Limited theatrical release Sept. 10; streaming on Amazon Prime Sept. 17\u003c/i>\u003c/p>\n\u003cp>Jamie Campbell knew who he was in high school in the English town of Bishop Auckland, and he resolved to express it. Supported by his mum (though not his dad) and accompanied by a film crew—a protective strategy Jamie devised, and arranged by pitching a documentary to a production company—he wore a dress to prom and made his drag debut as Fifi la True. \u003cem>\u003ca href=\"https://www.amazon.com/Jamie-Drag-Queen-at-16/dp/B07RX3H932\" rel=\"noopener noreferrer\" target=\"_blank\">Jamie: Drag Queen at 16\u003c/a>\u003c/em> aired on British TV in 2011, inspiring Sheffield theater director Jonathan Butterell to create the exuberant, affirming 2017 musical that went on to become a West End hit. Butterell’s screen adaptation of the same name, starring newcomer Max Harwood and featuring Richard E. Grant as the confident queen who takes Jamie under his wing, precedes the musical’s North American premiere, slated for L.A.’s Ahmanson Theatre in January. \u003c/p>\n\u003cfigure id=\"attachment_13902155\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/4-USE-RL-Marti%CC%81nez1_1200.jpg\" alt=\"View of forest with colorful, smoky overlay.\" width=\"1200\" height=\"724\" class=\"size-full wp-image-13902155\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/4-USE-RL-Martínez1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/4-USE-RL-Martínez1_1200-800x483.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/4-USE-RL-Martínez1_1200-1020x615.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/4-USE-RL-Martínez1_1200-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/4-USE-RL-Martínez1_1200-768x463.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">J.M. Martínez, ‘Recursive Lattice.’ \u003ccite>(SF Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfcinematheque.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Crossroads\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Livestreamed Sept. 17–23\u003cbr>\nIn-person shows Oct. 16–17 at the Roxie Theater, San Francisco\u003cbr>\nMost programs online through Oct. 21\u003c/i>\u003c/p>\n\u003cp>Sixty years young, San Francisco Cinematheque keeps the flame of avant-garde film and video alive and aloft. It’s more of a beacon, really, as the long-running Crossroads festival attracts a remarkable range of new short works from established and young filmmakers around the world. The lineup features world premieres by Takahiro Suzuki, Jennie MaryTai Liu, Julia Dogra-Brazell and J.M. Martínez, among others. Experimental film is the least-commercial form of moviemaking—although its stylistic and technical innovations are routinely co-opted by ad agencies—and arguably the purest. \u003c/p>\n\u003cp>https://youtu.be/eMMLRnXPPJk\u003c/p>\n\u003ch2>\u003ca href=\"https://www.searchlightpictures.com/theeyesoftammyfaye/\" rel=\"noopener noreferrer\" target=\"_blank\">‘The Eyes of Tammy Faye’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>In theaters Sept. 17\u003c/i>\u003c/p>\n\u003cp>It’s anybody’s guess, at this late date, if the late evangelist and eyelash fashionista Tammy Faye Bakker is more revered in queer or Evangelical circles. Jessica Chastain channels our heroine, with Andrew Garfield playing hubby Jim and Vincent D’Onofrio inhabiting the snake skin of Jerry Falwell, in Michael Showalter’s moving saga of a crisis of prosperity gospel—I mean, faith.\u003c/p>\n\u003cfigure id=\"attachment_13902249\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/Whitina_Short_SFLatinoFF_1200.jpg\" alt=\"Three teenagers on a suburban street, one in a cheerleading uniform.\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13902249\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Whitina_Short_SFLatinoFF_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Whitina_Short_SFLatinoFF_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Whitina_Short_SFLatinoFF_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Whitina_Short_SFLatinoFF_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Whitina_Short_SFLatinoFF_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Inde Navarrette in the short film ‘#WHITINA,’ directed by J. Sean Smith. \u003ccite>(Courtesy SF Latino Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.cinemassf.org/\" rel=\"noopener noreferrer\" target=\"_blank\">SF Latino Film Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Oct. 1–17 online and in-person\u003c/i>\u003c/p>\n\u003cp>There’s an astonishing depth and breadth of narrative filmmaking in Latin and South America that people in this country are often oblivious to. That’s especially regrettable given 1) the simplistic headlines that drive our shallow understanding of life in the southern hemisphere and 2) its geographic proximity. Cine+Mas’ annual festival compiles a cornucopia of small treasures for local audiences, sprinkled with fiction and documentary portraits of Latinx life in the U.S. The 13th edition promises to be, as always, vibrant and tough-minded.\u003c/p>\n\u003cfigure id=\"attachment_13902161\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/SeriousMoviesCombo_1800.jpg\" alt=\"\" width=\"1800\" height=\"450\" class=\"size-full wp-image-13902161\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/SeriousMoviesCombo_1800.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/SeriousMoviesCombo_1800-800x200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/SeriousMoviesCombo_1800-1020x255.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/SeriousMoviesCombo_1800-160x40.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/SeriousMoviesCombo_1800-768x192.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/SeriousMoviesCombo_1800-1536x384.jpg 1536w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">Stills (L–R) from ‘The Many Saints of Newark,’ ‘No Time to Die’ and ‘The Last Duel’ prove all films with a blue tinge should be taken seriously. \u003ccite>(Warner Bros. / Universal Pictures / 20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.warnerbros.com/movies/many-saints-newark\" rel=\"noopener noreferrer\" target=\"_blank\">‘The Many Saints of Newark,’\u003c/a> \u003ca href=\"https://www.007.com/no-time-to-die/\" rel=\"noopener noreferrer\" target=\"_blank\">‘No Time to Die’\u003c/a> & \u003ca href=\"https://www.20thcenturystudios.com/movies/the-last-duel\" rel=\"noopener noreferrer\" target=\"_blank\">‘The Last Duel’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Oct. 1; Oct. 8; Oct. 15, respectively\u003ci>\u003c/i>\u003c/i>\u003c/p>\n\u003cp>October brings what passes for mainstream adult entertainment: Violent action with a thin veneer of serious, deep themes. First up is the Sopranos prequel that nobody asked for, with Alessandro Nivola, Vera Farmiga and Corey Stoll doing the heavy lifting and Michael Gandolfini as Young Tony. \u003cem>No Time to Die\u003c/em> is the aforementioned Bond flick, with Daniel Craig playing 007 for the last time and Oakland-born Cary Joji Fukunaga at the helm for the first time. The trifecta is completed by Ridley Scott’s \u003cem>The Last Duel\u003c/em>, which unfolds in 14th-century France and involves honor, betrayal, a woman asserting her free will and a duel. So of course Matt Damon, Adam Driver and Ben Affleck play the leads (alongside Jodie Comer). Nothing to do with Affleck and Damon penning the script, with the help of Nicole Holofcener. I don’t suppose France would ever recall their ambassador over a movie, but it’s an amusing fantasy.\u003c/p>\n\u003cfigure id=\"attachment_13902208\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Passing_Sc2071_Clare20Ruth20Negga20and20Irene20Tessa20Thompson20on20the20Stoop20Reverse20Angle_CR2_1200.jpg\" alt=\"\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13902208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Passing_Sc2071_Clare20Ruth20Negga20and20Irene20Tessa20Thompson20on20the20Stoop20Reverse20Angle_CR2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Passing_Sc2071_Clare20Ruth20Negga20and20Irene20Tessa20Thompson20on20the20Stoop20Reverse20Angle_CR2_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Passing_Sc2071_Clare20Ruth20Negga20and20Irene20Tessa20Thompson20on20the20Stoop20Reverse20Angle_CR2_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Passing_Sc2071_Clare20Ruth20Negga20and20Irene20Tessa20Thompson20on20the20Stoop20Reverse20Angle_CR2_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Passing_Sc2071_Clare20Ruth20Negga20and20Irene20Tessa20Thompson20on20the20Stoop20Reverse20Angle_CR2_1200-768x576.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Rebecca Hall’s ‘Passing,’ featuring Clare (Ruth Negga) and Irene (Tessa Thompson). \u003ccite>(Courtesy Mill Valley Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.mvff.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Mill Valley Film Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Oct. 7–17 online and in-person\u003c/i>\u003c/p>\n\u003cp>Marin County’s long-running soirée is a supreme apple-picker, plucking the most promising titles from the Telluride, Venice, Toronto and New York festivals (which all take place in September) on their way to theatrical releases and end-of-year awards. The juicy offerings include Todd Haynes’ documentary \u003cem>The Velvet Underground\u003c/em> (opening Oct. 15 before streaming on Apple+), Denis Villeneuve’s take on Frank Herbert’s \u003cem>Dune\u003c/em> (Oct. 22) and Eve Husson’s adaptation of Graham Swift’s \u003cem>Mothering Sunday\u003c/em> (Nov. 19).\u003c/p>\n\u003cp>The dazzling list of women directors also includes Maggie Gyllenhaal (\u003cem>The Lost Daughter\u003c/em>), Rebecca Hall (\u003cem>Passing\u003c/em>, adapted from Harlem Renaissance author Nella Larsen’s 1929 novel) and Jane Campion (\u003cem>The Power of the Dog\u003c/em>). Release dates are forthcoming for all three films, with the latter two coming to Netflix.\u003c/p>\n\u003cp>MVFF also has the local premieres of a slew of Bay Area documentaries, including Susan Stern’s \u003cem>Bad Attitude: The Art of Spain Rodriguez\u003c/em>, Suzanne Joe Kai’s \u003cem>Like a Rolling Stone: The Life & Times of Ben Fong-Torres\u003c/em> and Andres Alegria and Abel Sanchez’s \u003cem>Song for Cesar\u003c/em>. Local filmmakers have been busy during the pandemic, and we’re about to reap the benefits.\u003c/p>\n\u003cfigure id=\"attachment_13902189\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/BangarraDanceEnsemble-Whistler_ONESCOUNTRY-Bangarra-photobyDanielBoud_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13902189\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/BangarraDanceEnsemble-Whistler_ONESCOUNTRY-Bangarra-photobyDanielBoud_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/BangarraDanceEnsemble-Whistler_ONESCOUNTRY-Bangarra-photobyDanielBoud_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/BangarraDanceEnsemble-Whistler_ONESCOUNTRY-Bangarra-photobyDanielBoud_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/BangarraDanceEnsemble-Whistler_ONESCOUNTRY-Bangarra-photobyDanielBoud_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/BangarraDanceEnsemble-Whistler_ONESCOUNTRY-Bangarra-photobyDanielBoud_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The Bangarra Dance Ensemble performing ‘Whistler’ from ‘Ones Country.’ \u003ccite>(Daniel Boud)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfdancefilmfest.org/\" rel=\"noopener noreferrer\" target=\"_blank\">SF Dance Film Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Oct. 15–24 in-theater screenings and online through Marquee TV\u003c/i>\u003c/p>\n\u003cp>The growth of the SFDFF’s programming, in good times and pandemic times, is one of the more impressive developments on the local film scene. Yes, the vast majority of the 123 pieces (from 25 countries) are shorts, but the variety of approaches (both choreographic and cinematic) in a single program is an enticement for audiences (although no less of a challenge for programmers). Feature-length offerings include the captivating Bollywood fable \u003cem>Natyam\u003c/em> and the Australian documentary \u003cem>Firestarter: The Story of Bangarra\u003c/em>, which salutes the dance company forever changed by three Aboriginal brothers over 30 years ago. The SFDFF also screens the recent docs \u003cem>Ailey\u003c/em> and \u003cem>Can You Bring It? Bill T. Jones and D-Man in the Waters\u003c/em> for those who missed them the first time around.\u003c/p>\n\u003cp>https://youtu.be/TcPk2p0Zaw4\u003c/p>\n\u003ch2>\u003ca href=\"https://www.searchlightpictures.com/thefrenchdispatch/\" rel=\"noopener noreferrer\" target=\"_blank\">‘The French Dispatch’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Opens Oct. 22\u003c/i>\u003c/p>\n\u003cp>Wes Anderson’s latest obsessively designed gingerbread house of a movie revolves around a fictional literary magazine published in the last century by American expatriates in a French town. His regular retinue of stars playing oddballs (Bill Murray, Jason Schwartzman, Elisabeth Moss, Owen Wilson, Anjelica Huston) is abetted by Frances McDormand, Benicio del Toro, Jeffery Wright, Timothée Chalemet and Gallic stars Mathieu Amalric and Léa Seydoux. Whether they infuse the twee proceedings with life and emotion is both the key question and beside the point: Anderson’s movies are an inside joke, and you know if you get them (and like them) or not.\u003c/p>\n\u003cp>https://youtu.be/Lagauhb5GyY\u003c/p>\n\u003ch2>\u003ca href=\"https://neonrated.com/films/spencer\" rel=\"noopener noreferrer\" target=\"_blank\">‘Spencer’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Opens Nov. 5\u003c/i>\u003c/p>\n\u003cp>A decade or so ago, when she was winsomely emoting in the \u003cem>Twilight\u003c/em> movies, nobody could have imagined Kristen Stewart would someday be an Oscar candidate. Especially in one of those emotionally fraught, home-for-the-holidays movies. Ah, but what if the home is, uh, a palace? (Sandringham Estate, actually.) Stewart plays Princess Diana at a low point in her marriage to Prince Charles (Jack Farthing) in this speculative drama penned by Steven Knight (\u003cstrong>Peaky Blinders\u003c/strong>). The Chilean director Pablo Larraín (\u003cem>Jackie\u003c/em>, \u003cem>Ema\u003c/em>) continues his recent exploration of women in desperate circumstances asserting their power and claiming their independence.\u003c/p>\n\u003cp>https://youtu.be/kAJXFRshQfw\u003c/p>\n\u003ch2>\u003ca href=\"https://www.netflix.com/title/81149184\" rel=\"noopener noreferrer\" target=\"_blank\">‘tick, tick…BOOM!’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Limited theatrical release Nov. 12\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Netflix drops Lin-Manuel Miranda’s directorial debut, adapted from Jonathan Larson’s early-’90s autobiographical musical, into theaters for a qualifying run for little gold statues before streaming it far and wide Nov. 19. Larson wrote \u003cem>tick, tick…BOOM!\u003c/em> to expunge his disappointment and frustration after his previous musical didn’t receive a New York production. He did go on to have the success he wanted with \u003cem>Rent\u003c/em>, but couldn’t enjoy it. The day of its first off-Broadway preview, Larsen died of a misdiagnosed heart condition. Don’t let it bring you down: Andrew Garfield (as Jon) and Bradley Whitford (as Stephen Sondheim) lead the cast of Miranda’s homage to creativity, ambition and the vagaries of love.\u003c/p>\n\n",
