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"content": "\u003cp>In a \u003ca href=\"https://twitter.com/Lin_Manuel/status/1404565413116141570?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Twitter\u003c/a> post, \u003cem>In The Heights\u003c/em> co-creator Lin-Manuel Miranda publicly addressed criticisms of the film’s casting that noted only light-skinned actors had roles as the musical’s main Latinx characters.\u003c/p>\n\u003cp>Miranda apologized, writing Monday evening: “I hear that, without sufficient dark-skinned Afro-Latino representation, the world feels extractive of the community we wanted so much to represent with pride and joy. In trying to paint a mosaic of this community, we fell short. I’m truly sorry.”\u003c/p>\n\u003cp>[aside postid='arts_13882671']The film version of the hit Broadway musical, which is set in New York City’s Washington Heights neighborhood, only includes Afro-Latinx performers in background and dance roles. (One main character, Benny, is Black and played by the non-Latinx actor Corey Hawkins.) Critics of the movie \u003ca href=\"https://twitter.com/bad_dominicana/status/1403104020818972674?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">have remarked\u003c/a> that the real-life Washington Heights is heavily Afro-Latinx.\u003c/p>\n\u003cp>Miranda, who wrote the music and lyrics for the musical with the book by Quiara Alegría Hudes, said on Twitter: “I started writing \u003cem>In\u003c/em> \u003cem>The Heights\u003c/em> because I didn’t feel seen. And over the past 20 years all I wanted was for us—ALL of us—to feel seen. I’m seeing the discussion around Afro-Latino representation in our film this weekend, and it is clear that many in our dark-skinned Afro-Latino community don’t feel sufficiently represented within it, particularly among the leading roles. I can hear the hurt and frustration over colorism, of feeling unseen in the feedback.”\u003c/p>\n\u003cp>Miranda continued, “I’m learning from the feedback, I thank you for raising it, and I’m listening. I’m trying to hold space for both the incredible pride in the movie we made and be accountable for our shortcomings. Thank you for your honest feedback. I promise to do better in my future projects, and I’m dedicated to the learning and evolving we all have to do to make sure we are honoring our diverse and vibrant community. Siempre, LMM.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/Lin_Manuel/status/1404565413116141570\u003c/p>\n\u003cp>For \u003cem>\u003ca href=\"https://www.theroot.com/lets-talk-about-in-the-heights-and-the-erasure-of-dark-1847064126\" target=\"_blank\" rel=\"noopener noreferrer\">The Root\u003c/a>\u003c/em>, writer Felice León, who is of Afro-Cuban heritage, interviewed the film’s director, Jon M. Chu, as well as actors Hawkins, Leslie Grace and Melissa Barrera. León asked about the lack of Black Latinx performers in the film’s main roles.\u003c/p>\n\u003cp>[aside postid='arts_13898635']“It’s definitely something we talked about,” Chu said, “and I needed to be educated about [it], of course. In the end, when we were looking at the cast, we tried to get the people who were best for those roles specifically. … I think it’s a really good conversation to have, it’s something we all should be talking about.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>León wrote that she had requested an interview with Miranda, but was not approved.\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=Lin-Manuel+Miranda+Apologizes+For+Lack+Of+Afro-Latinx+Actors+In+%27In+The+Heights%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>For \u003cem>\u003ca href=\"https://www.theroot.com/lets-talk-about-in-the-heights-and-the-erasure-of-dark-1847064126\" target=\"_blank\" rel=\"noopener noreferrer\">The Root\u003c/a>\u003c/em>, writer Felice León, who is of Afro-Cuban heritage, interviewed the film’s director, Jon M. Chu, as well as actors Hawkins, Leslie Grace and Melissa Barrera. León asked about the lack of Black Latinx performers in the film’s main roles.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“It’s definitely something we talked about,” Chu said, “and I needed to be educated about [it], of course. In the end, when we were looking at the cast, we tried to get the people who were best for those roles specifically. … I think it’s a really good conversation to have, it’s something we all should be talking about.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>León wrote that she had requested an interview with Miranda, but was not approved.\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=Lin-Manuel+Miranda+Apologizes+For+Lack+Of+Afro-Latinx+Actors+In+%27In+The+Heights%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Just 10% of Popular Movies Had a Muslim Character. Riz Ahmed Wants to Change That",
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"content": "\u003cp>Muslims are very rarely depicted in movies, and when they are, it’s usually as a stereotypical terrorist, \u003ca href=\"https://variety.com/2021/film/news/riz-ahmed-muslim-study-usc-annenberg-inclusion-initiative-pillars-fund-1234993247/\" target=\"_blank\" rel=\"noopener noreferrer\">what Oscar nominated actor Riz Ahmed calls a “dangerous trope.”\u003c/a> Having spoken out about this issue for several years, he’s been looking for hard data. Now’s he got it. This week, The University of Southern California’s Annenberg Inclusion Initiative came out with the report he asked for. It’s titled \u003ca href=\"https://assets.uscannenberg.org/docs/aii-muslim-rep-global-film-2021-06-09.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Missing and Maligned: The Reality of Muslims in Popular Global Movies.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>USC’s researchers combed through 200 popular films from the U.S., the U.K., Australia and New Zealand from 2017 to 2019. They found that only six of them had a Muslim in a co-leading role, and only one of those was female. Of the nearly 9,000 speaking parts, fewer than two percent were Muslim. And there were none in animated movies.\u003c/p>\n\u003cp>“Being confronted with the hard stats themselves was in a way shocking to see how bad it was,” Ahmed told NPR. “Just the extent of Muslim erasure, the extent in particular of erasure of Black Muslims, and Muslim women, it was really shocking.”\u003c/p>\n\u003cp>[aside postid='arts_13880993']The report pointed to several examples, including the film \u003cem>Hotel Mumbai\u003c/em>, which featured Muslims as terrorists. Movies such as \u003cem>Aladdin\u003c/em> depicted Muslim characters only in the past. Other films portrayed Muslims as outsiders or subservient to white characters. In 2017’s \u003cem>Wonder Woman\u003c/em>, the character Sameer had to play up a stereotype. He later complains about his limited opportunities. “Not everyone gets to be what they want to be all the time,” he says to the superhero. “Me? I am an actor. I love acting.”\u003c/p>\n\u003cp>Ahmed and the Inclusion Initiative also worked on the study with The Pillars Fund, a foundation for Muslims in the U.S. The group’s cofounder and president, Kashif Shaikh says that while the Muslim community is racially and ethnically diverse, it’s rarely shown that way in movies. He said Hollywood has created and reinforced dangerous portrayals.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“When you are constantly depicting Muslims as terrorists, there are consequences to that,” says Shaikh. “It’s easy … to now dehumanize us.”\u003c/p>\n\u003cp>Shaikh says his group is not necessarily calling for only positive portrayals, but he advocates for more Muslim roles with nuance. That includes more LGBTQ roles, or those with disabilities, like Riz Ahmed’s character in the 2019 film \u003cem>Sound of Metal.\u003c/em>\u003c/p>\n\u003cp>In a video announcing the USC study, Ahmed said he was one of only a handful of Muslim actors who get to play Hollywood roles that are “either non-Muslim or unremarkably Muslim.”\u003c/p>\n\u003cp>“I ask myself if I’m the exception to the rule, what must the rule be about people like me? What must the unwritten rule be about Muslims, a quarter of the world’s population and their place in our stories, our culture and their place in our society, if any?”\u003c/p>\n\u003cp>Ahmed recalled having been interrogated at an airport after he appeared in the film \u003cem>The Road to Guantanamo\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13844505']“I recoiled when that MI5 agent said ‘did you become an actor to further the Muslim struggle?,'” he recalls, saying he’d much rather be acting than be a poster boy for this issue. But he says he realized later he had to speak up.\u003c/p>\n\u003cp>“Maybe I did become an actor to be seen and portrayed with empathy and dignity, to be seen as fully human as much as any other character.”\u003c/p>\n\u003cp>The report includes a “blueprint” for Muslim inclusion: solutions for film studios, film schools, and philanthropies. The Pillars Fund is awarding a new fellowship for Muslim artists. Ahmed is also teaming with Mahershala Ali, Ramy Youssef, Sana Amanat, Karim Amer, Rosa Attab, Nida Manzoor and Jehane Noujaim. They’re challenging film companies to secure deals with Muslim creators and to “sunset” the old tropes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Rose Friedman, and adapted for the web by Rose Friedman and Mandalit del Barco.\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=Just+10%25+Of+Popular+Movies+Had+A+Muslim+Character.+Riz+Ahmed+Wants+To+Change+That&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Muslims are very rarely depicted in movies, and when they are, it’s usually as a stereotypical terrorist, \u003ca href=\"https://variety.com/2021/film/news/riz-ahmed-muslim-study-usc-annenberg-inclusion-initiative-pillars-fund-1234993247/\" target=\"_blank\" rel=\"noopener noreferrer\">what Oscar nominated actor Riz Ahmed calls a “dangerous trope.”\u003c/a> Having spoken out about this issue for several years, he’s been looking for hard data. Now’s he got it. This week, The University of Southern California’s Annenberg Inclusion Initiative came out with the report he asked for. It’s titled \u003ca href=\"https://assets.uscannenberg.org/docs/aii-muslim-rep-global-film-2021-06-09.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Missing and Maligned: The Reality of Muslims in Popular Global Movies.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>USC’s researchers combed through 200 popular films from the U.S., the U.K., Australia and New Zealand from 2017 to 2019. They found that only six of them had a Muslim in a co-leading role, and only one of those was female. Of the nearly 9,000 speaking parts, fewer than two percent were Muslim. And there were none in animated movies.\u003c/p>\n\u003cp>“Being confronted with the hard stats themselves was in a way shocking to see how bad it was,” Ahmed told NPR. “Just the extent of Muslim erasure, the extent in particular of erasure of Black Muslims, and Muslim women, it was really shocking.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When you are constantly depicting Muslims as terrorists, there are consequences to that,” says Shaikh. “It’s easy … to now dehumanize us.”\u003c/p>\n\u003cp>Shaikh says his group is not necessarily calling for only positive portrayals, but he advocates for more Muslim roles with nuance. That includes more LGBTQ roles, or those with disabilities, like Riz Ahmed’s character in the 2019 film \u003cem>Sound of Metal.\u003c/em>\u003c/p>\n\u003cp>In a video announcing the USC study, Ahmed said he was one of only a handful of Muslim actors who get to play Hollywood roles that are “either non-Muslim or unremarkably Muslim.”\u003c/p>\n\u003cp>“I ask myself if I’m the exception to the rule, what must the rule be about people like me? What must the unwritten rule be about Muslims, a quarter of the world’s population and their place in our stories, our culture and their place in our society, if any?”\u003c/p>\n\u003cp>Ahmed recalled having been interrogated at an airport after he appeared in the film \u003cem>The Road to Guantanamo\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I recoiled when that MI5 agent said ‘did you become an actor to further the Muslim struggle?,'” he recalls, saying he’d much rather be acting than be a poster boy for this issue. But he says he realized later he had to speak up.\u003c/p>\n\u003cp>“Maybe I did become an actor to be seen and portrayed with empathy and dignity, to be seen as fully human as much as any other character.”\u003c/p>\n\u003cp>The report includes a “blueprint” for Muslim inclusion: solutions for film studios, film schools, and philanthropies. The Pillars Fund is awarding a new fellowship for Muslim artists. Ahmed is also teaming with Mahershala Ali, Ramy Youssef, Sana Amanat, Karim Amer, Rosa Attab, Nida Manzoor and Jehane Noujaim. They’re challenging film companies to secure deals with Muslim creators and to “sunset” the old tropes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Rose Friedman, and adapted for the web by Rose Friedman and Mandalit del Barco.\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=Just+10%25+Of+Popular+Movies+Had+A+Muslim+Character.+Riz+Ahmed+Wants+To+Change+That&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Skateboarding Gives Freedom to Rural Indian Teen in Netflix Film—and in Real Life",
"headTitle": "Skateboarding Gives Freedom to Rural Indian Teen in Netflix Film—and in Real Life | KQED",