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"excerpt": "Our fall film guide is full of local fests, long-delayed big-screen premieres and plenty of streaming options.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just a few months ago, theater chains and distributors (especially the rapacious studios) were salivating about the turnstile-spinning, popcorn-chomping return of the masses to the multiplex. A few summer superheroes were primed to light up the box office, setting the stage for a steady parade of fall moneymakers, holiday hits and executive Christmas bonuses.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/fallarts2021\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-13901773\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg\" alt=\"\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue-160x160.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/a>\u003c/p>\n\u003cp>Then came the delta variant, possibly postponing the storybook ending yet again. Film festivals have devised a dual-platform approach, with some in-person screenings and a ramped-up online program. The studios, meanwhile, are agonizing over the big, expensive movies (like the latest James Bond adventure, gathering dust on a shelf for the last year and a half) they’re counting on to mint millions in October—if, and only if, theatergoers feel safe crowded together (with or without masks).\u003c/p>\n\u003cp>This is not to overlook streaming, which is a permanent part of the landscape now. But it can never replace the big-screen experience of sitting in the dark with strangers. Here are the highlights of what’s headed our way in the next couple months, that is, if the schedule holds.\u003c/p>\n\u003cp>\u003ci>\u003cb>Reminder:\u003c/b> COVID precautions remain in flux. Proof of vaccination is a requirement for many indoor events. Before making plans, and again before arrival, be sure to check event websites for the latest protocols.\u003c/i>\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/AXhpTZeG4eg'\n title='//www.youtube.com/embed/AXhpTZeG4eg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.20thcenturystudios.com/movies/everybodys-talking-about-jamie\" rel=\"noopener noreferrer\" target=\"_blank\">‘Everybody’s Talking About Jamie’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Limited theatrical release Sept. 10; streaming on Amazon Prime Sept. 17\u003c/i>\u003c/p>\n\u003cp>Jamie Campbell knew who he was in high school in the English town of Bishop Auckland, and he resolved to express it. Supported by his mum (though not his dad) and accompanied by a film crew—a protective strategy Jamie devised, and arranged by pitching a documentary to a production company—he wore a dress to prom and made his drag debut as Fifi la True. \u003cem>\u003ca href=\"https://www.amazon.com/Jamie-Drag-Queen-at-16/dp/B07RX3H932\" rel=\"noopener noreferrer\" target=\"_blank\">Jamie: Drag Queen at 16\u003c/a>\u003c/em> aired on British TV in 2011, inspiring Sheffield theater director Jonathan Butterell to create the exuberant, affirming 2017 musical that went on to become a West End hit. Butterell’s screen adaptation of the same name, starring newcomer Max Harwood and featuring Richard E. Grant as the confident queen who takes Jamie under his wing, precedes the musical’s North American premiere, slated for L.A.’s Ahmanson Theatre in January. \u003c/p>\n\u003cfigure id=\"attachment_13902155\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/4-USE-RL-Marti%CC%81nez1_1200.jpg\" alt=\"View of forest with colorful, smoky overlay.\" width=\"1200\" height=\"724\" class=\"size-full wp-image-13902155\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/4-USE-RL-Martínez1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/4-USE-RL-Martínez1_1200-800x483.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/4-USE-RL-Martínez1_1200-1020x615.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/4-USE-RL-Martínez1_1200-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/4-USE-RL-Martínez1_1200-768x463.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">J.M. Martínez, ‘Recursive Lattice.’ \u003ccite>(SF Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfcinematheque.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Crossroads\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Livestreamed Sept. 17–23\u003cbr>\nIn-person shows Oct. 16–17 at the Roxie Theater, San Francisco\u003cbr>\nMost programs online through Oct. 21\u003c/i>\u003c/p>\n\u003cp>Sixty years young, San Francisco Cinematheque keeps the flame of avant-garde film and video alive and aloft. It’s more of a beacon, really, as the long-running Crossroads festival attracts a remarkable range of new short works from established and young filmmakers around the world. The lineup features world premieres by Takahiro Suzuki, Jennie MaryTai Liu, Julia Dogra-Brazell and J.M. Martínez, among others. Experimental film is the least-commercial form of moviemaking—although its stylistic and technical innovations are routinely co-opted by ad agencies—and arguably the purest. \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/eMMLRnXPPJk'\n title='//www.youtube.com/embed/eMMLRnXPPJk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.searchlightpictures.com/theeyesoftammyfaye/\" rel=\"noopener noreferrer\" target=\"_blank\">‘The Eyes of Tammy Faye’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>In theaters Sept. 17\u003c/i>\u003c/p>\n\u003cp>It’s anybody’s guess, at this late date, if the late evangelist and eyelash fashionista Tammy Faye Bakker is more revered in queer or Evangelical circles. Jessica Chastain channels our heroine, with Andrew Garfield playing hubby Jim and Vincent D’Onofrio inhabiting the snake skin of Jerry Falwell, in Michael Showalter’s moving saga of a crisis of prosperity gospel—I mean, faith.\u003c/p>\n\u003cfigure id=\"attachment_13902249\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/Whitina_Short_SFLatinoFF_1200.jpg\" alt=\"Three teenagers on a suburban street, one in a cheerleading uniform.\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13902249\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Whitina_Short_SFLatinoFF_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Whitina_Short_SFLatinoFF_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Whitina_Short_SFLatinoFF_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Whitina_Short_SFLatinoFF_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Whitina_Short_SFLatinoFF_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Inde Navarrette in the short film ‘#WHITINA,’ directed by J. Sean Smith. \u003ccite>(Courtesy SF Latino Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.cinemassf.org/\" rel=\"noopener noreferrer\" target=\"_blank\">SF Latino Film Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Oct. 1–17 online and in-person\u003c/i>\u003c/p>\n\u003cp>There’s an astonishing depth and breadth of narrative filmmaking in Latin and South America that people in this country are often oblivious to. That’s especially regrettable given 1) the simplistic headlines that drive our shallow understanding of life in the southern hemisphere and 2) its geographic proximity. Cine+Mas’ annual festival compiles a cornucopia of small treasures for local audiences, sprinkled with fiction and documentary portraits of Latinx life in the U.S. The 13th edition promises to be, as always, vibrant and tough-minded.\u003c/p>\n\u003cfigure id=\"attachment_13902161\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/SeriousMoviesCombo_1800.jpg\" alt=\"\" width=\"1800\" height=\"450\" class=\"size-full wp-image-13902161\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/SeriousMoviesCombo_1800.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/SeriousMoviesCombo_1800-800x200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/SeriousMoviesCombo_1800-1020x255.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/SeriousMoviesCombo_1800-160x40.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/SeriousMoviesCombo_1800-768x192.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/SeriousMoviesCombo_1800-1536x384.jpg 1536w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">Stills (L–R) from ‘The Many Saints of Newark,’ ‘No Time to Die’ and ‘The Last Duel’ prove all films with a blue tinge should be taken seriously. \u003ccite>(Warner Bros. / Universal Pictures / 20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.warnerbros.com/movies/many-saints-newark\" rel=\"noopener noreferrer\" target=\"_blank\">‘The Many Saints of Newark,’\u003c/a> \u003ca href=\"https://www.007.com/no-time-to-die/\" rel=\"noopener noreferrer\" target=\"_blank\">‘No Time to Die’\u003c/a> & \u003ca href=\"https://www.20thcenturystudios.com/movies/the-last-duel\" rel=\"noopener noreferrer\" target=\"_blank\">‘The Last Duel’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Oct. 1; Oct. 8; Oct. 15, respectively\u003ci>\u003c/i>\u003c/i>\u003c/p>\n\u003cp>October brings what passes for mainstream adult entertainment: Violent action with a thin veneer of serious, deep themes. First up is the Sopranos prequel that nobody asked for, with Alessandro Nivola, Vera Farmiga and Corey Stoll doing the heavy lifting and Michael Gandolfini as Young Tony. \u003cem>No Time to Die\u003c/em> is the aforementioned Bond flick, with Daniel Craig playing 007 for the last time and Oakland-born Cary Joji Fukunaga at the helm for the first time. The trifecta is completed by Ridley Scott’s \u003cem>The Last Duel\u003c/em>, which unfolds in 14th-century France and involves honor, betrayal, a woman asserting her free will and a duel. So of course Matt Damon, Adam Driver and Ben Affleck play the leads (alongside Jodie Comer). Nothing to do with Affleck and Damon penning the script, with the help of Nicole Holofcener. I don’t suppose France would ever recall their ambassador over a movie, but it’s an amusing fantasy.\u003c/p>\n\u003cfigure id=\"attachment_13902208\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Passing_Sc2071_Clare20Ruth20Negga20and20Irene20Tessa20Thompson20on20the20Stoop20Reverse20Angle_CR2_1200.jpg\" alt=\"\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13902208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Passing_Sc2071_Clare20Ruth20Negga20and20Irene20Tessa20Thompson20on20the20Stoop20Reverse20Angle_CR2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Passing_Sc2071_Clare20Ruth20Negga20and20Irene20Tessa20Thompson20on20the20Stoop20Reverse20Angle_CR2_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Passing_Sc2071_Clare20Ruth20Negga20and20Irene20Tessa20Thompson20on20the20Stoop20Reverse20Angle_CR2_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Passing_Sc2071_Clare20Ruth20Negga20and20Irene20Tessa20Thompson20on20the20Stoop20Reverse20Angle_CR2_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Passing_Sc2071_Clare20Ruth20Negga20and20Irene20Tessa20Thompson20on20the20Stoop20Reverse20Angle_CR2_1200-768x576.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Rebecca Hall’s ‘Passing,’ featuring Clare (Ruth Negga) and Irene (Tessa Thompson). \u003ccite>(Courtesy Mill Valley Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.mvff.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Mill Valley Film Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Oct. 7–17 online and in-person\u003c/i>\u003c/p>\n\u003cp>Marin County’s long-running soirée is a supreme apple-picker, plucking the most promising titles from the Telluride, Venice, Toronto and New York festivals (which all take place in September) on their way to theatrical releases and end-of-year awards. The juicy offerings include Todd Haynes’ documentary \u003cem>The Velvet Underground\u003c/em> (opening Oct. 15 before streaming on Apple+), Denis Villeneuve’s take on Frank Herbert’s \u003cem>Dune\u003c/em> (Oct. 22) and Eve Husson’s adaptation of Graham Swift’s \u003cem>Mothering Sunday\u003c/em> (Nov. 19).\u003c/p>\n\u003cp>The dazzling list of women directors also includes Maggie Gyllenhaal (\u003cem>The Lost Daughter\u003c/em>), Rebecca Hall (\u003cem>Passing\u003c/em>, adapted from Harlem Renaissance author Nella Larsen’s 1929 novel) and Jane Campion (\u003cem>The Power of the Dog\u003c/em>). Release dates are forthcoming for all three films, with the latter two coming to Netflix.\u003c/p>\n\u003cp>MVFF also has the local premieres of a slew of Bay Area documentaries, including Susan Stern’s \u003cem>Bad Attitude: The Art of Spain Rodriguez\u003c/em>, Suzanne Joe Kai’s \u003cem>Like a Rolling Stone: The Life & Times of Ben Fong-Torres\u003c/em> and Andres Alegria and Abel Sanchez’s \u003cem>Song for Cesar\u003c/em>. Local filmmakers have been busy during the pandemic, and we’re about to reap the benefits.\u003c/p>\n\u003cfigure id=\"attachment_13902189\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/BangarraDanceEnsemble-Whistler_ONESCOUNTRY-Bangarra-photobyDanielBoud_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13902189\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/BangarraDanceEnsemble-Whistler_ONESCOUNTRY-Bangarra-photobyDanielBoud_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/BangarraDanceEnsemble-Whistler_ONESCOUNTRY-Bangarra-photobyDanielBoud_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/BangarraDanceEnsemble-Whistler_ONESCOUNTRY-Bangarra-photobyDanielBoud_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/BangarraDanceEnsemble-Whistler_ONESCOUNTRY-Bangarra-photobyDanielBoud_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/BangarraDanceEnsemble-Whistler_ONESCOUNTRY-Bangarra-photobyDanielBoud_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The Bangarra Dance Ensemble performing ‘Whistler’ from ‘Ones Country.’ \u003ccite>(Daniel Boud)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfdancefilmfest.org/\" rel=\"noopener noreferrer\" target=\"_blank\">SF Dance Film Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Oct. 15–24 in-theater screenings and online through Marquee TV\u003c/i>\u003c/p>\n\u003cp>The growth of the SFDFF’s programming, in good times and pandemic times, is one of the more impressive developments on the local film scene. Yes, the vast majority of the 123 pieces (from 25 countries) are shorts, but the variety of approaches (both choreographic and cinematic) in a single program is an enticement for audiences (although no less of a challenge for programmers). Feature-length offerings include the captivating Bollywood fable \u003cem>Natyam\u003c/em> and the Australian documentary \u003cem>Firestarter: The Story of Bangarra\u003c/em>, which salutes the dance company forever changed by three Aboriginal brothers over 30 years ago. The SFDFF also screens the recent docs \u003cem>Ailey\u003c/em> and \u003cem>Can You Bring It? Bill T. Jones and D-Man in the Waters\u003c/em> for those who missed them the first time around.\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/TcPk2p0Zaw4'\n title='//www.youtube.com/embed/TcPk2p0Zaw4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.searchlightpictures.com/thefrenchdispatch/\" rel=\"noopener noreferrer\" target=\"_blank\">‘The French Dispatch’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Opens Oct. 22\u003c/i>\u003c/p>\n\u003cp>Wes Anderson’s latest obsessively designed gingerbread house of a movie revolves around a fictional literary magazine published in the last century by American expatriates in a French town. His regular retinue of stars playing oddballs (Bill Murray, Jason Schwartzman, Elisabeth Moss, Owen Wilson, Anjelica Huston) is abetted by Frances McDormand, Benicio del Toro, Jeffery Wright, Timothée Chalemet and Gallic stars Mathieu Amalric and Léa Seydoux. Whether they infuse the twee proceedings with life and emotion is both the key question and beside the point: Anderson’s movies are an inside joke, and you know if you get them (and like them) or not.\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/Lagauhb5GyY'\n title='//www.youtube.com/embed/Lagauhb5GyY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://neonrated.com/films/spencer\" rel=\"noopener noreferrer\" target=\"_blank\">‘Spencer’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Opens Nov. 5\u003c/i>\u003c/p>\n\u003cp>A decade or so ago, when she was winsomely emoting in the \u003cem>Twilight\u003c/em> movies, nobody could have imagined Kristen Stewart would someday be an Oscar candidate. Especially in one of those emotionally fraught, home-for-the-holidays movies. Ah, but what if the home is, uh, a palace? (Sandringham Estate, actually.) Stewart plays Princess Diana at a low point in her marriage to Prince Charles (Jack Farthing) in this speculative drama penned by Steven Knight (\u003cstrong>Peaky Blinders\u003c/strong>). The Chilean director Pablo Larraín (\u003cem>Jackie\u003c/em>, \u003cem>Ema\u003c/em>) continues his recent exploration of women in desperate circumstances asserting their power and claiming their independence.\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/kAJXFRshQfw'\n title='//www.youtube.com/embed/kAJXFRshQfw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.netflix.com/title/81149184\" rel=\"noopener noreferrer\" target=\"_blank\">‘tick, tick…BOOM!’\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Limited theatrical release Nov. 12\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Netflix drops Lin-Manuel Miranda’s directorial debut, adapted from Jonathan Larson’s early-’90s autobiographical musical, into theaters for a qualifying run for little gold statues before streaming it far and wide Nov. 19. Larson wrote \u003cem>tick, tick…BOOM!\u003c/em> to expunge his disappointment and frustration after his previous musical didn’t receive a New York production. He did go on to have the success he wanted with \u003cem>Rent\u003c/em>, but couldn’t enjoy it. The day of its first off-Broadway preview, Larsen died of a misdiagnosed heart condition. Don’t let it bring you down: Andrew Garfield (as Jon) and Bradley Whitford (as Stephen Sondheim) lead the cast of Miranda’s homage to creativity, ambition and the vagaries of love.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Nia DaCosta is the First Black Female Director to Debut Atop the U.S. Box Office",
"headTitle": "Nia DaCosta is the First Black Female Director to Debut Atop the U.S. Box Office | KQED",
"content": "\u003cp>It’s a good week to be director Nia DaCosta. Not only did her new film, horror flick \u003ca href=\"https://www.npr.org/2021/06/28/1011082526/candyman-gets-an-update-and-the-horror-is-gentrification\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Candyman\u003c/em>\u003c/a>, have a spectacular opening weekend, she made history in the process, becoming the first Black female director to debut at No. 1 at the U.S. box office.\u003c/p>\n\u003cp>Before DaCosta, Ava DuVernay had come the closest to nabbing the top spot, \u003ca href=\"https://deadline.com/2021/08/candyman-nia-dacosta-box-office-record-first-black-female-filmmaker-1234824013/\" target=\"_blank\" rel=\"noopener noreferrer\">opening at No. 2 in 2018\u003c/a> with \u003cem>A Wrinkle In Time\u003c/em>.\u003c/p>\n\u003cp>\u003cem>Candyman\u003c/em>, an update of the classic 1992 horror film of the same name, opened in theaters nationwide on Friday and ended the weekend raking in more than $22 million, according to \u003ca href=\"https://www.boxofficemojo.com/release/rl1913030145/?ref_=bo_hm_rd\" target=\"_blank\" rel=\"noopener noreferrer\">Box Office Mojo\u003c/a>.\u003c/p>\n\u003cp>DaCosta’s \u003cem>Candyman\u003c/em> places the urban legend in contemporary Chicago, and stars Bay Area actor Yahya Abdul-Mateen II, who once worked as a San Francisco city planner. Abdul-Mateen II is probably most recognizable for his roles in \u003cem>The Trial of the Chicago 7\u003c/em> and HBO’s \u003cem>Watchmen. \u003c/em>Here he plays protagonist Anthony McCoy, an artist whose career aspirations lead him to dangerous places.\u003c/p>\n\u003cp>DaCosta directed and co-wrote the film with \u003cem>Get Out\u003c/em> director Jordan Peele and Win Rosenfeld, one of the executive producers of \u003cem>BlacKkKlansman\u003c/em>. Premiering alongside the film was a “\u003ca href=\"https://www.candymanmovie.com/impact/syllabus/\" target=\"_blank\" rel=\"noopener noreferrer\">social impact initiative\u003c/a>,” a campaign created to promote conversation around issues explored in the film, such as gentrification.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ikDJlfuU758\u003c/p>\n\u003cp>\u003cem>Candyman\u003c/em>‘s box office success and DaCosta’s historic accomplishment are especially impressive given the current climate. Movie theaters are still \u003ca href=\"https://www.npr.org/2021/06/18/1008039064/movie-theaters-face-challenges-after-a-year-of-massive-losses\" target=\"_blank\" rel=\"noopener noreferrer\">recovering\u003c/a>, as the pandemic drags on. Last year’s lockdowns \u003ca href=\"https://www.npr.org/2020/12/29/951208163/what-2020-was-like-for-the-movie-industry\" target=\"_blank\" rel=\"noopener noreferrer\">hit the film industry hard\u003c/a>, but as \u003ca href=\"https://www.npr.org/2021/08/28/1031690205/cinemacon-fall-movies\" target=\"_blank\" rel=\"noopener noreferrer\">theaters have reopened\u003c/a> over the last year with new safety measures in place, industry experts are predicting an eventual comeback.\u003c/p>\n\u003cp>[aside postid='arts_13888332']Next up for DaCosta? She’s joined the Marvel cinematic universe after having \u003ca href=\"https://deadline.com/2020/08/captain-marvel-sequel-nia-dacosta-director-1202992213/\" target=\"_blank\" rel=\"noopener noreferrer\">signed on\u003c/a> last year as director of \u003cem>The Marvels\u003c/em>, a sequel to 2019’s \u003cem>Captain Marvel\u003c/em> that’s currently in production, according to \u003cem>\u003ca href=\"https://deadline.com/2021/08/candyman-nia-dacosta-box-office-record-first-black-female-filmmaker-1234824013/\" target=\"_blank\" rel=\"noopener noreferrer\">Deadline\u003c/a>\u003c/em>. It’s another history-making move for the 31-year-old director and screenwriter: \u003cem>The Marvels\u003c/em> will make her the first Black woman director to sit at the helm of a Marvel movie.\u003c/p>\n\u003cp>Moving from horror to action has been a refreshing change in theme, DaCosta said in an interview with \u003cem>\u003ca href=\"https://ew.com/movies/directors-notes-nia-dacosta-candyman-the-marvels/\" target=\"_blank\" rel=\"noopener noreferrer\">Entertainment Weekly\u003c/a>\u003c/em> last month.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s a lot less traumatizing to work on for sure,” she said. “But this movie also deals with specific, personal, sometimes sad things. But … it’s been nice to work in a different world for sure.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>This story includes reporting from KQED’s Rae Alexandra. 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=Nia+DaCosta+Is+The+1st+Black+Female+Director+To+Debut+Atop+The+U.S.+Box+Office&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s a good week to be director Nia DaCosta. Not only did her new film, horror flick \u003ca href=\"https://www.npr.org/2021/06/28/1011082526/candyman-gets-an-update-and-the-horror-is-gentrification\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Candyman\u003c/em>\u003c/a>, have a spectacular opening weekend, she made history in the process, becoming the first Black female director to debut at No. 1 at the U.S. box office.\u003c/p>\n\u003cp>Before DaCosta, Ava DuVernay had come the closest to nabbing the top spot, \u003ca href=\"https://deadline.com/2021/08/candyman-nia-dacosta-box-office-record-first-black-female-filmmaker-1234824013/\" target=\"_blank\" rel=\"noopener noreferrer\">opening at No. 2 in 2018\u003c/a> with \u003cem>A Wrinkle In Time\u003c/em>.\u003c/p>\n\u003cp>\u003cem>Candyman\u003c/em>, an update of the classic 1992 horror film of the same name, opened in theaters nationwide on Friday and ended the weekend raking in more than $22 million, according to \u003ca href=\"https://www.boxofficemojo.com/release/rl1913030145/?ref_=bo_hm_rd\" target=\"_blank\" rel=\"noopener noreferrer\">Box Office Mojo\u003c/a>.\u003c/p>\n\u003cp>DaCosta’s \u003cem>Candyman\u003c/em> places the urban legend in contemporary Chicago, and stars Bay Area actor Yahya Abdul-Mateen II, who once worked as a San Francisco city planner. Abdul-Mateen II is probably most recognizable for his roles in \u003cem>The Trial of the Chicago 7\u003c/em> and HBO’s \u003cem>Watchmen. \u003c/em>Here he plays protagonist Anthony McCoy, an artist whose career aspirations lead him to dangerous places.\u003c/p>\n\u003cp>DaCosta directed and co-wrote the film with \u003cem>Get Out\u003c/em> director Jordan Peele and Win Rosenfeld, one of the executive producers of \u003cem>BlacKkKlansman\u003c/em>. Premiering alongside the film was a “\u003ca href=\"https://www.candymanmovie.com/impact/syllabus/\" target=\"_blank\" rel=\"noopener noreferrer\">social impact initiative\u003c/a>,” a campaign created to promote conversation around issues explored in the film, such as gentrification.\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/ikDJlfuU758'\n title='//www.youtube.com/embed/ikDJlfuU758'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Candyman\u003c/em>‘s box office success and DaCosta’s historic accomplishment are especially impressive given the current climate. Movie theaters are still \u003ca href=\"https://www.npr.org/2021/06/18/1008039064/movie-theaters-face-challenges-after-a-year-of-massive-losses\" target=\"_blank\" rel=\"noopener noreferrer\">recovering\u003c/a>, as the pandemic drags on. Last year’s lockdowns \u003ca href=\"https://www.npr.org/2020/12/29/951208163/what-2020-was-like-for-the-movie-industry\" target=\"_blank\" rel=\"noopener noreferrer\">hit the film industry hard\u003c/a>, but as \u003ca href=\"https://www.npr.org/2021/08/28/1031690205/cinemacon-fall-movies\" target=\"_blank\" rel=\"noopener noreferrer\">theaters have reopened\u003c/a> over the last year with new safety measures in place, industry experts are predicting an eventual comeback.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Next up for DaCosta? She’s joined the Marvel cinematic universe after having \u003ca href=\"https://deadline.com/2020/08/captain-marvel-sequel-nia-dacosta-director-1202992213/\" target=\"_blank\" rel=\"noopener noreferrer\">signed on\u003c/a> last year as director of \u003cem>The Marvels\u003c/em>, a sequel to 2019’s \u003cem>Captain Marvel\u003c/em> that’s currently in production, according to \u003cem>\u003ca href=\"https://deadline.com/2021/08/candyman-nia-dacosta-box-office-record-first-black-female-filmmaker-1234824013/\" target=\"_blank\" rel=\"noopener noreferrer\">Deadline\u003c/a>\u003c/em>. It’s another history-making move for the 31-year-old director and screenwriter: \u003cem>The Marvels\u003c/em> will make her the first Black woman director to sit at the helm of a Marvel movie.\u003c/p>\n\u003cp>Moving from horror to action has been a refreshing change in theme, DaCosta said in an interview with \u003cem>\u003ca href=\"https://ew.com/movies/directors-notes-nia-dacosta-candyman-the-marvels/\" target=\"_blank\" rel=\"noopener noreferrer\">Entertainment Weekly\u003c/a>\u003c/em> last month.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s a lot less traumatizing to work on for sure,” she said. “But this movie also deals with specific, personal, sometimes sad things. But … it’s been nice to work in a different world for sure.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>This story includes reporting from KQED’s Rae Alexandra. 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=Nia+DaCosta+Is+The+1st+Black+Female+Director+To+Debut+Atop+The+U.S.+Box+Office&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Bob Ross Documentary Filmmakers Ran Into Some Happy Little Legal Hurdles",