"content": "\u003cp>When Asha Gond first started skateboarding, neighbors in her village of Janwar in central India were aghast. They urged the teenager’s parents to keep her busy with housework or get her married. When she walked through the village, skateboard in hand, they would sneer at her and make disparaging comments. Skateboarding is for boys, Gond, now 21, recalls the villagers saying.\u003c/p>\n\u003cp>Skateboarding isn’t common in Indian cities, let alone remote rural areas like where Gond lives. The skatepark in her village was built by a German social activist. It ignited in her a life-altering passion for skateboarding—a passion Gond has pursued despite the rigid patriarchal norms in her village and one that has taken her to championships overseas.\u003c/p>\n\u003cp>It’s an incredible story of how one skatepark can change a girl’s—and really an entire community’s—life.\u003c/p>\n\u003cp>It also happens to be the plot of a new Netflix movie called \u003ca href=\"https://www.youtube.com/watch?v=k5Fn99wmFCQ\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Skater Girl\u003c/em>\u003c/a> releasing June 11. The movie chronicles the journey of a rural Indian teenage girl who discovers a life-changing passion for skateboarding after a Westerner builds a skatepark in her village but faces obstacles when she tries to chase her dream of competing.\u003c/p>\n\u003cp>The filmmakers say it’s a fictionalized account of stories of skateboarding girls in India. But Gond says it’s her story and that the filmmakers never got her permission—even though they met her.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The things that they’ve shown in the trailer have actually happened to me,” she told NPR in a phone interview.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=k5Fn99wmFCQ\u003c/p>\n\u003cp>\u003cstrong>Why A Rural Village Got A Skatepark\u003c/strong>\u003c/p>\n\u003cp>Janwar is a tiny village of about 1,200 located at the edge of a tiger reserve in the state of Madhya Pradesh. Tribal communities called Adivasis make up about \u003ca href=\"https://urldefense.com/v3/__https:/censusindia.gov.in/2011census/dchb/2309_PART_B_DCHB_PANNA.pdf__;!!Iwwt!H9Zt-H4FSAPu868Vthr_4VOFMUM6NAcTjzf_khY0Ocwc-GBvGkc-U-4EhXZs%24\" target=\"_blank\" rel=\"noopener noreferrer\">half\u003c/a> of its population. India’s ancient caste system relegates Adivasis to the bottom of the social hierarchy and they typically live segregated from the rest of the community. When Gond was growing up, Adivasi children like her weren’t allowed to mix or play with their higher caste peers. Girls tended to marry early and the literacy rate was extremely low—especially among women.\u003c/p>\n\u003cp>Then came the skatepark, built by \u003ca href=\"https://www.ulrikereinhard.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ulrike Reinhard\u003c/a>, a German business consultant and activist. Reinhard has been mostly living in India since 2012 and much of her work focuses on empowering youth in rural areas. She had been toying with the idea of building a school in rural India. But inspired by \u003ca href=\"https://urldefense.com/v3/__https:/www.skateistan.org/__;!!Iwwt!H9Zt-H4FSAPu868Vthr_4VOFMUM6NAcTjzf_khY0Ocwc-GBvGkc-U0HWm-GM%24\" target=\"_blank\" rel=\"noopener noreferrer\">Skateistan\u003c/a>, an international nonprofit organization that promotes education and gender equality through skateboarding, Reinhard decided to build a skatepark in Janwar.\u003c/p>\n\u003cp>“It was an experiment,” Reinhard says. “I thought, can a skatepark trigger change in such a stiff and old-traditioned community?”\u003c/p>\n\u003cp>To raise money for the project, Reinhard reached out to artists across the world to convert skateboards into artboards which she then auctioned.\u003c/p>\n\u003cp>[aside postid='news_11733418']When she had the funding, she encouraged skating enthusiasts from around the world to come to Janwar to help build the park. About a dozen came and constructed the skatepark with assistance from laborers in the village. The skatepark opened in 2015.\u003c/p>\n\u003cp>The end result was something most of the people in the village had never seen—or even heard of. Gond said her initial reaction was that it “looked very weird.” Some people thought it was a swimming pool, Reinhard says.\u003c/p>\n\u003cp>The kids came around quickly and thought the skatepark was cool, says Reinhard. But some adults were skeptical of Reinhard’s intentions and started spreading rumors that she was involved in human trafficking.\u003c/p>\n\u003cp>Gond’s mother was scared for her. “People would say [Reinhard] is going to sell your daughter and you won’t be able to see her again ever,” says Kamala Gond, who has since come around to support the project.\u003c/p>\n\u003cp>The German nonprofit \u003ca href=\"https://www.skate-aid.org/en/\" target=\"_blank\" rel=\"noopener noreferrer\">Skate-aid\u003c/a> provided the first batch of 20 skateboards. Reinhard doesn’t know how to skateboard so she showed the kids YouTube videos on a tablet to get them started.\u003c/p>\n\u003cp>In the beginning, it was difficult to maintain balance, Gond says.”The skateboard would go ahead when I stepped on it. I thought I would fall over and smash my face.”\u003c/p>\n\u003cp>But once she got the hang of it, it was all Gond could think of. “I would lie in bed at night and think about how to maneuver the skateboard to do a particular trick,” she says.\u003c/p>\n\u003cp>\u003cstrong>Girls Get Priority. And Leave Your Caste At the Door\u003c/strong>\u003c/p>\n\u003cp>The skatepark is free and open to all the children in the village, irrespective of caste. Encouraging Adivasi children and Yadav kids (a higher caste) to skate together is blurring caste divisions in the community, Gond says.\u003c/p>\n\u003cp>While members of higher castes don’t get special treatment, girls do. One of the skatepark’s rules is “Girls first”—meaning if there are no skateboards free, a girl can ask a skateboarding boy to give his skateboard to her and he has to agree.\u003c/p>\n\u003cp>[aside postid='pop_85006']“The girls’ destiny is sealed the day they are born,” says Reinhard, adding that they are typically put to work at a young age and married off early. “So this was a way to tackle the gender [inequality] issue without naming it explicitly.”\u003c/p>\n\u003cp>Not everyone was happy to see girls skateboarding, much less Adivasi girls like Gond. Villagers would gossip that Gond would be better off learning to cook instead of skateboarding.\u003c/p>\n\u003cp>“They used to say to my parents, ‘What is she going to do after she goes to her husband’s home?'” says Gond.\u003c/p>\n\u003cp>Some mornings, Gond recalls, she arrived at the skatepark to threatening messages written on the concrete. “They said they would burn me if I did skateboarding.”\u003c/p>\n\u003cfigure id=\"attachment_13898796\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898796\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/vicky_roy_2016_mptourism_tour_custom-719f5eb5f4daeb7d4746d960d7e2ac0038389a6d-800x533.jpg\" alt=\"Asha Gond (center right) rides her skateboard. When she first began skating, neighbors would shout that skateboarding is for boys and urge her parents to marry her off.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/vicky_roy_2016_mptourism_tour_custom-719f5eb5f4daeb7d4746d960d7e2ac0038389a6d-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/vicky_roy_2016_mptourism_tour_custom-719f5eb5f4daeb7d4746d960d7e2ac0038389a6d-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/vicky_roy_2016_mptourism_tour_custom-719f5eb5f4daeb7d4746d960d7e2ac0038389a6d-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/vicky_roy_2016_mptourism_tour_custom-719f5eb5f4daeb7d4746d960d7e2ac0038389a6d-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/vicky_roy_2016_mptourism_tour_custom-719f5eb5f4daeb7d4746d960d7e2ac0038389a6d.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Asha Gond (center right) rides her skateboard. When she first began skating, neighbors would shout that skateboarding is for boys and urge her parents to marry her off. \u003ccite>(Vicky Roy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Gond continued to skate and quickly became a rising star in Janwar. Over the years, she’s traveled across India to participate in skateboarding contests. In 2018, she represented India in the World Skateboarding Championship in Nanjing, China. She came in nearly last, but she was the only Indian in the women’s games, competing against many who came from countries with long traditions of skateboarding.\u003c/p>\n\u003cp>Gond is also co-founder and director of the nonprofit organization Barefoot Skateboarders, which focuses on the education and development of the children in Janwar.\u003c/p>\n\u003cp>Her mother says she’s proud of her.\u003c/p>\n\u003cp>“I feel wonderful, I had never imagined that my daughter could do this or achieve what she has achieved,” says Kamala Gond, who says she regrets that she never had the opportunity to go to school and was married when she was a young teen. “What I couldn’t do, my daughter is doing.”\u003c/p>\n\u003cp>\u003cstrong>‘No School. No Skateboarding’\u003c/strong>\u003c/p>\n\u003cp>The second rule at the skatepark is, “No school. No skateboarding.” When the kids skip school or are kept home by their parents, they aren’t allowed to skateboard. And to make school a better experience, Reinhard partnered with \u003ca href=\"https://urldefense.com/v3/__https:/prakriti.edu.in/__;!!Iwwt!H9Zt-H4FSAPu868Vthr_4VOFMUM6NAcTjzf_khY0Ocwc-GBvGkc-U-jK3Wug%24\" target=\"_blank\" rel=\"noopener noreferrer\">Prakriti School\u003c/a>, an organization that focuses on innovative learning, to organize workshops for teachers in Janwar to improve their teaching skills. As a result, school attendance has gone up considerably, Reinhard says.\u003c/p>\n\u003cp>[aside postid='arts_13891248']“We really have created an eagerness to learn,” Reinhard says, adding that they’ve built a second skatepark and a community center that Gond manages where kids can take part in a variety of activities, including painting and karate. “We have a computer lab and the kids are sitting in front of computer screens learning Hindi poems or math.”\u003c/p>\n\u003cp>Reinhard says skateboarding is the oil that keeps the whole machine running. It’s a model that’s been successful in many countries. The nonprofit Skateistan now runs programs in Afghanistan, Cambodia and South Africa. Skate After School, an \u003ca href=\"https://urldefense.com/v3/__https:/www.skateafterschool.org/__;!!Iwwt!H9Zt-H4FSAPu868Vthr_4VOFMUM6NAcTjzf_khY0Ocwc-GBvGkc-U8BlZH3T%24\" target=\"_blank\" rel=\"noopener noreferrer\">Arizona-based nonprofit\u003c/a>, teaches skateboarding to nurture children from underserved communities.\u003c/p>\n\u003cp>How does it work? Sports as a means of social change is powerful, says \u003ca href=\"https://urldefense.com/v3/__https:/malala.org/champions/jyotsna-jha__;!!Iwwt!H9Zt-H4FSAPu868Vthr_4VOFMUM6NAcTjzf_khY0Ocwc-GBvGkc-UzBEPwlp%24\" target=\"_blank\" rel=\"noopener noreferrer\">Jyotsna Jha\u003c/a>, director of the Indian think tank Center for Budget and Policy Studies. “Especially something like skating, which is novel and thrilling, can really create a sense of achievement among children that they had perhaps never experienced otherwise,” she said via email.\u003c/p>\n\u003cp>Sports has always been a gendered act, she says. “But when a sport is introduced for girls that is not traditionally associated with girls, it helps in breaking many stereotypes and also generating new ways of thinking,” Jha says.\u003c/p>\n\u003cfigure id=\"attachment_13898797\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898797\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/aslam_saiyad_03_20191_custom-debc61ed55d4bcd408e274b6ef182e9c0ee6aab8-800x533.jpg\" alt=\"Asha Gond rides over an obstacle known as a volcano at the Janwar Castle skatepark in her village.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/aslam_saiyad_03_20191_custom-debc61ed55d4bcd408e274b6ef182e9c0ee6aab8-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/aslam_saiyad_03_20191_custom-debc61ed55d4bcd408e274b6ef182e9c0ee6aab8-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/aslam_saiyad_03_20191_custom-debc61ed55d4bcd408e274b6ef182e9c0ee6aab8-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/aslam_saiyad_03_20191_custom-debc61ed55d4bcd408e274b6ef182e9c0ee6aab8-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/aslam_saiyad_03_20191_custom-debc61ed55d4bcd408e274b6ef182e9c0ee6aab8-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/aslam_saiyad_03_20191_custom-debc61ed55d4bcd408e274b6ef182e9c0ee6aab8-2048x1364.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/aslam_saiyad_03_20191_custom-debc61ed55d4bcd408e274b6ef182e9c0ee6aab8-1920x1279.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Asha Gond rides over an obstacle known as a volcano at the Janwar Castle skatepark in her village. \u003ccite>(Aslam Saiyad/Barefoot Skateboarders Organization)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>An Inspiring Movie And A Controversy\u003c/strong>\u003c/p>\n\u003cp>The impact that skateboarding is creating in different communities is what director Manjari Makijany says inspired her movie \u003cem>Skater Girl\u003c/em>. But after watching the trailer, some people on social media familiar with Reinhard’s work and Gond’s story assumed the movie was about Gond and the skatepark in Janwar. But Gond says the filmmakers never got permission to tell her story.