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"content": "\u003cp>Bob Ross—the artist known for his calm voice, poofy hair and unflappable demeanor—spent 31 seasons gently encouraging at-home artists to pick up their palettes to paint serene landscapes and “happy little trees.”\u003c/p>\n\u003cp>Actor Melissa McCarthy and her husband, filmmaker Ben Falcone, were big fans of Ross and decided to produce a documentary about his life. But as they began working on the project with filmmakers Joshua Rofé and Steven Berger, they quickly realized their subject—and the legacy he left behind—was more complex than they knew.\u003c/p>\n\u003cp>[aside postid='arts_13867846']From the outset, the filmmakers found that very few people were willing to speak with them about Ross, for fear of litigation by the owners of his estate. McCarthy says Rofé and Berger told her they had rarely encountered such hesitancy and refusal.\u003c/p>\n\u003cp>“That was when we sort of figured out, oh, boy, this might be a little different than what we thought it was going to be,” Falcone says.\u003c/p>\n\u003cp>“When someone is an artist, no matter what their medium is … there’s a business behind it,” McCarthy says. “And I would venture to guess that business is always much more complicated than the personality that they lead with.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Despite the legal roadblocks, McCarthy and Falcone moved ahead with the film—\u003cem>Bob Ross: Happy Accidents, Betrayal & Greed \u003c/em>was released on Netflix on August 25.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=J6JuA4qNU30\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On the success of the Bob Ross brand, past and present\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Falcone: \u003c/strong>It was pretty huge and actually it continues to be so amidst the confines of a pandemic.\u003c/p>\n\u003cp>\u003cstrong>McCarthy: \u003c/strong>Way before we started the documentary, Ben’s mom gave us a toaster that literally burns the impression of Bob Ross into our toast because we liked him so much.\u003c/p>\n\u003cp>\u003cstrong>Falcone:\u003c/strong> Bob became kind of a rock star of his time … this guy who just had sort of a simple beginning, he really reached the top of a field that nobody even really knew was that much of a field. …\u003c/p>\n\u003cp>\u003cstrong>McCarthy: \u003c/strong>His range was very unusual. I can’t think of someone else that was enjoyed by people across such a wide spectrum.\u003c/p>\n\u003cp>\u003cstrong>On what they learned about Ross as a person\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Falcone:\u003c/strong> If you do a quick Google search, what you’ll know is that he was in the military. …\u003c/p>\n\u003cp>\u003cstrong>McCarthy:\u003c/strong> He said when he left the army, that was the last time he wanted to raise his voice.\u003c/p>\n\u003cp>\u003cstrong>Falcone: \u003c/strong>It’s harder to know exactly what went on in this man’s life. But I was happy to find out that he was very levelheaded. He seemed like he was kind to everybody. But he also knew exactly what he wanted as an artist and what he wanted his show to be.\u003c/p>\n\u003cp>\u003cstrong>On Ross’ business partners, Annette and Walter Kowalski, who were instrumental in building up the show and the artist, and who now lead Bob Ross Inc., despite litigation with Ross’ family\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Falcone:\u003c/strong> Who owns it is basically the disagreement. …\u003c/p>\n\u003cp>[aside postid='pop_34351']\u003cstrong>McCarthy:\u003c/strong> Bob certainly wanted it to go to—most of the business—to his son. He left it to his son and his brother. And very quickly, that was kind of taken through litigation. And because at the time [Bob’s son] Steve was so young, Bob thought, you know, let’s have an adult still guiding him with where he’s going to take this company. … But he didn’t get to take hold of it at all.\u003c/p>\n\u003cp>\u003cstrong>On the challenge of making a film while being worried about a lawsuit\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Falcone: \u003c/strong>That was why so many people didn’t want to speak to the filmmakers. Everyone’s afraid of getting sued. So, it’s definitely challenging. … Even as we’re having this discussion with you now, we’ve been kind of warned to keep to the basics, try not to get too into it because we will get sued.\u003c/p>\n\u003cp>\u003cstrong>On how Bob Ross comes across in the film\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Falcone:\u003c/strong> We’ve never intended to set out and create a hit piece. We liked Bob Ross and we still do. We were surprised to uncover some of the things we uncovered. And I think the filmmakers, Josh and Steven, really did a nice job of making kind of a complicated, balanced movie out of a character that is complicated. We found out things about him that we didn’t expect. Nobody’s perfect.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Jonaki Mehta and Sarah Handel produced and edited this interview for broadcast. Beth Novey adapted it for the Web.\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=Bob+Ross+Documentary+Filmmakers+Ran+Into+Some+Happy+Little+Legal+Hurdles&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bob Ross—the artist known for his calm voice, poofy hair and unflappable demeanor—spent 31 seasons gently encouraging at-home artists to pick up their palettes to paint serene landscapes and “happy little trees.”\u003c/p>\n\u003cp>Actor Melissa McCarthy and her husband, filmmaker Ben Falcone, were big fans of Ross and decided to produce a documentary about his life. But as they began working on the project with filmmakers Joshua Rofé and Steven Berger, they quickly realized their subject—and the legacy he left behind—was more complex than they knew.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>From the outset, the filmmakers found that very few people were willing to speak with them about Ross, for fear of litigation by the owners of his estate. McCarthy says Rofé and Berger told her they had rarely encountered such hesitancy and refusal.\u003c/p>\n\u003cp>“That was when we sort of figured out, oh, boy, this might be a little different than what we thought it was going to be,” Falcone says.\u003c/p>\n\u003cp>“When someone is an artist, no matter what their medium is … there’s a business behind it,” McCarthy says. “And I would venture to guess that business is always much more complicated than the personality that they lead with.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Despite the legal roadblocks, McCarthy and Falcone moved ahead with the film—\u003cem>Bob Ross: Happy Accidents, Betrayal & Greed \u003c/em>was released on Netflix on August 25.\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/J6JuA4qNU30'\n title='//www.youtube.com/embed/J6JuA4qNU30'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On the success of the Bob Ross brand, past and present\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Falcone: \u003c/strong>It was pretty huge and actually it continues to be so amidst the confines of a pandemic.\u003c/p>\n\u003cp>\u003cstrong>McCarthy: \u003c/strong>Way before we started the documentary, Ben’s mom gave us a toaster that literally burns the impression of Bob Ross into our toast because we liked him so much.\u003c/p>\n\u003cp>\u003cstrong>Falcone:\u003c/strong> Bob became kind of a rock star of his time … this guy who just had sort of a simple beginning, he really reached the top of a field that nobody even really knew was that much of a field. …\u003c/p>\n\u003cp>\u003cstrong>McCarthy: \u003c/strong>His range was very unusual. I can’t think of someone else that was enjoyed by people across such a wide spectrum.\u003c/p>\n\u003cp>\u003cstrong>On what they learned about Ross as a person\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Falcone:\u003c/strong> If you do a quick Google search, what you’ll know is that he was in the military. …\u003c/p>\n\u003cp>\u003cstrong>McCarthy:\u003c/strong> He said when he left the army, that was the last time he wanted to raise his voice.\u003c/p>\n\u003cp>\u003cstrong>Falcone: \u003c/strong>It’s harder to know exactly what went on in this man’s life. But I was happy to find out that he was very levelheaded. He seemed like he was kind to everybody. But he also knew exactly what he wanted as an artist and what he wanted his show to be.\u003c/p>\n\u003cp>\u003cstrong>On Ross’ business partners, Annette and Walter Kowalski, who were instrumental in building up the show and the artist, and who now lead Bob Ross Inc., despite litigation with Ross’ family\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Falcone:\u003c/strong> Who owns it is basically the disagreement. …\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cstrong>McCarthy:\u003c/strong> Bob certainly wanted it to go to—most of the business—to his son. He left it to his son and his brother. And very quickly, that was kind of taken through litigation. And because at the time [Bob’s son] Steve was so young, Bob thought, you know, let’s have an adult still guiding him with where he’s going to take this company. … But he didn’t get to take hold of it at all.\u003c/p>\n\u003cp>\u003cstrong>On the challenge of making a film while being worried about a lawsuit\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Falcone: \u003c/strong>That was why so many people didn’t want to speak to the filmmakers. Everyone’s afraid of getting sued. So, it’s definitely challenging. … Even as we’re having this discussion with you now, we’ve been kind of warned to keep to the basics, try not to get too into it because we will get sued.\u003c/p>\n\u003cp>\u003cstrong>On how Bob Ross comes across in the film\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Falcone:\u003c/strong> We’ve never intended to set out and create a hit piece. We liked Bob Ross and we still do. We were surprised to uncover some of the things we uncovered. And I think the filmmakers, Josh and Steven, really did a nice job of making kind of a complicated, balanced movie out of a character that is complicated. We found out things about him that we didn’t expect. Nobody’s perfect.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Jonaki Mehta and Sarah Handel produced and edited this interview for broadcast. Beth Novey adapted it for the Web.\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=Bob+Ross+Documentary+Filmmakers+Ran+Into+Some+Happy+Little+Legal+Hurdles&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! Lagos on Parade in Winning Drama ‘Eyimofe (This Is My Desire)’",