\u003c/p>\n\u003cp>“Why don’t you ask me that you are going to tell my story?” Gond \u003ca href=\"https://urldefense.com/v3/__https:/www.facebook.com/NetflixFamily/posts/1182671495505173?comment_id=163450362388313__;!!Iwwt!H9Zt-H4FSAPu868Vthr_4VOFMUM6NAcTjzf_khY0Ocwc-GBvGkc-U2jrrCCu%24\" target=\"_blank\" rel=\"noopener noreferrer\">wrote\u003c/a> in a comment to a Netflix post sharing the trailer.\u003c/p>\n\u003cp>In an email to NPR, Makijany denied that the movie was about Gond.\u003c/p>\n\u003cp>“\u003cem>Skater Girl\u003c/em> is not a biopic based on anyone’s life story nor is it a documentary,” Makijany says. “It is not [Gond or Reinhard’s] story.”\u003c/p>\n\u003cp>In the movie, as in Janwar, the rule is “No school, No skateboarding” and it’s a Westerner—like Reinhard—who introduces the village to skateboarding and builds a skatepark.\u003c/p>\n\u003cp>Gond says the filmmakers met with her in Janwar and spoke to her about how skateboarding had changed her life and transformed her village. The director says Gond was just one of many girls they met during the making of the movie. The movie was also not shot in Janwar but in a village in Rajasthan state.\u003c/p>\n\u003cp>Reinhard had a contract to be a research consultant on the movie but says she quit early because of differences over the storytelling approach.\u003c/p>\n\u003cp>“It turned out to be this kitschy, cheesy kind of thing,” she says.\u003c/p>\n\u003cp>Reinhard also says from an ethical point of view, the filmmakers should have made a contract with Gond and the other children.\u003c/p>\n\u003cp>[aside postid='arts_13898211']Reinhard’s name and the Janwar skatepark appear in the end credits of the movie, along with the names of other skateboarders in India and around the world. The director says Gond and the other Janwar children were given a chance to be a part of the movie’s climax scene, but they declined.\u003c/p>\n\u003cp>“We said if this is our story we want to be seen and tell our story. We don’t want to be only in the background of the last scene,” Gond says.\u003c/p>\n\u003cp>Despite her misgivings, Reinhard says overall, the movie will benefit Janwar and raise awareness about their work and about skateboarding. A new \u003ca href=\"https://urldefense.com/v3/__https:/www.desertdolphinskatepark.com/about__;!!Iwwt!H9Zt-H4FSAPu868Vthr_4VOFMUM6NAcTjzf_khY0Ocwc-GBvGkc-UysxWPbE%24\" target=\"_blank\" rel=\"noopener noreferrer\">skatepark\u003c/a> was built in Khempur village where the movie was shot and is now being used by the community there.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>As for Gond, she says she is curious to see the full movie. All she has to do now is get a Netflix account, a luxury most people in her village do not have.\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=Skateboarding+Gives+Freedom+To+Rural+Indian+Teen+In+Netflix+Film+%E2%80%94+And+In+Real+Life&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Asha Gond first started skateboarding, neighbors in her village of Janwar in central India were aghast. They urged the teenager’s parents to keep her busy with housework or get her married. When she walked through the village, skateboard in hand, they would sneer at her and make disparaging comments. Skateboarding is for boys, Gond, now 21, recalls the villagers saying.\u003c/p>\n\u003cp>Skateboarding isn’t common in Indian cities, let alone remote rural areas like where Gond lives. The skatepark in her village was built by a German social activist. It ignited in her a life-altering passion for skateboarding—a passion Gond has pursued despite the rigid patriarchal norms in her village and one that has taken her to championships overseas.\u003c/p>\n\u003cp>It’s an incredible story of how one skatepark can change a girl’s—and really an entire community’s—life.\u003c/p>\n\u003cp>It also happens to be the plot of a new Netflix movie called \u003ca href=\"https://www.youtube.com/watch?v=k5Fn99wmFCQ\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Skater Girl\u003c/em>\u003c/a> releasing June 11. The movie chronicles the journey of a rural Indian teenage girl who discovers a life-changing passion for skateboarding after a Westerner builds a skatepark in her village but faces obstacles when she tries to chase her dream of competing.\u003c/p>\n\u003cp>The filmmakers say it’s a fictionalized account of stories of skateboarding girls in India. But Gond says it’s her story and that the filmmakers never got her permission—even though they met her.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The things that they’ve shown in the trailer have actually happened to me,” she told NPR in a phone interview.\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/k5Fn99wmFCQ'\n title='//www.youtube.com/embed/k5Fn99wmFCQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Why A Rural Village Got A Skatepark\u003c/strong>\u003c/p>\n\u003cp>Janwar is a tiny village of about 1,200 located at the edge of a tiger reserve in the state of Madhya Pradesh. Tribal communities called Adivasis make up about \u003ca href=\"https://urldefense.com/v3/__https:/censusindia.gov.in/2011census/dchb/2309_PART_B_DCHB_PANNA.pdf__;!!Iwwt!H9Zt-H4FSAPu868Vthr_4VOFMUM6NAcTjzf_khY0Ocwc-GBvGkc-U-4EhXZs%24\" target=\"_blank\" rel=\"noopener noreferrer\">half\u003c/a> of its population. India’s ancient caste system relegates Adivasis to the bottom of the social hierarchy and they typically live segregated from the rest of the community. When Gond was growing up, Adivasi children like her weren’t allowed to mix or play with their higher caste peers. Girls tended to marry early and the literacy rate was extremely low—especially among women.\u003c/p>\n\u003cp>Then came the skatepark, built by \u003ca href=\"https://www.ulrikereinhard.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ulrike Reinhard\u003c/a>, a German business consultant and activist. Reinhard has been mostly living in India since 2012 and much of her work focuses on empowering youth in rural areas. She had been toying with the idea of building a school in rural India. But inspired by \u003ca href=\"https://urldefense.com/v3/__https:/www.skateistan.org/__;!!Iwwt!H9Zt-H4FSAPu868Vthr_4VOFMUM6NAcTjzf_khY0Ocwc-GBvGkc-U0HWm-GM%24\" target=\"_blank\" rel=\"noopener noreferrer\">Skateistan\u003c/a>, an international nonprofit organization that promotes education and gender equality through skateboarding, Reinhard decided to build a skatepark in Janwar.\u003c/p>\n\u003cp>“It was an experiment,” Reinhard says. “I thought, can a skatepark trigger change in such a stiff and old-traditioned community?”\u003c/p>\n\u003cp>To raise money for the project, Reinhard reached out to artists across the world to convert skateboards into artboards which she then auctioned.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>When she had the funding, she encouraged skating enthusiasts from around the world to come to Janwar to help build the park. About a dozen came and constructed the skatepark with assistance from laborers in the village. The skatepark opened in 2015.\u003c/p>\n\u003cp>The end result was something most of the people in the village had never seen—or even heard of. Gond said her initial reaction was that it “looked very weird.” Some people thought it was a swimming pool, Reinhard says.\u003c/p>\n\u003cp>The kids came around quickly and thought the skatepark was cool, says Reinhard. But some adults were skeptical of Reinhard’s intentions and started spreading rumors that she was involved in human trafficking.\u003c/p>\n\u003cp>Gond’s mother was scared for her. “People would say [Reinhard] is going to sell your daughter and you won’t be able to see her again ever,” says Kamala Gond, who has since come around to support the project.\u003c/p>\n\u003cp>The German nonprofit \u003ca href=\"https://www.skate-aid.org/en/\" target=\"_blank\" rel=\"noopener noreferrer\">Skate-aid\u003c/a> provided the first batch of 20 skateboards. Reinhard doesn’t know how to skateboard so she showed the kids YouTube videos on a tablet to get them started.\u003c/p>\n\u003cp>In the beginning, it was difficult to maintain balance, Gond says.”The skateboard would go ahead when I stepped on it. I thought I would fall over and smash my face.”\u003c/p>\n\u003cp>But once she got the hang of it, it was all Gond could think of. “I would lie in bed at night and think about how to maneuver the skateboard to do a particular trick,” she says.\u003c/p>\n\u003cp>\u003cstrong>Girls Get Priority. And Leave Your Caste At the Door\u003c/strong>\u003c/p>\n\u003cp>The skatepark is free and open to all the children in the village, irrespective of caste. Encouraging Adivasi children and Yadav kids (a higher caste) to skate together is blurring caste divisions in the community, Gond says.\u003c/p>\n\u003cp>While members of higher castes don’t get special treatment, girls do. One of the skatepark’s rules is “Girls first”—meaning if there are no skateboards free, a girl can ask a skateboarding boy to give his skateboard to her and he has to agree.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“The girls’ destiny is sealed the day they are born,” says Reinhard, adding that they are typically put to work at a young age and married off early. “So this was a way to tackle the gender [inequality] issue without naming it explicitly.”\u003c/p>\n\u003cp>Not everyone was happy to see girls skateboarding, much less Adivasi girls like Gond. Villagers would gossip that Gond would be better off learning to cook instead of skateboarding.\u003c/p>\n\u003cp>“They used to say to my parents, ‘What is she going to do after she goes to her husband’s home?'” says Gond.\u003c/p>\n\u003cp>Some mornings, Gond recalls, she arrived at the skatepark to threatening messages written on the concrete. “They said they would burn me if I did skateboarding.”\u003c/p>\n\u003cfigure id=\"attachment_13898796\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898796\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/vicky_roy_2016_mptourism_tour_custom-719f5eb5f4daeb7d4746d960d7e2ac0038389a6d-800x533.jpg\" alt=\"Asha Gond (center right) rides her skateboard. When she first began skating, neighbors would shout that skateboarding is for boys and urge her parents to marry her off.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/vicky_roy_2016_mptourism_tour_custom-719f5eb5f4daeb7d4746d960d7e2ac0038389a6d-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/vicky_roy_2016_mptourism_tour_custom-719f5eb5f4daeb7d4746d960d7e2ac0038389a6d-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/vicky_roy_2016_mptourism_tour_custom-719f5eb5f4daeb7d4746d960d7e2ac0038389a6d-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/vicky_roy_2016_mptourism_tour_custom-719f5eb5f4daeb7d4746d960d7e2ac0038389a6d-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/vicky_roy_2016_mptourism_tour_custom-719f5eb5f4daeb7d4746d960d7e2ac0038389a6d.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Asha Gond (center right) rides her skateboard. When she first began skating, neighbors would shout that skateboarding is for boys and urge her parents to marry her off. \u003ccite>(Vicky Roy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Gond continued to skate and quickly became a rising star in Janwar. Over the years, she’s traveled across India to participate in skateboarding contests. In 2018, she represented India in the World Skateboarding Championship in Nanjing, China. She came in nearly last, but she was the only Indian in the women’s games, competing against many who came from countries with long traditions of skateboarding.\u003c/p>\n\u003cp>Gond is also co-founder and director of the nonprofit organization Barefoot Skateboarders, which focuses on the education and development of the children in Janwar.\u003c/p>\n\u003cp>Her mother says she’s proud of her.\u003c/p>\n\u003cp>“I feel wonderful, I had never imagined that my daughter could do this or achieve what she has achieved,” says Kamala Gond, who says she regrets that she never had the opportunity to go to school and was married when she was a young teen. “What I couldn’t do, my daughter is doing.”\u003c/p>\n\u003cp>\u003cstrong>‘No School. No Skateboarding’\u003c/strong>\u003c/p>\n\u003cp>The second rule at the skatepark is, “No school. No skateboarding.” When the kids skip school or are kept home by their parents, they aren’t allowed to skateboard. And to make school a better experience, Reinhard partnered with \u003ca href=\"https://urldefense.com/v3/__https:/prakriti.edu.in/__;!!Iwwt!H9Zt-H4FSAPu868Vthr_4VOFMUM6NAcTjzf_khY0Ocwc-GBvGkc-U-jK3Wug%24\" target=\"_blank\" rel=\"noopener noreferrer\">Prakriti School\u003c/a>, an organization that focuses on innovative learning, to organize workshops for teachers in Janwar to improve their teaching skills. As a result, school attendance has gone up considerably, Reinhard says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We really have created an eagerness to learn,” Reinhard says, adding that they’ve built a second skatepark and a community center that Gond manages where kids can take part in a variety of activities, including painting and karate. “We have a computer lab and the kids are sitting in front of computer screens learning Hindi poems or math.”\u003c/p>\n\u003cp>Reinhard says skateboarding is the oil that keeps the whole machine running. It’s a model that’s been successful in many countries. The nonprofit Skateistan now runs programs in Afghanistan, Cambodia and South Africa. Skate After School, an \u003ca href=\"https://urldefense.com/v3/__https:/www.skateafterschool.org/__;!!Iwwt!H9Zt-H4FSAPu868Vthr_4VOFMUM6NAcTjzf_khY0Ocwc-GBvGkc-U8BlZH3T%24\" target=\"_blank\" rel=\"noopener noreferrer\">Arizona-based nonprofit\u003c/a>, teaches skateboarding to nurture children from underserved communities.\u003c/p>\n\u003cp>How does it work? Sports as a means of social change is powerful, says \u003ca href=\"https://urldefense.com/v3/__https:/malala.org/champions/jyotsna-jha__;!!Iwwt!H9Zt-H4FSAPu868Vthr_4VOFMUM6NAcTjzf_khY0Ocwc-GBvGkc-UzBEPwlp%24\" target=\"_blank\" rel=\"noopener noreferrer\">Jyotsna Jha\u003c/a>, director of the Indian think tank Center for Budget and Policy Studies. “Especially something like skating, which is novel and thrilling, can really create a sense of achievement among children that they had perhaps never experienced otherwise,” she said via email.\u003c/p>\n\u003cp>Sports has always been a gendered act, she says. “But when a sport is introduced for girls that is not traditionally associated with girls, it helps in breaking many stereotypes and also generating new ways of thinking,” Jha says.\u003c/p>\n\u003cfigure id=\"attachment_13898797\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898797\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/aslam_saiyad_03_20191_custom-debc61ed55d4bcd408e274b6ef182e9c0ee6aab8-800x533.jpg\" alt=\"Asha Gond rides over an obstacle known as a volcano at the Janwar Castle skatepark in her village.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/aslam_saiyad_03_20191_custom-debc61ed55d4bcd408e274b6ef182e9c0ee6aab8-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/aslam_saiyad_03_20191_custom-debc61ed55d4bcd408e274b6ef182e9c0ee6aab8-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/aslam_saiyad_03_20191_custom-debc61ed55d4bcd408e274b6ef182e9c0ee6aab8-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/aslam_saiyad_03_20191_custom-debc61ed55d4bcd408e274b6ef182e9c0ee6aab8-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/aslam_saiyad_03_20191_custom-debc61ed55d4bcd408e274b6ef182e9c0ee6aab8-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/aslam_saiyad_03_20191_custom-debc61ed55d4bcd408e274b6ef182e9c0ee6aab8-2048x1364.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/aslam_saiyad_03_20191_custom-debc61ed55d4bcd408e274b6ef182e9c0ee6aab8-1920x1279.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Asha Gond rides over an obstacle known as a volcano at the Janwar Castle skatepark in her village. \u003ccite>(Aslam Saiyad/Barefoot Skateboarders Organization)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>An Inspiring Movie And A Controversy\u003c/strong>\u003c/p>\n\u003cp>The impact that skateboarding is creating in different communities is what director Manjari Makijany says inspired her movie \u003cem>Skater Girl\u003c/em>. But after watching the trailer, some people on social media familiar with Reinhard’s work and Gond’s story assumed the movie was about Gond and the skatepark in Janwar. But Gond says the filmmakers never got permission to tell her story.\u003c/p>\n\u003cp>“Why don’t you ask me that you are going to tell my story?” Gond \u003ca href=\"https://urldefense.com/v3/__https:/www.facebook.com/NetflixFamily/posts/1182671495505173?comment_id=163450362388313__;!!Iwwt!H9Zt-H4FSAPu868Vthr_4VOFMUM6NAcTjzf_khY0Ocwc-GBvGkc-U2jrrCCu%24\" target=\"_blank\" rel=\"noopener noreferrer\">wrote\u003c/a> in a comment to a Netflix post sharing the trailer.\u003c/p>\n\u003cp>In an email to NPR, Makijany denied that the movie was about Gond.\u003c/p>\n\u003cp>“\u003cem>Skater Girl\u003c/em> is not a biopic based on anyone’s life story nor is it a documentary,” Makijany says. “It is not [Gond or Reinhard’s] story.”\u003c/p>\n\u003cp>In the movie, as in Janwar, the rule is “No school, No skateboarding” and it’s a Westerner—like Reinhard—who introduces the village to skateboarding and builds a skatepark.\u003c/p>\n\u003cp>Gond says the filmmakers met with her in Janwar and spoke to her about how skateboarding had changed her life and transformed her village. The director says Gond was just one of many girls they met during the making of the movie. The movie was also not shot in Janwar but in a village in Rajasthan state.\u003c/p>\n\u003cp>Reinhard had a contract to be a research consultant on the movie but says she quit early because of differences over the storytelling approach.\u003c/p>\n\u003cp>“It turned out to be this kitschy, cheesy kind of thing,” she says.\u003c/p>\n\u003cp>Reinhard also says from an ethical point of view, the filmmakers should have made a contract with Gond and the other children.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Reinhard’s name and the Janwar skatepark appear in the end credits of the movie, along with the names of other skateboarders in India and around the world. The director says Gond and the other Janwar children were given a chance to be a part of the movie’s climax scene, but they declined.\u003c/p>\n\u003cp>“We said if this is our story we want to be seen and tell our story. We don’t want to be only in the background of the last scene,” Gond says.\u003c/p>\n\u003cp>Despite her misgivings, Reinhard says overall, the movie will benefit Janwar and raise awareness about their work and about skateboarding. A new \u003ca href=\"https://urldefense.com/v3/__https:/www.desertdolphinskatepark.com/about__;!!Iwwt!H9Zt-H4FSAPu868Vthr_4VOFMUM6NAcTjzf_khY0Ocwc-GBvGkc-UysxWPbE%24\" target=\"_blank\" rel=\"noopener noreferrer\">skatepark\u003c/a> was built in Khempur village where the movie was shot and is now being used by the community there.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As for Gond, she says she is curious to see the full movie. All she has to do now is get a Netflix account, a luxury most people in her village do not have.\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=Skateboarding+Gives+Freedom+To+Rural+Indian+Teen+In+Netflix+Film+%E2%80%94+And+In+Real+Life&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>In the Heights\u003c/em> couldn’t be more perfectly timed. For one thing, summer movies don’t get much more summery than this one, which takes place during a record-breaking New York heat wave. For another, this vibrant screen adaptation of the\u003ca href=\"https://www.npr.org/artists/508048614/lin-manuel-miranda\" target=\"_blank\" rel=\"noopener noreferrer\"> Lin-Manuel Miranda\u003c/a> stage musical captures something we’ve largely gone without over the past year: a joyous sense of togetherness.\u003c/p>\n\u003cp>This is the most socially undistanced movie I’ve seen in months. The action unfolds in crowded store aisles and gossip-filled beauty salons where everyone knows everyone. The musical numbers, which blend hip-hop, Latin pop, salsa and other styles, frequently spill out into the surrounding neighborhood. The actors become dancers in an electrifying street ballet.\u003c/p>\n\u003cp>[aside postid='arts_13845568']A lot of this is packed into the movie’s transporting opening sequence, which brings us into this pan-Latino barrio in Washington Heights. Miranda pops up in a small role as a vendor, selling shaved ice out of a pushcart, but our real guide to this Upper Manhattan neighborhood is Usnavi de la Vega, played by a terrific Anthony Ramos.\u003c/p>\n\u003cp>Usnavi owns a popular corner bodega that’s especially prized for its café con leche. As he raps about the challenges of running his scrappy little business in a place that’s rapidly being gentrified, he’s joined by a chorus of voices from the neighborhood singing about their own struggles to get by.\u003c/p>\n\u003cp>As much as he loves Washington Heights and the people who live there, Usnavi longs to return to the beaches of the Dominican Republic where he grew up. He hopes his teenage cousin Sonny, played by Gregory Diaz IV, might come with him, but Sonny, an undocumented immigrant, dreams of becoming a U.S. citizen in a subplot that ties into recent headlines. One of the more poignant insights of \u003cem>In the Heights\u003c/em> is that everyone has a different concept of home.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=U0CL-ZSuCrQ\u003c/p>\n\u003cp>Usnavi has a long-standing crush on Vanessa, played by an excellent Melissa Barrera, who’s hoping to move downtown and become a fashion designer. Leslie Grace plays their friend Nina, an academic superstar who’s just had a rough year at Stanford, where she feels she doesn’t belong. But her father, Kevin—a nice turn by Jimmy Smits—wants Nina to stick with it: If she can’t get out of the Heights and succeed, he thinks, what hope is there for anyone else?\u003c/p>\n\u003cp>Kevin, who immigrated to New York from Puerto Rico decades ago, runs a cab company that’s one of the few remaining Latino-owned businesses in the area. As rents go up and people and businesses are forced out, the community gets a shot of excitement when Usnavi finds out that someone bought a winning lottery ticket for a $96,000 jackpot from his bodega.\u003c/p>\n\u003cp>[aside postid='pop_13021']I saw \u003cem>In the Heights\u003c/em> onstage in Los Angeles back in 2010, and while the screenwriter \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=129379017\" target=\"_blank\" rel=\"noopener noreferrer\">Quiara Alegría Hudes\u003c/a> has made some smart tweaks and trims to her original book for the musical, some of the material’s basic weaknesses persist here. The various romantic and aspirational subplots are engrossing enough, but feel thinly stretched at more than two hours. Washington Heights looks more vivid and immediate on-screen than it did onstage, but in some ways the simplistic, relentlessly upbeat nature of the story seems all the more glaring.\u003c/p>\n\u003cp>Still, there’s nothing wrong with staying upbeat right now, and the director Jon M. Chu is very much up to the task. Chu previously directed \u003ca href=\"https://www.npr.org/sections/codeswitch/2018/08/15/638775885/in-crazy-rich-asians-jon-chu-directs-all-asian-cast\">\u003cem>Crazy Rich Asians\u003c/em>\u003c/a>, and he’s good at squeezing resonant ideas about generational conflict and cultural confusion into a deft, crowd-pleasing package. It’s worth noting that Chu also made two entries in the \u003cem>Step Up\u003c/em> dance-movie franchise, and while I sometimes wish he would slow down the editing and let the musical numbers breathe more, the sheer dynamism of his filmmaking is pretty hard to resist.\u003c/p>\n\u003cp>\u003cem>In the Heights\u003c/em> may not be a great movie, but it’s a pretty great moviegoing experience. There are lovely moments here, like when Benny and Nina do a surreal, gravity-defying dance along the side of an apartment building. There are also exhilarating ones, like when the neighborhood, reeling from a heat-wave-triggered blackout, pulls together to throw the mother of all block parties.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And there’s a knockout solo from Abuela Claudia, the neighborhood’s adopted grandmother, played by Olga Merediz, wonderfully reprising her Tony-nominated role. Claudia’s big number is called “Paciencia y Fe,” or “Patience and Faith,” values she’s clung to since she moved from Cuba back in the ’40s. She’s the living embodiment of this movie’s loving and enduring spirit.\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=%27In+The+Heights%27+Is+A+Spirited%2C+Socially+Undistanced%2C+Summer+Crowd+Pleaser&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>A lot of this is packed into the movie’s transporting opening sequence, which brings us into this pan-Latino barrio in Washington Heights. Miranda pops up in a small role as a vendor, selling shaved ice out of a pushcart, but our real guide to this Upper Manhattan neighborhood is Usnavi de la Vega, played by a terrific Anthony Ramos.\u003c/p>\n\u003cp>Usnavi owns a popular corner bodega that’s especially prized for its café con leche. As he raps about the challenges of running his scrappy little business in a place that’s rapidly being gentrified, he’s joined by a chorus of voices from the neighborhood singing about their own struggles to get by.\u003c/p>\n\u003cp>As much as he loves Washington Heights and the people who live there, Usnavi longs to return to the beaches of the Dominican Republic where he grew up. He hopes his teenage cousin Sonny, played by Gregory Diaz IV, might come with him, but Sonny, an undocumented immigrant, dreams of becoming a U.S. citizen in a subplot that ties into recent headlines. One of the more poignant insights of \u003cem>In the Heights\u003c/em> is that everyone has a different concept of home.\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/U0CL-ZSuCrQ'\n title='//www.youtube.com/embed/U0CL-ZSuCrQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Usnavi has a long-standing crush on Vanessa, played by an excellent Melissa Barrera, who’s hoping to move downtown and become a fashion designer. Leslie Grace plays their friend Nina, an academic superstar who’s just had a rough year at Stanford, where she feels she doesn’t belong. But her father, Kevin—a nice turn by Jimmy Smits—wants Nina to stick with it: If she can’t get out of the Heights and succeed, he thinks, what hope is there for anyone else?\u003c/p>\n\u003cp>Kevin, who immigrated to New York from Puerto Rico decades ago, runs a cab company that’s one of the few remaining Latino-owned businesses in the area. As rents go up and people and businesses are forced out, the community gets a shot of excitement when Usnavi finds out that someone bought a winning lottery ticket for a $96,000 jackpot from his bodega.