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"content": "\u003cp>One of the most inviting and rewarding African films in recent years, \u003cem>Eyimofe (This Is My Desire)\u003c/em> vividly explores perhaps the most irresistible theme in movies: the urge for a better life. Nigerian twin brothers Arie Esiri and Chuko Esiri’s debut feature, opening Aug. 27 at the \u003ca href=\"https://www.roxie.com/ai1ec_event/eyimofe-this-is-my-desire/?instance_id=41738\" rel=\"noopener noreferrer\" target=\"_blank\">Little Roxie\u003c/a>, may hit the expected road markers—likable protagonists, unforeseen setbacks, wrenching compromises, smiling determination—but it does so without sacrificing freshness or charm. \u003c/p>\n\u003cp>The impulse to get ahead, especially in African cinema, is typically manifested in a village innocent coming to the big city. He or she invariably gets seduced or swallowed by criminals or the nouveau riche, respectively, and their cash. In contrast, the protagonists of \u003cem>Eyimofe\u003c/em> are well-established (albeit underpaid) in Lagos, and know their city very, very well. But they are not exempt from the endemic corruption and exploitation that await newcomers.\u003c/p>\n\u003cp>The film, which screened earlier this year in the SFFILM Festival, is split into two unconnected yet parallel stories. Mofe (Jude Akuwudike), a cheerful fix-it master at a jury-rigged workshop who also does repair jobs in the evening, drives the first half with his preparations to emigrate to Spain. An awful accident compels him, eventually, to deal with his father, whose shockingly selfish machinations prove the biggest enemy of Mofe’s dream.\u003c/p>\n\u003cfigure id=\"attachment_13901924\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/32158id_005_w1600.jpeg\" alt=\"A close-up of a dark-skinned man in profile.\" width=\"1600\" height=\"900\" class=\"size-full wp-image-13901924\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/32158id_005_w1600.jpeg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/32158id_005_w1600-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/32158id_005_w1600-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/32158id_005_w1600-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/32158id_005_w1600-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/32158id_005_w1600-1536x864.jpeg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Mofe (Jude Akuwudike) in ‘Eyimofe,’ 2020. \u003ccite>(Janus Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mofe keeps on keeping on, though, eventually handing the screen to streetwise Rosa (Temi Ami-Williams), a hairdresser and bartender (no one can live on one job, it seems) set on going to Italy with her pregnant younger sister. In her bits of free time between working, pursuing and paying for various travel documents, Rosa fends off her leering landlord and takes up with a well-off American, a development that takes the film from the street to the penthouse. The line between romance and commerce—what’s love got to do with it?—hasn’t been this blurred since the pre-Code days of Barbara Stanwyck and Jean Harlow.\u003c/p>\n\u003cp>Like those entertaining social-issue films, \u003cem>Eyimofe\u003c/em> retains an astonishing buoyancy and generosity of spirit amid the continuous bartering of dreams and souls. The Esiri brothers evince a palpable air of affection toward Mofe and Rosa, and the milieu of workaday Lagos, that infuses the movie with a sense of optimism borne of persistence. Neither guarantees success, of course, but \u003cem>Eyimofe\u003c/em> is far more enjoyable than a film bent on snuffing hope like a candle. (Be sure to stick around for the ’70s pop song playing over the end credits, Ifeanyi Eddie Okwedy & His Maymores Dance Band’s “\u003ca href=\"https://youtu.be/kgYFHoWrcBM\" rel=\"noopener noreferrer\" target=\"_blank\">Happy Survival\u003c/a>.”)\u003c/p>\n\u003cfigure id=\"attachment_13901925\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/32158id_043_w1600.jpeg\" alt=\"A woman with braids wears a green sequined shirt.\" width=\"1600\" height=\"900\" class=\"size-full wp-image-13901925\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/32158id_043_w1600.jpeg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/32158id_043_w1600-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/32158id_043_w1600-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/32158id_043_w1600-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/32158id_043_w1600-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/32158id_043_w1600-1536x864.jpeg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Rosa (Temi Ami-Williams) in ‘Eyimofe,’ 2020.\u003c/figcaption>\u003c/figure>\n\u003cp>There’s another aspect of \u003cem>Eyimofe\u003c/em> that is grounds for celebration. While the filmmakers received their MFAs at Columbia (Arie) and NYU (Chuko)—New York film schools with a different ethos from their Hollywood-adjacent counterparts—the familiar rules of narrative filmmaking still apply. It’s a pleasure to report that the Esiris’ debut feature has a rhythm and looseness that contributes significantly to the feeling of place. If \u003cem>Eyimofe\u003c/em> is a tad too long, it’s because the filmmakers are more interested in the texture and tapestry of the world their protagonists inhabit than in building suspense and orchestrating climaxes. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s certainly conceivable that one day the Esiris will direct an earnest Will Smith drama, or Marvel spinoff. But those movies won’t equal \u003cem>Eyimofe\u003c/em>, which shows us an entire society through the people that two working folks encounter in the course of a couple weeks in the big city.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Eyimofe (This Is My Desire)’ plays at the Little Roxie Aug. 27–28 and Sept. 1. \u003ca href=\"https://www.roxie.com/ai1ec_event/eyimofe-this-is-my-desire/\" rel=\"noopener noreferrer\" target=\"_blank\">Tickets and showtimes here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the most inviting and rewarding African films in recent years, \u003cem>Eyimofe (This Is My Desire)\u003c/em> vividly explores perhaps the most irresistible theme in movies: the urge for a better life. Nigerian twin brothers Arie Esiri and Chuko Esiri’s debut feature, opening Aug. 27 at the \u003ca href=\"https://www.roxie.com/ai1ec_event/eyimofe-this-is-my-desire/?instance_id=41738\" rel=\"noopener noreferrer\" target=\"_blank\">Little Roxie\u003c/a>, may hit the expected road markers—likable protagonists, unforeseen setbacks, wrenching compromises, smiling determination—but it does so without sacrificing freshness or charm. \u003c/p>\n\u003cp>The impulse to get ahead, especially in African cinema, is typically manifested in a village innocent coming to the big city. He or she invariably gets seduced or swallowed by criminals or the nouveau riche, respectively, and their cash. In contrast, the protagonists of \u003cem>Eyimofe\u003c/em> are well-established (albeit underpaid) in Lagos, and know their city very, very well. But they are not exempt from the endemic corruption and exploitation that await newcomers.\u003c/p>\n\u003cp>The film, which screened earlier this year in the SFFILM Festival, is split into two unconnected yet parallel stories. Mofe (Jude Akuwudike), a cheerful fix-it master at a jury-rigged workshop who also does repair jobs in the evening, drives the first half with his preparations to emigrate to Spain. An awful accident compels him, eventually, to deal with his father, whose shockingly selfish machinations prove the biggest enemy of Mofe’s dream.\u003c/p>\n\u003cfigure id=\"attachment_13901924\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/32158id_005_w1600.jpeg\" alt=\"A close-up of a dark-skinned man in profile.\" width=\"1600\" height=\"900\" class=\"size-full wp-image-13901924\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/32158id_005_w1600.jpeg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/32158id_005_w1600-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/32158id_005_w1600-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/32158id_005_w1600-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/32158id_005_w1600-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/32158id_005_w1600-1536x864.jpeg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Mofe (Jude Akuwudike) in ‘Eyimofe,’ 2020. \u003ccite>(Janus Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mofe keeps on keeping on, though, eventually handing the screen to streetwise Rosa (Temi Ami-Williams), a hairdresser and bartender (no one can live on one job, it seems) set on going to Italy with her pregnant younger sister. In her bits of free time between working, pursuing and paying for various travel documents, Rosa fends off her leering landlord and takes up with a well-off American, a development that takes the film from the street to the penthouse. The line between romance and commerce—what’s love got to do with it?—hasn’t been this blurred since the pre-Code days of Barbara Stanwyck and Jean Harlow.\u003c/p>\n\u003cp>Like those entertaining social-issue films, \u003cem>Eyimofe\u003c/em> retains an astonishing buoyancy and generosity of spirit amid the continuous bartering of dreams and souls. The Esiri brothers evince a palpable air of affection toward Mofe and Rosa, and the milieu of workaday Lagos, that infuses the movie with a sense of optimism borne of persistence. Neither guarantees success, of course, but \u003cem>Eyimofe\u003c/em> is far more enjoyable than a film bent on snuffing hope like a candle. (Be sure to stick around for the ’70s pop song playing over the end credits, Ifeanyi Eddie Okwedy & His Maymores Dance Band’s “\u003ca href=\"https://youtu.be/kgYFHoWrcBM\" rel=\"noopener noreferrer\" target=\"_blank\">Happy Survival\u003c/a>.”)\u003c/p>\n\u003cfigure id=\"attachment_13901925\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/32158id_043_w1600.jpeg\" alt=\"A woman with braids wears a green sequined shirt.\" width=\"1600\" height=\"900\" class=\"size-full wp-image-13901925\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/32158id_043_w1600.jpeg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/32158id_043_w1600-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/32158id_043_w1600-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/32158id_043_w1600-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/32158id_043_w1600-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/32158id_043_w1600-1536x864.jpeg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Rosa (Temi Ami-Williams) in ‘Eyimofe,’ 2020.\u003c/figcaption>\u003c/figure>\n\u003cp>There’s another aspect of \u003cem>Eyimofe\u003c/em> that is grounds for celebration. While the filmmakers received their MFAs at Columbia (Arie) and NYU (Chuko)—New York film schools with a different ethos from their Hollywood-adjacent counterparts—the familiar rules of narrative filmmaking still apply. It’s a pleasure to report that the Esiris’ debut feature has a rhythm and looseness that contributes significantly to the feeling of place. If \u003cem>Eyimofe\u003c/em> is a tad too long, it’s because the filmmakers are more interested in the texture and tapestry of the world their protagonists inhabit than in building suspense and orchestrating climaxes. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s certainly conceivable that one day the Esiris will direct an earnest Will Smith drama, or Marvel spinoff. But those movies won’t equal \u003cem>Eyimofe\u003c/em>, which shows us an entire society through the people that two working folks encounter in the course of a couple weeks in the big city.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Eyimofe (This Is My Desire)’ plays at the Little Roxie Aug. 27–28 and Sept. 1. \u003ca href=\"https://www.roxie.com/ai1ec_event/eyimofe-this-is-my-desire/\" rel=\"noopener noreferrer\" target=\"_blank\">Tickets and showtimes here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Looking at the\u003ca href=\"https://www.npr.org/2021/08/16/1028090002/afghanistan-airport-evacuation-taliban\" target=\"_blank\" rel=\"noopener noreferrer\"> newscast images\u003c/a> this week of Afghans \u003ca href=\"http://npr.org/2021/08/17/1028564790/u-s-is-reviewing-the-deaths-of-people-who-may-have-fallen-from-a-plane-leaving-k\" target=\"_blank\" rel=\"noopener noreferrer\">desperate to flee\u003c/a> the Taliban, I’ve been struck again and again by the feeling that the horrors I’m watching in real time are somehow familiar.\u003c/p>\n\u003cp>A throwaway line in a newspaper article cued me as to why. In a report on Biden administration figures who had urged caution in drawing down U.S. forces, Secretary of Defense Lloyd Austin III, was quoted as having told the President, \u003ca href=\"https://www.washingtonpost.com/entertainment/afghanistan-movies-hornaday/2021/08/17/5215eaaa-feb2-11eb-a664-4f6de3e17ff0_story.html\" target=\"_blank\" rel=\"noopener noreferrer\">“we’ve seen this movie before.”\u003c/a>\u003c/p>\n\u003cp>[aside postid='news_11885170']And in several senses, that’s exactly right. Reasonable people may disagree about which movie, but we have all seen it. The recently confirmed Secretary of Defense clearly meant the phrase in a metaphorical sense, but America’s military adventures have been chronicled extensively enough that there’s some truth to the assertion even as fact.\u003c/p>\n\u003ch3>The haunted gaze of children who’d known only war\u003c/h3>\n\u003cp>Documentaries from the black-site interrogation expose \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=18212203\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Taxi to the Dark Side, \u003c/em>\u003c/a>to\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=128081316\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cem>Restrepo, \u003c/em>\u003c/a>which chronicled the tragic human cost of securing an Afghan valley that would be given-up just months after U.S. soldiers left, had offered glimpses of everyday life in the country. Wary villagers, the haunted gaze of children who’d only known war, battle-scarred buildings—all so commonplace as to seem almost unremarkable.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eLMaPOuEA4Q\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In \u003ca href=\"https://www.npr.org/2012/12/19/166896991/shedding-grim-light-on-a-dark-story\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Zero Dark Thirty\u003c/em>, \u003c/a>when Kathryn Bigelow recreated the mission that struck across the Afghan border into Pakistan to take out Osama Bin Laden, her portrait of the society in which the Americans were operating felt as authentic as news footage, and flash-edited and scored with a pounding soundtrack, arguably packed more punch.\u003c/p>\n\u003ch3>‘A place of warring tribes’\u003c/h3>\n\u003cp>This sort of verisimilitude is a relatively recent development, but it augments an already pervasive and unflattering portrait of the region. For roughly half a century Hollywood has used Afghans as background figures for fictional stories in which outsiders consistently underestimate their grit and determination. Afghanistan is “a place of warring tribes,” as Michael Caine’s con-man put it in \u003cem>The Man Who Would Be King\u003c/em>, “which is to say a land of opportunity for such as we.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=W6Qf98Wa6VY\u003c/p>\n\u003cp>That 1975 John Huston epic was based on a story Rudyard Kipling had written in 1888, between unsuccessful second and third(!) Anglo-Afghan wars. In telling the story of two rogue ex-soldiers (Caine, and Sean Connery) who hope to exploit what they perceive as the ignorance of the locals, it mocks the racism, misjudgments and false premises that gave Britain’s empire-building in the region such a shaky foundation.\u003c/p>\n\u003cp>The bounders played by Caine and Connery are undeterred even when told by Christopher Plummer’s Kipling (the film gives a name to the story’s unidentifed narrator) that no outsider has survived there “since Alexander the Great, King of Greece about 300 years before Christ.” Their response is dismissive. “If a Greek can do it, we can do it.” Their story didn’t end any better than it did for the Brits.\u003c/p>\n\u003cp>The Soviet attempt at nation-building also ended badly—so badly that it became a Hollywood plot point even at a time when most of the world wasn’t paying attention.\u003c/p>\n\u003ch3>James Bond, John Rambo, and the graveyard of empires\u003c/h3>\n\u003cp>In 1987, \u003cem>The Living Daylights \u003c/em>spent much of its running time shuttling Timothy Dalton’s 007 between Russia and Afghanistan to disrupt a deal between the Soviet military, opium-growing mujahideen and arms dealers.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fZ5PvhSFkQ0\u003c/p>\n\u003cp>And a year later, Hollywood’s most famous mercenary reluctantly paid a visit to the country in \u003cem>Rambo III. \u003c/em>He was on a mission to rescue his pal, Col. Sam Trautman (Richard Crenna), who was being held in a Soviet camp high in the Afghan mountains mostly so he could spout exposition about Afghanistan’s reputation as “the graveyard of empires.”\u003c/p>\n\u003cp>“Every day,” he tells his Soviet captors, “your war machines lose ground to a bunch of poorly armed, poorly equipped freedom fighters. If you’d studied your history, you’d know that these people have never given up to anyone. They’d rather die than be slaves to an invading army. You can’t defeat a people like that. We tried. We already had our Vietnam.”\u003c/p>\n\u003cp>Sylvester Stallone then set in motion a routing of the Soviet Army that would require eight more years of pitched battles by mujahideen that \u003cem>Rambo III\u003c/em>‘s end crawl termed “the gallant Afghan people.”\u003c/p>\n\u003cp>A decade and a half later, well after the Taliban’s first takeover and al-Qaida’s Sept. 11 attacks, Afghanistan was finally treated more seriously by filmmakers, including by Afghan director Siddiq Barmak. He used what was reported to be the only 35mm camera in all of Afghanistan to tell the story of a 12-year-old girl who, under Taliban rule must pretend to be a boy to support her widowed mother and family. The film was called \u003cem>Osama, \u003c/em>the name she took as a boy, and it won the 2003 Golden Globe for Best Foreign Language Film.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=54sKYNvd3CY\u003c/p>\n\u003cp>It took a few years after Sept. 11 before the makers of commercial American movies felt comfortable dealing with the country on screen, and even then, they concentrated initially on the miscalculations that got us involved there during the Soviet era. Mike Nichols’ 2007 satire \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=17525023\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Charlie Wilson’s War\u003c/em> \u003c/a>arched an eyebrow and enlisted Tom Hanks, Julia Roberts, and Philip Seymour Hoffman to tell the story of how American intelligence agencies—operating on the mistaken theory that the enemy of our enemy is our friend—made the decision to arm the nation’s so-called “freedom fighters.” A flurry of documentaries then looked at the experience of troops on the ground, of families back home, of Afghan culture disrupted or compromised.\u003c/p>\n\u003ch3>Panic, desperation and echoes of other conflicts\u003c/h3>\n\u003cp>At some point, these tales bleed into ones from other conflicts. The Persian Gulf war as depicted in \u003cem>American Sniper \u003c/em>or \u003cem>The Hurt Locker\u003c/em>; Somalia’s failed helicopter rescue in \u003cem>Black Hawk Down. \u003c/em>\u003c/p>\n\u003cp>[aside postid='arts_13901335']And looming over all of them, the chaotic scene from Vietnam that President Biden was so adamant about not repeating in Kabul: helicopters lifting off the roof of the American embassy in Saigon as U.S. involvement drew to a close in April 1975—a moment seared into a generation’s memory by news footage as vivid as anything Hollywood could have devised.\u003c/p>\n\u003cp>Footage from Kabul’s International Airport, of\u003ca href=\"https://www.cnn.com/videos/world/2021/08/16/kabul-clinging-to-airplane-taking-off-tarmac-afghanistan-ward-vpx.cnn\" target=\"_blank\" rel=\"noopener noreferrer\"> Afghans clinging desperately to the fuselage of a U.S. Air Force C-17 transport plane\u003c/a> as it moves down the takeoff runway has that quality, too.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Panic, sacrifice, desperation—we have seen it before. Sadly, it wasn’t a movie.\u003c/p>\n\u003cdiv class=\"fullattribution\">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=Our+Film+Critic+Explores+Why+The+Harrowing+Afghanistan+Images+May+Feel+Familiar&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Looking at the\u003ca href=\"https://www.npr.org/2021/08/16/1028090002/afghanistan-airport-evacuation-taliban\" target=\"_blank\" rel=\"noopener noreferrer\"> newscast images\u003c/a> this week of Afghans \u003ca href=\"http://npr.org/2021/08/17/1028564790/u-s-is-reviewing-the-deaths-of-people-who-may-have-fallen-from-a-plane-leaving-k\" target=\"_blank\" rel=\"noopener noreferrer\">desperate to flee\u003c/a> the Taliban, I’ve been struck again and again by the feeling that the horrors I’m watching in real time are somehow familiar.\u003c/p>\n\u003cp>A throwaway line in a newspaper article cued me as to why. In a report on Biden administration figures who had urged caution in drawing down U.S. forces, Secretary of Defense Lloyd Austin III, was quoted as having told the President, \u003ca href=\"https://www.washingtonpost.com/entertainment/afghanistan-movies-hornaday/2021/08/17/5215eaaa-feb2-11eb-a664-4f6de3e17ff0_story.html\" target=\"_blank\" rel=\"noopener noreferrer\">“we’ve seen this movie before.”\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And in several senses, that’s exactly right. Reasonable people may disagree about which movie, but we have all seen it. The recently confirmed Secretary of Defense clearly meant the phrase in a metaphorical sense, but America’s military adventures have been chronicled extensively enough that there’s some truth to the assertion even as fact.\u003c/p>\n\u003ch3>The haunted gaze of children who’d known only war\u003c/h3>\n\u003cp>Documentaries from the black-site interrogation expose \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=18212203\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Taxi to the Dark Side, \u003c/em>\u003c/a>to\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=128081316\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cem>Restrepo, \u003c/em>\u003c/a>which chronicled the tragic human cost of securing an Afghan valley that would be given-up just months after U.S. soldiers left, had offered glimpses of everyday life in the country. Wary villagers, the haunted gaze of children who’d only known war, battle-scarred buildings—all so commonplace as to seem almost unremarkable.\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/eLMaPOuEA4Q'\n title='//www.youtube.com/embed/eLMaPOuEA4Q'\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>In \u003ca href=\"https://www.npr.org/2012/12/19/166896991/shedding-grim-light-on-a-dark-story\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Zero Dark Thirty\u003c/em>, \u003c/a>when Kathryn Bigelow recreated the mission that struck across the Afghan border into Pakistan to take out Osama Bin Laden, her portrait of the society in which the Americans were operating felt as authentic as news footage, and flash-edited and scored with a pounding soundtrack, arguably packed more punch.\u003c/p>\n\u003ch3>‘A place of warring tribes’\u003c/h3>\n\u003cp>This sort of verisimilitude is a relatively recent development, but it augments an already pervasive and unflattering portrait of the region. For roughly half a century Hollywood has used Afghans as background figures for fictional stories in which outsiders consistently underestimate their grit and determination. Afghanistan is “a place of warring tribes,” as Michael Caine’s con-man put it in \u003cem>The Man Who Would Be King\u003c/em>, “which is to say a land of opportunity for such as we.”\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/W6Qf98Wa6VY'\n title='//www.youtube.com/embed/W6Qf98Wa6VY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That 1975 John Huston epic was based on a story Rudyard Kipling had written in 1888, between unsuccessful second and third(!) Anglo-Afghan wars. In telling the story of two rogue ex-soldiers (Caine, and Sean Connery) who hope to exploit what they perceive as the ignorance of the locals, it mocks the racism, misjudgments and false premises that gave Britain’s empire-building in the region such a shaky foundation.\u003c/p>\n\u003cp>The bounders played by Caine and Connery are undeterred even when told by Christopher Plummer’s Kipling (the film gives a name to the story’s unidentifed narrator) that no outsider has survived there “since Alexander the Great, King of Greece about 300 years before Christ.” Their response is dismissive. “If a Greek can do it, we can do it.” Their story didn’t end any better than it did for the Brits.\u003c/p>\n\u003cp>The Soviet attempt at nation-building also ended badly—so badly that it became a Hollywood plot point even at a time when most of the world wasn’t paying attention.\u003c/p>\n\u003ch3>James Bond, John Rambo, and the graveyard of empires\u003c/h3>\n\u003cp>In 1987, \u003cem>The Living Daylights \u003c/em>spent much of its running time shuttling Timothy Dalton’s 007 between Russia and Afghanistan to disrupt a deal between the Soviet military, opium-growing mujahideen and arms dealers.\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/fZ5PvhSFkQ0'\n title='//www.youtube.com/embed/fZ5PvhSFkQ0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And a year later, Hollywood’s most famous mercenary reluctantly paid a visit to the country in \u003cem>Rambo III. \u003c/em>He was on a mission to rescue his pal, Col. Sam Trautman (Richard Crenna), who was being held in a Soviet camp high in the Afghan mountains mostly so he could spout exposition about Afghanistan’s reputation as “the graveyard of empires.”\u003c/p>\n\u003cp>“Every day,” he tells his Soviet captors, “your war machines lose ground to a bunch of poorly armed, poorly equipped freedom fighters. If you’d studied your history, you’d know that these people have never given up to anyone. They’d rather die than be slaves to an invading army. You can’t defeat a people like that. We tried. We already had our Vietnam.”\u003c/p>\n\u003cp>Sylvester Stallone then set in motion a routing of the Soviet Army that would require eight more years of pitched battles by mujahideen that \u003cem>Rambo III\u003c/em>‘s end crawl termed “the gallant Afghan people.”\u003c/p>\n\u003cp>A decade and a half later, well after the Taliban’s first takeover and al-Qaida’s Sept. 11 attacks, Afghanistan was finally treated more seriously by filmmakers, including by Afghan director Siddiq Barmak. He used what was reported to be the only 35mm camera in all of Afghanistan to tell the story of a 12-year-old girl who, under Taliban rule must pretend to be a boy to support her widowed mother and family. The film was called \u003cem>Osama, \u003c/em>the name she took as a boy, and it won the 2003 Golden Globe for Best Foreign Language Film.\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/54sKYNvd3CY'\n title='//www.youtube.com/embed/54sKYNvd3CY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It took a few years after Sept. 11 before the makers of commercial American movies felt comfortable dealing with the country on screen, and even then, they concentrated initially on the miscalculations that got us involved there during the Soviet era. Mike Nichols’ 2007 satire \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=17525023\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Charlie Wilson’s War\u003c/em> \u003c/a>arched an eyebrow and enlisted Tom Hanks, Julia Roberts, and Philip Seymour Hoffman to tell the story of how American intelligence agencies—operating on the mistaken theory that the enemy of our enemy is our friend—made the decision to arm the nation’s so-called “freedom fighters.” A flurry of documentaries then looked at the experience of troops on the ground, of families back home, of Afghan culture disrupted or compromised.\u003c/p>\n\u003ch3>Panic, desperation and echoes of other conflicts\u003c/h3>\n\u003cp>At some point, these tales bleed into ones from other conflicts. The Persian Gulf war as depicted in \u003cem>American Sniper \u003c/em>or \u003cem>The Hurt Locker\u003c/em>; Somalia’s failed helicopter rescue in \u003cem>Black Hawk Down. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And looming over all of them, the chaotic scene from Vietnam that President Biden was so adamant about not repeating in Kabul: helicopters lifting off the roof of the American embassy in Saigon as U.S. involvement drew to a close in April 1975—a moment seared into a generation’s memory by news footage as vivid as anything Hollywood could have devised.\u003c/p>\n\u003cp>Footage from Kabul’s International Airport, of\u003ca href=\"https://www.cnn.com/videos/world/2021/08/16/kabul-clinging-to-airplane-taking-off-tarmac-afghanistan-ward-vpx.cnn\" target=\"_blank\" rel=\"noopener noreferrer\"> Afghans clinging desperately to the fuselage of a U.S. Air Force C-17 transport plane\u003c/a> as it moves down the takeoff runway has that quality, too.