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I saw \u003cem>In the Heights\u003c/em> onstage in Los Angeles back in 2010, and while the screenwriter \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=129379017\" target=\"_blank\" rel=\"noopener noreferrer\">Quiara Alegría Hudes\u003c/a> has made some smart tweaks and trims to her original book for the musical, some of the material’s basic weaknesses persist here. The various romantic and aspirational subplots are engrossing enough, but feel thinly stretched at more than two hours. Washington Heights looks more vivid and immediate on-screen than it did onstage, but in some ways the simplistic, relentlessly upbeat nature of the story seems all the more glaring.\u003c/p>\n\u003cp>Still, there’s nothing wrong with staying upbeat right now, and the director Jon M. Chu is very much up to the task. Chu previously directed \u003ca href=\"https://www.npr.org/sections/codeswitch/2018/08/15/638775885/in-crazy-rich-asians-jon-chu-directs-all-asian-cast\">\u003cem>Crazy Rich Asians\u003c/em>\u003c/a>, and he’s good at squeezing resonant ideas about generational conflict and cultural confusion into a deft, crowd-pleasing package. It’s worth noting that Chu also made two entries in the \u003cem>Step Up\u003c/em> dance-movie franchise, and while I sometimes wish he would slow down the editing and let the musical numbers breathe more, the sheer dynamism of his filmmaking is pretty hard to resist.\u003c/p>\n\u003cp>\u003cem>In the Heights\u003c/em> may not be a great movie, but it’s a pretty great moviegoing experience. There are lovely moments here, like when Benny and Nina do a surreal, gravity-defying dance along the side of an apartment building. There are also exhilarating ones, like when the neighborhood, reeling from a heat-wave-triggered blackout, pulls together to throw the mother of all block parties.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And there’s a knockout solo from Abuela Claudia, the neighborhood’s adopted grandmother, played by Olga Merediz, wonderfully reprising her Tony-nominated role. Claudia’s big number is called “Paciencia y Fe,” or “Patience and Faith,” values she’s clung to since she moved from Cuba back in the ’40s. She’s the living embodiment of this movie’s loving and enduring spirit.\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=%27In+The+Heights%27+Is+A+Spirited%2C+Socially+Undistanced%2C+Summer+Crowd+Pleaser&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>As we gradually return to pre-pandemic patterns and routines—rush hour traffic! public drinking! berating minimum-wage workers!—the final step, for many of us, will be sitting in a movie theater. Whether you are in a frame of mind to do it physically or vicariously, \u003ca href=\"https://www.frameline.org/festival\" rel=\"noopener noreferrer\" target=\"_blank\">Frameline45\u003c/a> (a.k.a. San Francisco International LGBTQ+ Film Festival) marks a watershed: In its range of venues, but especially in its extraordinary breadth of programming, Frameline45 (June 10–27) heralds a return to true community-based festival-going.\u003c/p>\n\u003cp>I certainly don’t mean to slight SF DocFest (continuing through June 20), with its expansive slate to go with its Roxie playdates (through June 17). But identity-based festivals like Frameline fulfill their mission—to recognize the invisible, the mocked, the persecuted and the “other”—with public showings where people come out and see each other, along with whoever’s on the screen. And if you’re including every corner of that extended and sometimes niche-y community, you have to show a wide range of films.\u003c/p>\n\u003cfigure id=\"attachment_13898587\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Everybodys-Talking-About-Jamie-1_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13898587\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Everybodys-Talking-About-Jamie-1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Everybodys-Talking-About-Jamie-1_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Everybodys-Talking-About-Jamie-1_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Everybodys-Talking-About-Jamie-1_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Everybodys-Talking-About-Jamie-1_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Jonathan Butterell’s ‘Everybody’s Talking About Jamie,’ 2021. \u003ccite>(Courtesy Frameline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To be sure, sometimes it’s mainstream fare, like the big-screen adaptations of Lin-Manuel Miranda’s hit stage musical \u003cem>\u003ca href=\"https://www.frameline.org/year-round/audience/calendar/in-the-heights\" rel=\"noopener noreferrer\" target=\"_blank\">In the Heights\u003c/a>\u003c/em> and the British musical triumph \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/everybodyand8217s-talking-about-jamie\" rel=\"noopener noreferrer\" target=\"_blank\">Everybody’s Talking About Jamie\u003c/a>\u003c/em> (June 12 and 13, respectively at Oracle Park, the home of the Giants).\u003c/p>\n\u003cp>Sometimes the hook is celebrity talent, like the doc \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/truman-and-tennessee-an-intimate-conversation\" rel=\"noopener noreferrer\" target=\"_blank\">Truman and Tennessee: An Intimate Conversation\u003c/a>\u003c/em> (with Jim Parsons and Zachary Quinto voicing the writers) and the equally sharp-tongued dramedy \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/swan-song\" rel=\"noopener noreferrer\" target=\"_blank\">Swan Song\u003c/a>\u003c/em>, starring Udo Kier as an Ohio hairdresser summoned from retirement for one last job. Cloris Leachman plays a stalwart elder with a drag-queen grandson in the Canadian drama \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/jump-darling-(in-theatres)\" rel=\"noopener noreferrer\" target=\"_blank\">Jump, Darling\u003c/a>\u003c/em> (June 26 at the, yes, Castro). The dance docs \u003cem>Ailey\u003c/em> and \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/can-you-bring-it-bill-t-jones-and-d-man-in-the-waters\" rel=\"noopener noreferrer\" target=\"_blank\">Can You Bring It: Bill T. Jones and D-Man in the Waters\u003c/a>\u003c/em> likewise speak (in gestures) for themselves.\u003c/p>\n\u003cp>Then there are the people who should be household names. \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/nelly-queen-the-life-and-times-of-josand233-sarria\" rel=\"noopener noreferrer\" target=\"_blank\">Nelly Queen: The Life and Times of José Sarria\u003c/a>\u003c/em> profiles the lifelong entertainer, activist and first openly gay candidate for public office in the U.S. (he ran for S.F. supervisor 60 years ago). Academy Award-winning S.F. documentary maker Debra Chasnoff was loved and admired by many, but her journey through terminal cancer, which she documented in \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/prognosis-notes-on-living\" rel=\"noopener noreferrer\" target=\"_blank\">Prognosis: Notes on Living\u003c/a>\u003c/em> (completed after her death by her trusted collaborators and premiering online June 19), places her among the immortals.\u003c/p>\n\u003cfigure id=\"attachment_13898588\" class=\"wp-caption aligncenter\" style=\"max-width: 1060px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/NellyQueen2.jpg\" alt=\"\" width=\"1060\" height=\"1073\" class=\"size-full wp-image-13898588\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NellyQueen2.jpg 1060w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NellyQueen2-800x810.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NellyQueen2-1020x1033.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NellyQueen2-160x162.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NellyQueen2-768x777.jpg 768w\" sizes=\"(max-width: 1060px) 100vw, 1060px\">\u003cfigcaption class=\"wp-caption-text\">A photograph of José Sarria in Joseph R. Castel’s ‘Nelly Queen: The Life and Times of José Sarria,’ 2020. \u003ccite>(Courtesy Frameline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The ’70s all-woman rock band Fanny deserves an exhibit in the Rock & Roll Hall of Fame, and \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/fanny-the-right-to-rock-(drive-in)\" rel=\"noopener noreferrer\" target=\"_blank\">Fanny: The Right to Rock\u003c/a>\u003c/em> (June 10 at the West Wind Solano Drive-in and then online) will help that righteous cause. Speaking of knocking down walls through popular art, East Bay filmmaker Vivian Kleiman’s \u003cem>No Straight Lines: The Rise of Queer Comics\u003c/em> (June 27 at the Castro) salutes the late Howard Cruse, Alison Bechdel and other graphic novelists who animated (and satirized) gay and lesbian life with pen and ink.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Monika Treut’s late-’90s portrait of gender-fluid San Franciscans, \u003cem>Gendernauts\u003c/em>, was a revelation (in Europe, certainly, if not here). Her pre-pandemic sequel, \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/genderation\" rel=\"noopener noreferrer\" target=\"_blank\">Genderation\u003c/a>\u003c/em>, brings us up to speed 20 years down the road with Susan Stryker, Annie Sprinkle and other rebels and disruptors. Is the past prologue? Jose Enrique Tiglao’s Filipino intersex adolescent drama \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/metamorphosis\" rel=\"noopener noreferrer\" target=\"_blank\">Metamorphosis\u003c/a>\u003c/em>, among other Frameline45 entries, continues the work of expanding the mainstream.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Frameline45 takes place in person at various Bay Area venues June 10–27 and streams nationally June 17–27. \u003ca href=\"https://www.frameline.org/festival\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As we gradually return to pre-pandemic patterns and routines—rush hour traffic! public drinking! berating minimum-wage workers!—the final step, for many of us, will be sitting in a movie theater. Whether you are in a frame of mind to do it physically or vicariously, \u003ca href=\"https://www.frameline.org/festival\" rel=\"noopener noreferrer\" target=\"_blank\">Frameline45\u003c/a> (a.k.a. San Francisco International LGBTQ+ Film Festival) marks a watershed: In its range of venues, but especially in its extraordinary breadth of programming, Frameline45 (June 10–27) heralds a return to true community-based festival-going.\u003c/p>\n\u003cp>I certainly don’t mean to slight SF DocFest (continuing through June 20), with its expansive slate to go with its Roxie playdates (through June 17). But identity-based festivals like Frameline fulfill their mission—to recognize the invisible, the mocked, the persecuted and the “other”—with public showings where people come out and see each other, along with whoever’s on the screen. And if you’re including every corner of that extended and sometimes niche-y community, you have to show a wide range of films.\u003c/p>\n\u003cfigure id=\"attachment_13898587\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Everybodys-Talking-About-Jamie-1_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13898587\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Everybodys-Talking-About-Jamie-1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Everybodys-Talking-About-Jamie-1_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Everybodys-Talking-About-Jamie-1_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Everybodys-Talking-About-Jamie-1_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Everybodys-Talking-About-Jamie-1_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Jonathan Butterell’s ‘Everybody’s Talking About Jamie,’ 2021. \u003ccite>(Courtesy Frameline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To be sure, sometimes it’s mainstream fare, like the big-screen adaptations of Lin-Manuel Miranda’s hit stage musical \u003cem>\u003ca href=\"https://www.frameline.org/year-round/audience/calendar/in-the-heights\" rel=\"noopener noreferrer\" target=\"_blank\">In the Heights\u003c/a>\u003c/em> and the British musical triumph \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/everybodyand8217s-talking-about-jamie\" rel=\"noopener noreferrer\" target=\"_blank\">Everybody’s Talking About Jamie\u003c/a>\u003c/em> (June 12 and 13, respectively at Oracle Park, the home of the Giants).\u003c/p>\n\u003cp>Sometimes the hook is celebrity talent, like the doc \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/truman-and-tennessee-an-intimate-conversation\" rel=\"noopener noreferrer\" target=\"_blank\">Truman and Tennessee: An Intimate Conversation\u003c/a>\u003c/em> (with Jim Parsons and Zachary Quinto voicing the writers) and the equally sharp-tongued dramedy \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/swan-song\" rel=\"noopener noreferrer\" target=\"_blank\">Swan Song\u003c/a>\u003c/em>, starring Udo Kier as an Ohio hairdresser summoned from retirement for one last job. Cloris Leachman plays a stalwart elder with a drag-queen grandson in the Canadian drama \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/jump-darling-(in-theatres)\" rel=\"noopener noreferrer\" target=\"_blank\">Jump, Darling\u003c/a>\u003c/em> (June 26 at the, yes, Castro). The dance docs \u003cem>Ailey\u003c/em> and \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/can-you-bring-it-bill-t-jones-and-d-man-in-the-waters\" rel=\"noopener noreferrer\" target=\"_blank\">Can You Bring It: Bill T. Jones and D-Man in the Waters\u003c/a>\u003c/em> likewise speak (in gestures) for themselves.\u003c/p>\n\u003cp>Then there are the people who should be household names. \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/nelly-queen-the-life-and-times-of-josand233-sarria\" rel=\"noopener noreferrer\" target=\"_blank\">Nelly Queen: The Life and Times of José Sarria\u003c/a>\u003c/em> profiles the lifelong entertainer, activist and first openly gay candidate for public office in the U.S. (he ran for S.F. supervisor 60 years ago). Academy Award-winning S.F. documentary maker Debra Chasnoff was loved and admired by many, but her journey through terminal cancer, which she documented in \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/prognosis-notes-on-living\" rel=\"noopener noreferrer\" target=\"_blank\">Prognosis: Notes on Living\u003c/a>\u003c/em> (completed after her death by her trusted collaborators and premiering online June 19), places her among the immortals.\u003c/p>\n\u003cfigure id=\"attachment_13898588\" class=\"wp-caption aligncenter\" style=\"max-width: 1060px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/NellyQueen2.jpg\" alt=\"\" width=\"1060\" height=\"1073\" class=\"size-full wp-image-13898588\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NellyQueen2.jpg 1060w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NellyQueen2-800x810.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NellyQueen2-1020x1033.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NellyQueen2-160x162.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NellyQueen2-768x777.jpg 768w\" sizes=\"(max-width: 1060px) 100vw, 1060px\">\u003cfigcaption class=\"wp-caption-text\">A photograph of José Sarria in Joseph R. Castel’s ‘Nelly Queen: The Life and Times of José Sarria,’ 2020. \u003ccite>(Courtesy Frameline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The ’70s all-woman rock band Fanny deserves an exhibit in the Rock & Roll Hall of Fame, and \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/fanny-the-right-to-rock-(drive-in)\" rel=\"noopener noreferrer\" target=\"_blank\">Fanny: The Right to Rock\u003c/a>\u003c/em> (June 10 at the West Wind Solano Drive-in and then online) will help that righteous cause. Speaking of knocking down walls through popular art, East Bay filmmaker Vivian Kleiman’s \u003cem>No Straight Lines: The Rise of Queer Comics\u003c/em> (June 27 at the Castro) salutes the late Howard Cruse, Alison Bechdel and other graphic novelists who animated (and satirized) gay and lesbian life with pen and ink.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Monika Treut’s late-’90s portrait of gender-fluid San Franciscans, \u003cem>Gendernauts\u003c/em>, was a revelation (in Europe, certainly, if not here). Her pre-pandemic sequel, \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/genderation\" rel=\"noopener noreferrer\" target=\"_blank\">Genderation\u003c/a>\u003c/em>, brings us up to speed 20 years down the road with Susan Stryker, Annie Sprinkle and other rebels and disruptors. Is the past prologue? Jose Enrique Tiglao’s Filipino intersex adolescent drama \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/metamorphosis\" rel=\"noopener noreferrer\" target=\"_blank\">Metamorphosis\u003c/a>\u003c/em>, among other Frameline45 entries, continues the work of expanding the mainstream.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Frameline45 takes place in person at various Bay Area venues June 10–27 and streams nationally June 17–27. \u003ca href=\"https://www.frameline.org/festival\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "An Anti-Vaccine Film Targeted to Black Americans Spreads False Information",
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"content": "\u003cp>When a filmmaker asked medical historian Naomi Rogers to appear in a new documentary, the \u003ca href=\"https://medicine.yale.edu/profile/naomi_rogers/\" target=\"_blank\" rel=\"noopener noreferrer\">Yale professor\u003c/a> didn’t blink. She had done these “talking head” interviews many times before.\u003c/p>\n\u003cp>She assumed her comments would end up in a straightforward documentary that addressed some of the most pressing concerns of the pandemic, such as the legacy of racism in medicine and how that plays into current mistrust in some communities of color. The subject of vaccines was also mentioned, but the focus wasn’t clear to Rogers.\u003c/p>\n\u003cp>The director wanted something more polished than a Zoom call, so a well-outfitted camera crew arrived at Rogers’ home in Connecticut in the fall. They showed up wearing masks and gloves. Before the interview, crew members cleaned the room thoroughly. Then they spent about an hour interviewing Rogers. She discussed her research and in particular controversial figures such as Dr. James Marion Sims, who was influential in the field of gynecology but who \u003ca href=\"https://www.npr.org/transcripts/513764158\" target=\"_blank\" rel=\"noopener noreferrer\">performed experimental surgery on enslaved Black women\u003c/a> during the 1800s without anesthesia.\u003c/p>\n\u003cp>[aside postid='arts_13884294']“We were talking about issues of racism and experimentation, and they seemed to be handled appropriately,” Rogers recalls. At the time, there were few indications that anything was out of the ordinary—except one. During a short break, she asked who else was being interviewed for the film. The producer’s response struck Rogers as curiously vague.\u003c/p>\n\u003cp>“They said, ‘Well, there’s ‘a guy’ in New York, and we talked to ‘somebody in New Jersey, and California,’ ” Rogers told NPR. “I thought it’s so odd that they wouldn’t tell me who these people were.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It wasn’t until this March that Rogers would stumble upon the answer.\u003c/p>\n\u003cp>She received an email from a group called Children’s Health Defense—prominent in the anti-vaccine movement—promoting its new film, \u003cem>Medical Racism: The New Apartheid\u003c/em>.\u003c/p>\n\u003cp>When she clicked on the link and began watching the 57-minute film, she was shocked to discover \u003cem>this \u003c/em>was the movie she had sat down for back in October.\u003c/p>\n\u003cp>“I was naive, certainly, in assuming that this was actually a documentary, which I would say it is not. I think that it is an advocacy piece for anti-vaxxers,” Rogers says. “I’m still very angry. I feel that I was used.”\u003c/p>\n\u003cp>The free, online film is the latest effort by Robert F. Kennedy Jr., the founder of Children’s Health Defense. (He’s the son of the former U.S. Attorney General Robert “Bobby” Kennedy and nephew of President John F. Kennedy.) With this film, Kennedy and his allies in the anti-vaccine movement \u003ca href=\"https://www.factcheck.org/2021/03/scicheck-rfk-jr-video-pushes-known-vaccine-misrepresentations/\" target=\"_blank\" rel=\"noopener noreferrer\">resurface and promote disproven claims\u003c/a> about the dangers of vaccines, but it’s aimed squarely at a specific demographic: Black Americans.\u003c/p>\n\u003cp>The film draws a line from the real and disturbing history of racism and atrocities in the medical field—such as the \u003ca href=\"https://www.cdc.gov/tuskegee/timeline.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Tuskegee syphilis study\u003c/a>—to interviews with anti-vaccine activists who warn communities of color to be suspicious of modern-day vaccines.\u003c/p>\n\u003cp>At one point in \u003cem>Medical Racism\u003c/em>, viewers are warned that “in Black communities something is very sinister” and “the same thing that happened in the 1930s \u003ca href=\"https://www.npr.org/sections/itsallpolitics/2015/08/14/432080520/fact-check-was-planned-parenthood-started-to-control-the-black-population\" target=\"_blank\" rel=\"noopener noreferrer\">during the eugenics movement\u003c/a>” is happening again.\u003c/p>\n\u003cp>There is lengthy discussion of the \u003ca href=\"https://www.cdc.gov/vaccinesafety/concerns/autism.html\" target=\"_blank\" rel=\"noopener noreferrer\">thoroughly disproven link\u003c/a> between \u003ca href=\"https://academic.oup.com/cid/article/48/4/456/284219\" target=\"_blank\" rel=\"noopener noreferrer\">autism and vaccines\u003c/a>. For example, the film references a study from the \u003ca href=\"https://pediatrics.aappublications.org/content/113/2/259\" target=\"_blank\" rel=\"noopener noreferrer\">Centers for Disease Control and Prevention \u003c/a>about the measles, mumps and rubella vaccine and autism rates as evidence that African American children are being particularly harmed, \u003ca href=\"https://www.hollywoodreporter.com/movies/movie-reviews/anti-vaccine-doc-vaxxed-a-882651/\" target=\"_blank\" rel=\"noopener noreferrer\">but in reality the study did not conclude that African Americans\u003c/a> are at increased risk of autism because of vaccination.\u003c/p>\n\u003cp>The movie then displays a chart claiming to use that same CDC data—obtained through a Freedom of Information Act request—to make a connection between vaccinating Black children and autism risk. The findings in the chart closely resemble another study sometimes mentioned by anti-vaccine activists, but the medical journal \u003ca href=\"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC4183946/\" target=\"_blank\" rel=\"noopener noreferrer\">later retracted\u003c/a> the study, because of “undeclared competing interests on the part of the author” and “concerns about the validity of the methods and statistical analysis.” (That study’s author was also a paid independent contractor for Kennedy’s group as of 2020 and sits \u003ca href=\"https://childrenshealthdefense.org/about-us/board-directors/\" target=\"_blank\" rel=\"noopener noreferrer\">on its board of directors\u003c/a>.)\u003c/p>\n\u003cp>The film also\u003ca href=\"https://newsnetwork.mayoclinic.org/discussion/mayo-clinic-discovers-african-americans-respond-better-to-rubella-vaccine/\" target=\"_blank\" rel=\"noopener noreferrer\"> brings up a 2014 study from the Mayo Clinic\u003c/a> that showed Somali Americans and African Americans have a more robust immune response to the rubella vaccine than Caucasians and Hispanic Americans. One of those interviewed in Kennedy’s film then asks, “So if you have that process that could be caused by vaccines, why wouldn’t there be a link between vaccines and developmental delays?”\u003c/p>\n\u003cp>But the study’s own author and leading vaccine researcher, Dr. Gregory Poland, says this conjecture is not accurate.\u003c/p>\n\u003cp>[aside postid='arts_13894324']According to a statement provided to NPR by the Mayo Clinic, the study demonstrated “higher protective immune responses in African-American subjects with no evidence of increased vaccine side effects” and that any claim of “‘increased vulnerability’ among African-Americans who receive the rubella vaccine is simply not supported by either this study or the science.”\u003c/p>\n\u003cp>For her part, Rogers, the Yale professor, only appears for about 14 seconds in the film. Her quotes are accurate. But her remarks are embedded in a wider narrative that she had “enormous problems with”—namely that the anti-vaccine movement is heroically engaged in a new civil rights campaign, one meant to stop experimentation on the Black community.\u003c/p>\n\u003cp>Rogers says the film uses many of the ideas that she holds “passionately, like health disparities, fighting racism in health, working against discrimination, and it’s been twisted for the purposes of this anti-vax movement.”\u003c/p>\n\u003cp>Another credible expert from mainstream medicine also appears in the film: \u003ca href=\"https://www.nmanet.org/page/OliverBrooks-Biography\" target=\"_blank\" rel=\"noopener noreferrer\">Dr. Oliver Brooks\u003c/a>, the immediate past president of the \u003ca href=\"https://www.nmanet.org\" target=\"_blank\" rel=\"noopener noreferrer\">National Medical Association\u003c/a>. The group is the largest organization representing African American physicians in the United States.\u003c/p>\n\u003cp>Brooks says he agreed to be in the film because he wanted to provide balance, but, after seeing it, he now regrets doing the interview.\u003c/p>\n\u003cp>“The crux of the documentary is generally don’t get vaccinated,” Brooks told NPR in a recent interview. “There \u003cem>is \u003c/em>an understandable concern in the African American community regarding vaccines—however, in the end, my position is you look past those, have an understanding of those and still get vaccinated … That nuance was not felt or presented in the documentary.”\u003c/p>\n\u003cp>Kennedy’s group released the film in early March, just as the COVID-19 vaccine was becoming widely available to the American public.\u003c/p>\n\u003cp>The movie begins with a string of ominous news clips about the pandemic and the COVID-19 vaccines and includes short interviews with people of color who talk about COVID-19 being “propaganda” and why they don’t trust the vaccine. Kennedy also appears to offer \u003ca href=\"https://childrenshealthdefense.org/transcripts/medical-racism-the-new-apartheid/\" target=\"_blank\" rel=\"noopener noreferrer\">a warning to viewers\u003c/a> about vaccines: “Don’t listen to me. Don’t listen to Tony Fauci. Hey, and don’t listen to your doctor.”