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Panic, sacrifice, desperation—we have seen it before. Sadly, it wasn’t a movie.\u003c/p>\n\u003cdiv class=\"fullattribution\">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=Our+Film+Critic+Explores+Why+The+Harrowing+Afghanistan+Images+May+Feel+Familiar&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When East Bay filmmaker Abby Ginzberg’s latest documentary had its local premiere 13 months ago at a pandemic-shortened edition of the S.F. Jewish Film Festival, it played under the title \u003cem>Truth to Power: Barbara Lee Speaks for Me\u003c/em>. Ginzberg’s use of the rhyming catchphrase of the Oakland congresswoman’s constituents positioned the film as a community-centric portrait of a populist politician.\u003c/p>\n\u003cp>The film opening this Friday, Aug. 20 at the Roxie, the Shattuck and on demand has been slightly re-edited to include the subsequent election of another prominent Black woman, Vice President Kamala Harris, and carries a faintly different title: \u003cem>\u003ca href=\"https://speakingtruthtopowermovie.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Barbara Lee: Speaking Truth to Power\u003c/a>\u003c/em>. I prefer the assertiveness of the original—Lee’s supporters’ vocal identification with her, and her persistent championing of her constituents are rare and precious in American public life—but perhaps it was deemed too obscure or insufficiently inviting for viewers beyond the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13901493\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/hearing_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13901493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/hearing_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/hearing_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/hearing_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/hearing_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/hearing_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Barbara Lee: Speaking Truth to Power.’ \u003ccite>(Greenwich Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That makes a certain sense, for one of the film’s unspoken goals is to lift Lee and her progressive policies out of the realm of local issues and accord them national status. From that standpoint, the timing of the film’s national release is perfect: Her concerns as a single mother—poverty, child care, education and health care, which have long been dismissed as women’s issues—have been exposed by the pandemic as the nation’s most pressing problems. President Biden’s American Families Plan acknowledged that reality, although it’s too early for its benefits for low-income households to be fully realized.\u003c/p>\n\u003cp>(The prolific Ginzberg released another other important documentary in 2020 spotlighting economic injustice and the working class. \u003cem>\u003ca href=\"http://wagingchange.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Waging Change\u003c/a>\u003c/em> exposed the multiple indignities endured by tipped workers, and serves as an activist bookend to \u003cem>Barbara Lee: Speaking Truth to Power\u003c/em>.)\u003c/p>\n\u003cp>For a hot moment, Barbara Lee was a national figure after she cast the only vote in the House of Representatives against the appropriation of vast war powers to the president following 9/11. An indelible act of principle and courage that Ginzberg justly devotes an early, extended segment of her film to, it was a defining moment of Lee’s career but not her peak accomplishment. The bipartisan congressional coalition she put together to provide significant HIV/AIDS funding to Africa—and her persuasion of President George W. Bush to launch that program—likely tops the list. \u003c/p>\n\u003cfigure id=\"attachment_13901491\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/116thcongress_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13901491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/116thcongress_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/116thcongress_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/116thcongress_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/116thcongress_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/116thcongress_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rep. Alexandria Ocasio-Cortez takes a selfie with Reps. Barbara Lee, Anne McLane Kuster and Jan Schakowsky in 2019. \u003ccite>(Greenwich Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Barbara Lee: Speaking Truth to Power\u003c/em> positions its subject in a continuum of congresswomen and men of color stretching from Shirley Chisholm (whose presidential campaign Lee worked on) and John Lewis (who offers several pithy comments in one of his last sit-down interviews) to Ayanna Pressley and Alexandria Ocasio-Cortez. The Black Panthers get their props, too, for demonstrating to Lee both the need for breakfast and early-education programs and the government’s abdication of its responsibility to its people.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As the successor to the beloved Ron Dellums, who originally brought Lee to Washington, D.C. as an intern and promoted her to his chief of staff, Barbara Lee has carved out her own legacy. Like its subject, \u003cem>Barbara Lee: Speaking Truth to Power\u003c/em> has a sense of humor and a bit of style but keeps it eye firmly on the prize.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Barbara Lee: Speaking Truth to Power’ opens Aug. 20 at the Roxie Theater in S.F. and the Shattuck Cinemas in Berkeley, and on demand. \u003ca href=\"https://speakingtruthtopowermovie.com/screenings\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When East Bay filmmaker Abby Ginzberg’s latest documentary had its local premiere 13 months ago at a pandemic-shortened edition of the S.F. Jewish Film Festival, it played under the title \u003cem>Truth to Power: Barbara Lee Speaks for Me\u003c/em>. Ginzberg’s use of the rhyming catchphrase of the Oakland congresswoman’s constituents positioned the film as a community-centric portrait of a populist politician.\u003c/p>\n\u003cp>The film opening this Friday, Aug. 20 at the Roxie, the Shattuck and on demand has been slightly re-edited to include the subsequent election of another prominent Black woman, Vice President Kamala Harris, and carries a faintly different title: \u003cem>\u003ca href=\"https://speakingtruthtopowermovie.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Barbara Lee: Speaking Truth to Power\u003c/a>\u003c/em>. I prefer the assertiveness of the original—Lee’s supporters’ vocal identification with her, and her persistent championing of her constituents are rare and precious in American public life—but perhaps it was deemed too obscure or insufficiently inviting for viewers beyond the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13901493\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/hearing_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13901493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/hearing_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/hearing_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/hearing_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/hearing_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/hearing_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Barbara Lee: Speaking Truth to Power.’ \u003ccite>(Greenwich Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That makes a certain sense, for one of the film’s unspoken goals is to lift Lee and her progressive policies out of the realm of local issues and accord them national status. From that standpoint, the timing of the film’s national release is perfect: Her concerns as a single mother—poverty, child care, education and health care, which have long been dismissed as women’s issues—have been exposed by the pandemic as the nation’s most pressing problems. President Biden’s American Families Plan acknowledged that reality, although it’s too early for its benefits for low-income households to be fully realized.\u003c/p>\n\u003cp>(The prolific Ginzberg released another other important documentary in 2020 spotlighting economic injustice and the working class. \u003cem>\u003ca href=\"http://wagingchange.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Waging Change\u003c/a>\u003c/em> exposed the multiple indignities endured by tipped workers, and serves as an activist bookend to \u003cem>Barbara Lee: Speaking Truth to Power\u003c/em>.)\u003c/p>\n\u003cp>For a hot moment, Barbara Lee was a national figure after she cast the only vote in the House of Representatives against the appropriation of vast war powers to the president following 9/11. An indelible act of principle and courage that Ginzberg justly devotes an early, extended segment of her film to, it was a defining moment of Lee’s career but not her peak accomplishment. The bipartisan congressional coalition she put together to provide significant HIV/AIDS funding to Africa—and her persuasion of President George W. Bush to launch that program—likely tops the list. \u003c/p>\n\u003cfigure id=\"attachment_13901491\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/116thcongress_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13901491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/116thcongress_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/116thcongress_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/116thcongress_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/116thcongress_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/116thcongress_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rep. Alexandria Ocasio-Cortez takes a selfie with Reps. Barbara Lee, Anne McLane Kuster and Jan Schakowsky in 2019. \u003ccite>(Greenwich Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Barbara Lee: Speaking Truth to Power\u003c/em> positions its subject in a continuum of congresswomen and men of color stretching from Shirley Chisholm (whose presidential campaign Lee worked on) and John Lewis (who offers several pithy comments in one of his last sit-down interviews) to Ayanna Pressley and Alexandria Ocasio-Cortez. The Black Panthers get their props, too, for demonstrating to Lee both the need for breakfast and early-education programs and the government’s abdication of its responsibility to its people.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As the successor to the beloved Ron Dellums, who originally brought Lee to Washington, D.C. as an intern and promoted her to his chief of staff, Barbara Lee has carved out her own legacy. Like its subject, \u003cem>Barbara Lee: Speaking Truth to Power\u003c/em> has a sense of humor and a bit of style but keeps it eye firmly on the prize.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Barbara Lee: Speaking Truth to Power’ opens Aug. 20 at the Roxie Theater in S.F. and the Shattuck Cinemas in Berkeley, and on demand. \u003ca href=\"https://speakingtruthtopowermovie.com/screenings\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Beckett' is a Classic 'For Heaven's Sake, What Now?' Action Thriller",
"headTitle": "‘Beckett’ is a Classic ‘For Heaven’s Sake, What Now?’ Action Thriller | KQED",
"content": "\u003cp>There is a moment in the new Netflix thriller \u003cem>Beckett\u003c/em> in which the main character played by John David Washington—who’s already been in a rollover accident, been shot, been tased, been stung by bees, and likely broken both of his ankles—gets flex cuffs slapped on him, and now he’s on the run … in flex cuffs. The movie isn’t even half over.\u003c/p>\n\u003cp>You already know a lot about how you’ll feel about \u003cem>Beckett\u003c/em> by how much this description makes you roll your eyes, versus shout “hooray!”, versus a little bit of both. \u003cem>Beckett \u003c/em>is listed as Netflix’s number one film as of this writing, and yet there’s little buzz around it. And that may be because of how precisely it meets the requirements of a movie of its type without ever meaningfully exceeding any expectation you might have.\u003c/p>\n\u003cp>[aside postid='arts_13901046']And yet, I found myself coming down (gently) in the positive column on a film that, perhaps inevitably, has a \u003ca href=\"https://www.metacritic.com/movie/beckett/critic-reviews\" target=\"_blank\" rel=\"noopener noreferrer\">51 percent positive rating\u003c/a> over on the review aggregator site Metacritic. I must confess: I just love a movie where a guy cannot catch a break. These cascading problems that become more and more ridiculous are the bread and butter of what you might call the For Heaven’s Sake, What Now? genre. There’s a little bit of this in movies like \u003cem>Die Hard \u003c/em>(with the bare feet) and \u003cem>Speed \u003c/em>(when Keanu Reeves stabs the gas tank with the screwdriver), but in a film like \u003cem>Beckett\u003c/em>, it’s the whole story. This movie doesn’t actually have Beckett come down with scurvy and have him run over by the tuba section of a marching band on his way to a safe house that turns out to be haunted, but that’s only because there’s not time. Directed by Ferdinando Cito Filomarino, \u003cem>Beckett \u003c/em>is a movie about a guy who cannot catch a break—unless it’s a break of his own arm.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EPT_PNucTWE\u003c/p>\n\u003cp>Washington plays Beckett (just Beckett), an American on vacation in Greece with his girlfriend (played by Alicia Vikander, but don’t get too excited, because it’s a small role). They get in a terrible car accident, and once Beckett gets out of the hospital, he realizes that people are chasing him, and they are shooting at him, and he has no idea who they are or why they’re doing all this. One can certainly understand how it would be unsettling.