\u003c/p>\n\u003cp>In addition to Kennedy, other producers helped make and market the film, including a prominent figure in the Nation of Islam, and a wealthy entrepreneur who recently made headlines when a private school he co-founded in Miami \u003ca href=\"https://www.nytimes.com/2021/05/02/us/miami-centner-academy-coronavirus-vaccine.html\" target=\"_blank\" rel=\"noopener noreferrer\">prohibited teachers\u003c/a> who got the COVID-19 vaccine from returning to the classroom.\u003c/p>\n\u003cp>Children’s Health Defense made one of the film’s co-producers, Curtis Cost, available to talk with NPR. He is a longtime anti-vaccine activist, who has previously \u003ca href=\"https://www.voiceamerica.com/episode/103726/the-hivaids-hoax\" target=\"_blank\" rel=\"noopener noreferrer\">claimed\u003c/a> that “viruses do not cause anything, it’s a hoax, it’s a myth … whether you are talking about HIV virus, the flu virus or any other virus.”\u003c/p>\n\u003cp>Cost says the film does not explicitly tell people to refuse the COVID-19 vaccine, but it “goes all the way to the present experimentations and bad things have been done by the medical establishment in America and in Africa and other parts of the world.”\u003c/p>\n\u003cp>“The film basically wants people to recognize this history that leads right into the present, and especially when they’re facing decisions about whether they should take any vaccine, including COVID,” he says.\u003c/p>\n\u003cp>In an email statement, a spokesperson for Children’s Health Defense denies that the film is misinformation and says it contains “peer reviewed science and historical data.”\u003c/p>\n\u003cp>[aside postid='arts_13881679']The movie is “a classic example of the anti-vaccine industry with a highly targeted message using sophisticated marketing techniques and building alliances with affiliate organizations,” says Imran Ahmed, chief executive officer of the nonprofit Center for Countering Digital Hate, which has \u003ca href=\"https://252f2edd-1c8b-49f5-9bb2-cb57bb47e4ba.filesusr.com/ugd/f4d9b9_fddbfb2a0c05461cb4bdce2892f3cad0.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">extensively researched figures such as Kennedy\u003c/a>.\u003c/p>\n\u003cp>“They’ve seen the opportunity to target a specifically African American audience,” he says, during a particular moment of heightened national attention on racial injustices and health disparities.\u003c/p>\n\u003cp>Black Americans have \u003ca href=\"https://www.cdc.gov/coronavirus/2019-ncov/covid-data/investigations-discovery/hospitalization-death-by-race-ethnicity.html\" target=\"_blank\" rel=\"noopener noreferrer\">twice the risk of dying from COVID-19\u003c/a> compared with white Americans. Racial disparities in \u003ca href=\"https://khn.org/news/article/covid-vaccination-stark-racial-disparities-persist-state-level-cdc-data/\" target=\"_blank\" rel=\"noopener noreferrer\">vaccination uptake persist\u003c/a> across the United States.\u003c/p>\n\u003cp>While there are \u003ca href=\"https://www.npr.org/sections/health-shots/2021/04/26/989962041/why-black-and-latino-people-still-lag-on-covid-vaccines-and-how-to-fix-it\" target=\"_blank\" rel=\"noopener noreferrer\">efforts \u003c/a>to improve access to the vaccine, media coverage has also focused heavily on historical reasons for vaccine skepticism—too much, \u003ca href=\"https://www.npr.org/sections/health-shots/2021/03/23/974059870/stop-blaming-tuskegee-critics-say-its-not-an-excuse-for-current-medical-racism\" target=\"_blank\" rel=\"noopener noreferrer\">some\u003c/a> scholars argue, when the focus should be on how Black Americans experience the impact of systemic racism in health care today—and how to fix those problems and improve trust.\u003c/p>\n\u003cp>“We’re in this moment where we’re having some necessary discussions about health equity,” says Victor Agbafe, a medical student at the University of Michigan. “It’s not a good thing to sort of exploit that as a means to undermine trust in the vaccine today, instead of focusing on how we can make the vaccine more accessible for all communities.”\u003c/p>\n\u003cp>Agbafe, who helps lead his school’s Black medical student association, was surprised to get an email from Children’s Health Defense asking him to promote the movie among his peers.\u003c/p>\n\u003cp>When it was released, the film did not seem to gain much traction on major social media platforms such as Twitter, although tracking how often this kind of video is being shared privately can be difficult, says \u003ca href=\"https://www.kolinakoltai.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kolina Koltai\u003c/a>, a University of Washington researcher who studies the anti-vaccine movement online.\u003c/p>\n\u003cp>But Kennedy’s anti-vaccine activities during the pandemic involve more than this movie.\u003c/p>\n\u003cp>In February, he \u003ca href=\"https://apnews.com/article/rjf-jr-banned-instagram-vaccine-misinfo-d72913572f04ec9b23cec58881bc32d9\" target=\"_blank\" rel=\"noopener noreferrer\">was banned\u003c/a> from Instagram for posting misinformation on vaccines, but he still has a home on Facebook and Twitter. Ahmed’s organization has labeled Kennedy one of the \u003ca href=\"https://www.npr.org/2021/05/13/996570855/disinformation-dozen-test-facebooks-twitters-ability-to-curb-vaccine-hoaxes\" target=\"_blank\" rel=\"noopener noreferrer\">“disinformation dozen”\u003c/a>—a group of people responsible for 65% of the shares of anti-vaccine misinformation on social media platforms.\u003c/p>\n\u003cp>In a recent \u003ca href=\"https://childrenshealthdefense.org/defender/webinar-rfk-jr-medical-racism/\" target=\"_blank\" rel=\"noopener noreferrer\">webinar\u003c/a> about the film, Kennedy said those who agree with the film need to use “the tools of advocacy that Martin Luther King Jr. talked about” and promote it “guerilla-style” against the “darkening cloud of totalitarianism.”\u003c/p>\n\u003cp>Although more than half of American adults have gotten the COVID-19 vaccine, demand is falling fast, and polls \u003ca href=\"https://www.kff.org/coronavirus-covid-19/poll-finding/kff-covid-19-vaccine-monitor-may-2021/\">show\u003c/a> almost one-third of adults still either want to “wait and see” or do not want to get the shot. When asked why, many say the vaccine is unsafe, based on false conspiracy theories.\u003c/p>\n\u003cp>[aside postid='arts_13891832']\u003cem>“\u003c/em>I see the downstream ripple effects of disinformation every day in practice, every day in the patient’s lives I treat,” says \u003ca href=\"https://www.linkedin.com/in/atul-nakhasi/\" target=\"_blank\" rel=\"noopener noreferrer\">Dr. Atul Nakhasi\u003c/a> with the Los Angeles County Department of Health Services and co-founder of the online campaign \u003ca href=\"https://thisisourshot.info/\" target=\"_blank\" rel=\"noopener noreferrer\">#ThisIsOurShot\u003c/a>, which aims to encourage trust in the COVID-19 vaccine.\u003c/p>\n\u003cp>“We know people have uncertainties, and we need to acknowledge that and have humble, respectful conversations, but for someone to actively subvert that trust is unconscionable,” Nakhasi says.\u003c/p>\n\u003cp>According to the \u003ca href=\"https://www.counterhate.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Center for Countering Digital Hate\u003c/a>, the ideal strategy for stopping the spread of online misinformation is to cut it off at the source: meaning “deplatform” the most notorious spreaders of that information so they can’t gain a following on social media in the first place. But Ahmed says that all too often, tech companies don’t take those steps themselves. In that case, the next best tactic is to try to “inoculate” people against false and misleading claims.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“You tell people in advance, ‘Hey, something terrible is happening, be careful, they’re targeting you,’ ” Ahmed says.\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=An+Anti-Vaccine+Film+Targeted+To+Black+Americans+Spreads+False+Information&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When a filmmaker asked medical historian Naomi Rogers to appear in a new documentary, the \u003ca href=\"https://medicine.yale.edu/profile/naomi_rogers/\" target=\"_blank\" rel=\"noopener noreferrer\">Yale professor\u003c/a> didn’t blink. She had done these “talking head” interviews many times before.\u003c/p>\n\u003cp>She assumed her comments would end up in a straightforward documentary that addressed some of the most pressing concerns of the pandemic, such as the legacy of racism in medicine and how that plays into current mistrust in some communities of color. The subject of vaccines was also mentioned, but the focus wasn’t clear to Rogers.\u003c/p>\n\u003cp>The director wanted something more polished than a Zoom call, so a well-outfitted camera crew arrived at Rogers’ home in Connecticut in the fall. They showed up wearing masks and gloves. Before the interview, crew members cleaned the room thoroughly. Then they spent about an hour interviewing Rogers. She discussed her research and in particular controversial figures such as Dr. James Marion Sims, who was influential in the field of gynecology but who \u003ca href=\"https://www.npr.org/transcripts/513764158\" target=\"_blank\" rel=\"noopener noreferrer\">performed experimental surgery on enslaved Black women\u003c/a> during the 1800s without anesthesia.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We were talking about issues of racism and experimentation, and they seemed to be handled appropriately,” Rogers recalls. At the time, there were few indications that anything was out of the ordinary—except one. During a short break, she asked who else was being interviewed for the film. The producer’s response struck Rogers as curiously vague.\u003c/p>\n\u003cp>“They said, ‘Well, there’s ‘a guy’ in New York, and we talked to ‘somebody in New Jersey, and California,’ ” Rogers told NPR. “I thought it’s so odd that they wouldn’t tell me who these people were.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It wasn’t until this March that Rogers would stumble upon the answer.\u003c/p>\n\u003cp>She received an email from a group called Children’s Health Defense—prominent in the anti-vaccine movement—promoting its new film, \u003cem>Medical Racism: The New Apartheid\u003c/em>.\u003c/p>\n\u003cp>When she clicked on the link and began watching the 57-minute film, she was shocked to discover \u003cem>this \u003c/em>was the movie she had sat down for back in October.\u003c/p>\n\u003cp>“I was naive, certainly, in assuming that this was actually a documentary, which I would say it is not. I think that it is an advocacy piece for anti-vaxxers,” Rogers says. “I’m still very angry. I feel that I was used.”\u003c/p>\n\u003cp>The free, online film is the latest effort by Robert F. Kennedy Jr., the founder of Children’s Health Defense. (He’s the son of the former U.S. Attorney General Robert “Bobby” Kennedy and nephew of President John F. Kennedy.) With this film, Kennedy and his allies in the anti-vaccine movement \u003ca href=\"https://www.factcheck.org/2021/03/scicheck-rfk-jr-video-pushes-known-vaccine-misrepresentations/\" target=\"_blank\" rel=\"noopener noreferrer\">resurface and promote disproven claims\u003c/a> about the dangers of vaccines, but it’s aimed squarely at a specific demographic: Black Americans.\u003c/p>\n\u003cp>The film draws a line from the real and disturbing history of racism and atrocities in the medical field—such as the \u003ca href=\"https://www.cdc.gov/tuskegee/timeline.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Tuskegee syphilis study\u003c/a>—to interviews with anti-vaccine activists who warn communities of color to be suspicious of modern-day vaccines.\u003c/p>\n\u003cp>At one point in \u003cem>Medical Racism\u003c/em>, viewers are warned that “in Black communities something is very sinister” and “the same thing that happened in the 1930s \u003ca href=\"https://www.npr.org/sections/itsallpolitics/2015/08/14/432080520/fact-check-was-planned-parenthood-started-to-control-the-black-population\" target=\"_blank\" rel=\"noopener noreferrer\">during the eugenics movement\u003c/a>” is happening again.\u003c/p>\n\u003cp>There is lengthy discussion of the \u003ca href=\"https://www.cdc.gov/vaccinesafety/concerns/autism.html\" target=\"_blank\" rel=\"noopener noreferrer\">thoroughly disproven link\u003c/a> between \u003ca href=\"https://academic.oup.com/cid/article/48/4/456/284219\" target=\"_blank\" rel=\"noopener noreferrer\">autism and vaccines\u003c/a>. For example, the film references a study from the \u003ca href=\"https://pediatrics.aappublications.org/content/113/2/259\" target=\"_blank\" rel=\"noopener noreferrer\">Centers for Disease Control and Prevention \u003c/a>about the measles, mumps and rubella vaccine and autism rates as evidence that African American children are being particularly harmed, \u003ca href=\"https://www.hollywoodreporter.com/movies/movie-reviews/anti-vaccine-doc-vaxxed-a-882651/\" target=\"_blank\" rel=\"noopener noreferrer\">but in reality the study did not conclude that African Americans\u003c/a> are at increased risk of autism because of vaccination.\u003c/p>\n\u003cp>The movie then displays a chart claiming to use that same CDC data—obtained through a Freedom of Information Act request—to make a connection between vaccinating Black children and autism risk. The findings in the chart closely resemble another study sometimes mentioned by anti-vaccine activists, but the medical journal \u003ca href=\"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC4183946/\" target=\"_blank\" rel=\"noopener noreferrer\">later retracted\u003c/a> the study, because of “undeclared competing interests on the part of the author” and “concerns about the validity of the methods and statistical analysis.” (That study’s author was also a paid independent contractor for Kennedy’s group as of 2020 and sits \u003ca href=\"https://childrenshealthdefense.org/about-us/board-directors/\" target=\"_blank\" rel=\"noopener noreferrer\">on its board of directors\u003c/a>.)