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The police quickly prove untrustworthy, so Beckett gets it in his head that what he needs to do is get to the U.S. Embassy in Athens. It’s important to set this goal, because one of the problems with on-the-run movies is always the question of where the on-the-run person is trying to get to, and what they think they’re going to do when they arrive. Every obstacle course needs a finish line.\u003c/p>\n\u003cp>[aside postid='arts_13901157']Regrettably, \u003cem>Beckett \u003c/em>does run into the same problem as a lot of films with fun beginnings shrouded in mystery: It has to eventually answer the question of what the heck is going on. What they’re going for here is (as critic Walter Chaw noted when we spoke about the film this week for Pop Culture Happy Hour) is the feeling of a larger conspiracy clamping down on Beckett, like you’d find in a 1970s paranoid thriller. But here, the more the film reveals about those menacing forces, the more it gets bogged down in a lot of only halfway considered material about Greek politics and American diplomacy. The final action set piece is fully ridiculous and poorly paced, particularly in contrast to the fairly straightforward chases of what happens earlier on, and by the end, the idea of Beckett as an everyman has been discarded in favor of the idea of Beckett as a superhero who manages some highly, highly unlikely feats of physics that the Beckett of a day or so earlier would never have even attempted.\u003c/p>\n\u003cp>The whole thing feels strangely conceived, and one hint about why might come from the press materials in which Filomarino says that what inspired this movie was other movies—other “manhunt” type films, only he wanted to try one where the protagonist was more of an ordinary person. It’s not unusual to be inspired by other kinds of storytelling, obviously—that’s the heart and soul of genre, and had they resisted the urge to make Beckett quite so bulletproof and quite so acrobatic, it might have paid off better.\u003c/p>\n\u003cp>But \u003cem>Beckett \u003c/em>feels like perhaps the central story is underbaked because it originated not with an idea about a person, but with an idea about film, and then the task of building the story itself wasn’t quite finished with the polish it needed. That might explain, too, the oddly inert supporting characters: Vicky Krieps shows up in an underdeveloped role as a local activist, for instance, and it’s hard not to wish she had a lot more to do.\u003c/p>\n\u003cp>This kind of movie makes me think, I admit, of \u003cem>The Great British Baking Show\u003c/em>. Sometimes, someone will make, say, a lemon cake. The the judges eat it and they announce, basically, “It’s fine. I don’t know that it’s great, or that it’s very exciting, but it’s fine.” This is not quite a ringing endorsement in the middle of a competition, but in fairness, what the person has made is still a lemon cake. And if you were in the mood for a lemon cake, then the fact that it’s not the best lemon cake you’ve ever had may be something you would not focus on, were it sitting in front of you at home. “I believe I would eat that lemon cake” is a thought you may well find yourself having.\u003c/p>\n\u003cp>\u003cem>Beckett\u003c/em> is a bit of a lemon cake.\u003c/p>\n\u003cp>On the plus side, it benefits from beautiful scenery as Beckett runs around Greece, up city streets and over mountains. It benefits from Washington having quite a natural regular-guy presence, in which he often seems overwhelmed, especially at the beginning. And it benefits from the audacious pile-up of challenges with which Beckett is faced.\u003c/p>\n\u003cp>[aside postid='arts_13900910']But it could certainly be much better were it a tighter story with a more efficiently built puzzle at its center. There is a big difference, after all, between being able to \u003cem>forgive\u003c/em> the flaws in a movie because it meets the basic requirements of its category and thinking there is \u003cem>no meaningful distinction\u003c/em> between a good and bad movie like this, simply because it belongs to the popular genre known as the action thriller.\u003c/p>\n\u003cp>It could be a lot better. It could be a lot stronger as it approaches the finish. But there’s something to be said for watching a guy hide in a car trunk and think, “For him, this is probably the best part of his day.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The Pop Culture Happy Hour podcast panel is Linda Holmes and Walter Chaw. The audio was produced and edited by Mike Katzif.\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=%27Beckett%27+Is+A+Perfectly+Average+Chase+Thriller&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There is a moment in the new Netflix thriller \u003cem>Beckett\u003c/em> in which the main character played by John David Washington—who’s already been in a rollover accident, been shot, been tased, been stung by bees, and likely broken both of his ankles—gets flex cuffs slapped on him, and now he’s on the run … in flex cuffs. The movie isn’t even half over.\u003c/p>\n\u003cp>You already know a lot about how you’ll feel about \u003cem>Beckett\u003c/em> by how much this description makes you roll your eyes, versus shout “hooray!”, versus a little bit of both. \u003cem>Beckett \u003c/em>is listed as Netflix’s number one film as of this writing, and yet there’s little buzz around it. And that may be because of how precisely it meets the requirements of a movie of its type without ever meaningfully exceeding any expectation you might have.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And yet, I found myself coming down (gently) in the positive column on a film that, perhaps inevitably, has a \u003ca href=\"https://www.metacritic.com/movie/beckett/critic-reviews\" target=\"_blank\" rel=\"noopener noreferrer\">51 percent positive rating\u003c/a> over on the review aggregator site Metacritic. I must confess: I just love a movie where a guy cannot catch a break. These cascading problems that become more and more ridiculous are the bread and butter of what you might call the For Heaven’s Sake, What Now? genre. There’s a little bit of this in movies like \u003cem>Die Hard \u003c/em>(with the bare feet) and \u003cem>Speed \u003c/em>(when Keanu Reeves stabs the gas tank with the screwdriver), but in a film like \u003cem>Beckett\u003c/em>, it’s the whole story. This movie doesn’t actually have Beckett come down with scurvy and have him run over by the tuba section of a marching band on his way to a safe house that turns out to be haunted, but that’s only because there’s not time. Directed by Ferdinando Cito Filomarino, \u003cem>Beckett \u003c/em>is a movie about a guy who cannot catch a break—unless it’s a break of his own arm.\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/EPT_PNucTWE'\n title='//www.youtube.com/embed/EPT_PNucTWE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Washington plays Beckett (just Beckett), an American on vacation in Greece with his girlfriend (played by Alicia Vikander, but don’t get too excited, because it’s a small role). They get in a terrible car accident, and once Beckett gets out of the hospital, he realizes that people are chasing him, and they are shooting at him, and he has no idea who they are or why they’re doing all this. One can certainly understand how it would be unsettling.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The police quickly prove untrustworthy, so Beckett gets it in his head that what he needs to do is get to the U.S. Embassy in Athens. It’s important to set this goal, because one of the problems with on-the-run movies is always the question of where the on-the-run person is trying to get to, and what they think they’re going to do when they arrive. Every obstacle course needs a finish line.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Regrettably, \u003cem>Beckett \u003c/em>does run into the same problem as a lot of films with fun beginnings shrouded in mystery: It has to eventually answer the question of what the heck is going on. What they’re going for here is (as critic Walter Chaw noted when we spoke about the film this week for Pop Culture Happy Hour) is the feeling of a larger conspiracy clamping down on Beckett, like you’d find in a 1970s paranoid thriller. But here, the more the film reveals about those menacing forces, the more it gets bogged down in a lot of only halfway considered material about Greek politics and American diplomacy. The final action set piece is fully ridiculous and poorly paced, particularly in contrast to the fairly straightforward chases of what happens earlier on, and by the end, the idea of Beckett as an everyman has been discarded in favor of the idea of Beckett as a superhero who manages some highly, highly unlikely feats of physics that the Beckett of a day or so earlier would never have even attempted.\u003c/p>\n\u003cp>The whole thing feels strangely conceived, and one hint about why might come from the press materials in which Filomarino says that what inspired this movie was other movies—other “manhunt” type films, only he wanted to try one where the protagonist was more of an ordinary person. It’s not unusual to be inspired by other kinds of storytelling, obviously—that’s the heart and soul of genre, and had they resisted the urge to make Beckett quite so bulletproof and quite so acrobatic, it might have paid off better.\u003c/p>\n\u003cp>But \u003cem>Beckett \u003c/em>feels like perhaps the central story is underbaked because it originated not with an idea about a person, but with an idea about film, and then the task of building the story itself wasn’t quite finished with the polish it needed. That might explain, too, the oddly inert supporting characters: Vicky Krieps shows up in an underdeveloped role as a local activist, for instance, and it’s hard not to wish she had a lot more to do.\u003c/p>\n\u003cp>This kind of movie makes me think, I admit, of \u003cem>The Great British Baking Show\u003c/em>. Sometimes, someone will make, say, a lemon cake. The the judges eat it and they announce, basically, “It’s fine. I don’t know that it’s great, or that it’s very exciting, but it’s fine.” This is not quite a ringing endorsement in the middle of a competition, but in fairness, what the person has made is still a lemon cake. And if you were in the mood for a lemon cake, then the fact that it’s not the best lemon cake you’ve ever had may be something you would not focus on, were it sitting in front of you at home. “I believe I would eat that lemon cake” is a thought you may well find yourself having.\u003c/p>\n\u003cp>\u003cem>Beckett\u003c/em> is a bit of a lemon cake.\u003c/p>\n\u003cp>On the plus side, it benefits from beautiful scenery as Beckett runs around Greece, up city streets and over mountains. It benefits from Washington having quite a natural regular-guy presence, in which he often seems overwhelmed, especially at the beginning. And it benefits from the audacious pile-up of challenges with which Beckett is faced.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But it could certainly be much better were it a tighter story with a more efficiently built puzzle at its center. There is a big difference, after all, between being able to \u003cem>forgive\u003c/em> the flaws in a movie because it meets the basic requirements of its category and thinking there is \u003cem>no meaningful distinction\u003c/em> between a good and bad movie like this, simply because it belongs to the popular genre known as the action thriller.\u003c/p>\n\u003cp>It could be a lot better. It could be a lot stronger as it approaches the finish. But there’s something to be said for watching a guy hide in a car trunk and think, “For him, this is probably the best part of his day.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Pop Culture Happy Hour podcast panel is Linda Holmes and Walter Chaw. The audio was produced and edited by Mike Katzif.\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=%27Beckett%27+Is+A+Perfectly+Average+Chase+Thriller&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'CODA' Will Yank Shamelessly on Your Heartstrings ... But it's Very Good at it",
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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>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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"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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"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": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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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": {
"id": "possible",
"title": "Possible",
"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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"pri-the-world": {
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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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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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"radiolab": {
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"reveal": {
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},
"rightnowish": {
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"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": {
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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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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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},
"soldout": {
"id": "soldout",
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