\u003c/p>\n\u003cp>The film also\u003ca href=\"https://newsnetwork.mayoclinic.org/discussion/mayo-clinic-discovers-african-americans-respond-better-to-rubella-vaccine/\" target=\"_blank\" rel=\"noopener noreferrer\"> brings up a 2014 study from the Mayo Clinic\u003c/a> that showed Somali Americans and African Americans have a more robust immune response to the rubella vaccine than Caucasians and Hispanic Americans. One of those interviewed in Kennedy’s film then asks, “So if you have that process that could be caused by vaccines, why wouldn’t there be a link between vaccines and developmental delays?”\u003c/p>\n\u003cp>But the study’s own author and leading vaccine researcher, Dr. Gregory Poland, says this conjecture is not accurate.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>According to a statement provided to NPR by the Mayo Clinic, the study demonstrated “higher protective immune responses in African-American subjects with no evidence of increased vaccine side effects” and that any claim of “‘increased vulnerability’ among African-Americans who receive the rubella vaccine is simply not supported by either this study or the science.”\u003c/p>\n\u003cp>For her part, Rogers, the Yale professor, only appears for about 14 seconds in the film. Her quotes are accurate. But her remarks are embedded in a wider narrative that she had “enormous problems with”—namely that the anti-vaccine movement is heroically engaged in a new civil rights campaign, one meant to stop experimentation on the Black community.\u003c/p>\n\u003cp>Rogers says the film uses many of the ideas that she holds “passionately, like health disparities, fighting racism in health, working against discrimination, and it’s been twisted for the purposes of this anti-vax movement.”\u003c/p>\n\u003cp>Another credible expert from mainstream medicine also appears in the film: \u003ca href=\"https://www.nmanet.org/page/OliverBrooks-Biography\" target=\"_blank\" rel=\"noopener noreferrer\">Dr. Oliver Brooks\u003c/a>, the immediate past president of the \u003ca href=\"https://www.nmanet.org\" target=\"_blank\" rel=\"noopener noreferrer\">National Medical Association\u003c/a>. The group is the largest organization representing African American physicians in the United States.\u003c/p>\n\u003cp>Brooks says he agreed to be in the film because he wanted to provide balance, but, after seeing it, he now regrets doing the interview.\u003c/p>\n\u003cp>“The crux of the documentary is generally don’t get vaccinated,” Brooks told NPR in a recent interview. “There \u003cem>is \u003c/em>an understandable concern in the African American community regarding vaccines—however, in the end, my position is you look past those, have an understanding of those and still get vaccinated … That nuance was not felt or presented in the documentary.”\u003c/p>\n\u003cp>Kennedy’s group released the film in early March, just as the COVID-19 vaccine was becoming widely available to the American public.\u003c/p>\n\u003cp>The movie begins with a string of ominous news clips about the pandemic and the COVID-19 vaccines and includes short interviews with people of color who talk about COVID-19 being “propaganda” and why they don’t trust the vaccine. Kennedy also appears to offer \u003ca href=\"https://childrenshealthdefense.org/transcripts/medical-racism-the-new-apartheid/\" target=\"_blank\" rel=\"noopener noreferrer\">a warning to viewers\u003c/a> about vaccines: “Don’t listen to me. Don’t listen to Tony Fauci. Hey, and don’t listen to your doctor.”\u003c/p>\n\u003cp>In addition to Kennedy, other producers helped make and market the film, including a prominent figure in the Nation of Islam, and a wealthy entrepreneur who recently made headlines when a private school he co-founded in Miami \u003ca href=\"https://www.nytimes.com/2021/05/02/us/miami-centner-academy-coronavirus-vaccine.html\" target=\"_blank\" rel=\"noopener noreferrer\">prohibited teachers\u003c/a> who got the COVID-19 vaccine from returning to the classroom.\u003c/p>\n\u003cp>Children’s Health Defense made one of the film’s co-producers, Curtis Cost, available to talk with NPR. He is a longtime anti-vaccine activist, who has previously \u003ca href=\"https://www.voiceamerica.com/episode/103726/the-hivaids-hoax\" target=\"_blank\" rel=\"noopener noreferrer\">claimed\u003c/a> that “viruses do not cause anything, it’s a hoax, it’s a myth … whether you are talking about HIV virus, the flu virus or any other virus.”\u003c/p>\n\u003cp>Cost says the film does not explicitly tell people to refuse the COVID-19 vaccine, but it “goes all the way to the present experimentations and bad things have been done by the medical establishment in America and in Africa and other parts of the world.”\u003c/p>\n\u003cp>“The film basically wants people to recognize this history that leads right into the present, and especially when they’re facing decisions about whether they should take any vaccine, including COVID,” he says.\u003c/p>\n\u003cp>In an email statement, a spokesperson for Children’s Health Defense denies that the film is misinformation and says it contains “peer reviewed science and historical data.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The movie is “a classic example of the anti-vaccine industry with a highly targeted message using sophisticated marketing techniques and building alliances with affiliate organizations,” says Imran Ahmed, chief executive officer of the nonprofit Center for Countering Digital Hate, which has \u003ca href=\"https://252f2edd-1c8b-49f5-9bb2-cb57bb47e4ba.filesusr.com/ugd/f4d9b9_fddbfb2a0c05461cb4bdce2892f3cad0.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">extensively researched figures such as Kennedy\u003c/a>.\u003c/p>\n\u003cp>“They’ve seen the opportunity to target a specifically African American audience,” he says, during a particular moment of heightened national attention on racial injustices and health disparities.\u003c/p>\n\u003cp>Black Americans have \u003ca href=\"https://www.cdc.gov/coronavirus/2019-ncov/covid-data/investigations-discovery/hospitalization-death-by-race-ethnicity.html\" target=\"_blank\" rel=\"noopener noreferrer\">twice the risk of dying from COVID-19\u003c/a> compared with white Americans. Racial disparities in \u003ca href=\"https://khn.org/news/article/covid-vaccination-stark-racial-disparities-persist-state-level-cdc-data/\" target=\"_blank\" rel=\"noopener noreferrer\">vaccination uptake persist\u003c/a> across the United States.\u003c/p>\n\u003cp>While there are \u003ca href=\"https://www.npr.org/sections/health-shots/2021/04/26/989962041/why-black-and-latino-people-still-lag-on-covid-vaccines-and-how-to-fix-it\" target=\"_blank\" rel=\"noopener noreferrer\">efforts \u003c/a>to improve access to the vaccine, media coverage has also focused heavily on historical reasons for vaccine skepticism—too much, \u003ca href=\"https://www.npr.org/sections/health-shots/2021/03/23/974059870/stop-blaming-tuskegee-critics-say-its-not-an-excuse-for-current-medical-racism\" target=\"_blank\" rel=\"noopener noreferrer\">some\u003c/a> scholars argue, when the focus should be on how Black Americans experience the impact of systemic racism in health care today—and how to fix those problems and improve trust.\u003c/p>\n\u003cp>“We’re in this moment where we’re having some necessary discussions about health equity,” says Victor Agbafe, a medical student at the University of Michigan. “It’s not a good thing to sort of exploit that as a means to undermine trust in the vaccine today, instead of focusing on how we can make the vaccine more accessible for all communities.”\u003c/p>\n\u003cp>Agbafe, who helps lead his school’s Black medical student association, was surprised to get an email from Children’s Health Defense asking him to promote the movie among his peers.\u003c/p>\n\u003cp>When it was released, the film did not seem to gain much traction on major social media platforms such as Twitter, although tracking how often this kind of video is being shared privately can be difficult, says \u003ca href=\"https://www.kolinakoltai.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kolina Koltai\u003c/a>, a University of Washington researcher who studies the anti-vaccine movement online.\u003c/p>\n\u003cp>But Kennedy’s anti-vaccine activities during the pandemic involve more than this movie.\u003c/p>\n\u003cp>In February, he \u003ca href=\"https://apnews.com/article/rjf-jr-banned-instagram-vaccine-misinfo-d72913572f04ec9b23cec58881bc32d9\" target=\"_blank\" rel=\"noopener noreferrer\">was banned\u003c/a> from Instagram for posting misinformation on vaccines, but he still has a home on Facebook and Twitter. Ahmed’s organization has labeled Kennedy one of the \u003ca href=\"https://www.npr.org/2021/05/13/996570855/disinformation-dozen-test-facebooks-twitters-ability-to-curb-vaccine-hoaxes\" target=\"_blank\" rel=\"noopener noreferrer\">“disinformation dozen”\u003c/a>—a group of people responsible for 65% of the shares of anti-vaccine misinformation on social media platforms.\u003c/p>\n\u003cp>In a recent \u003ca href=\"https://childrenshealthdefense.org/defender/webinar-rfk-jr-medical-racism/\" target=\"_blank\" rel=\"noopener noreferrer\">webinar\u003c/a> about the film, Kennedy said those who agree with the film need to use “the tools of advocacy that Martin Luther King Jr. talked about” and promote it “guerilla-style” against the “darkening cloud of totalitarianism.”\u003c/p>\n\u003cp>Although more than half of American adults have gotten the COVID-19 vaccine, demand is falling fast, and polls \u003ca href=\"https://www.kff.org/coronavirus-covid-19/poll-finding/kff-covid-19-vaccine-monitor-may-2021/\">show\u003c/a> almost one-third of adults still either want to “wait and see” or do not want to get the shot. When asked why, many say the vaccine is unsafe, based on false conspiracy theories.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>“\u003c/em>I see the downstream ripple effects of disinformation every day in practice, every day in the patient’s lives I treat,” says \u003ca href=\"https://www.linkedin.com/in/atul-nakhasi/\" target=\"_blank\" rel=\"noopener noreferrer\">Dr. Atul Nakhasi\u003c/a> with the Los Angeles County Department of Health Services and co-founder of the online campaign \u003ca href=\"https://thisisourshot.info/\" target=\"_blank\" rel=\"noopener noreferrer\">#ThisIsOurShot\u003c/a>, which aims to encourage trust in the COVID-19 vaccine.\u003c/p>\n\u003cp>“We know people have uncertainties, and we need to acknowledge that and have humble, respectful conversations, but for someone to actively subvert that trust is unconscionable,” Nakhasi says.\u003c/p>\n\u003cp>According to the \u003ca href=\"https://www.counterhate.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Center for Countering Digital Hate\u003c/a>, the ideal strategy for stopping the spread of online misinformation is to cut it off at the source: meaning “deplatform” the most notorious spreaders of that information so they can’t gain a following on social media in the first place. But Ahmed says that all too often, tech companies don’t take those steps themselves. In that case, the next best tactic is to try to “inoculate” people against false and misleading claims.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“You tell people in advance, ‘Hey, something terrible is happening, be careful, they’re targeting you,’ ” Ahmed says.\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=An+Anti-Vaccine+Film+Targeted+To+Black+Americans+Spreads+False+Information&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Rita Moreno on 'West Side Story' and Becoming the Role Model She Needed",
"headTitle": "Rita Moreno on ‘West Side Story’ and Becoming the Role Model She Needed | KQED",
"content": "\u003cp>Actor Rita Moreno never had an on-screen, Latina role model as a child. “There was no such thing then,” she says. “Certainly not for little Puerto Rican girls like me.”\u003c/p>\n\u003cp>That changed when Moreno, who moved with her mother to the U.S. mainland from Puerto Rico in 1936 and spent years working as a contract player for MGM, landed her breakout role as Anita in the 1961 film \u003cem>West Side Story\u003c/em>.\u003c/p>\n\u003cp>“What was important about Anita to me—and still is—is that Anita, believe it or not, was the only part I ever remember where I represented Hispanics in a dignified and positive way,” she says. “It represented a lot of breakthroughs for young actors of Hispanic origin.”\u003c/p>\n\u003cp>But Moreno nearly didn’t take the part. Just before she signed the \u003cem>West Side Story \u003c/em>contract, she remembered a troubling verse in the song “\u003ca href=\"https://www.youtube.com/watch?v=tNN4WsEk984\" target=\"_blank\" rel=\"noopener noreferrer\">America\u003c/a>” in which she’d have to sing: “Puerto Rico. You ugly island, island of tropic diseases.”\u003c/p>\n\u003cp>“And it suddenly occurred to me, Oh my God, I can’t sing that! … I can’t do this to my people,” she says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Moreno says she was “this close” to turning the role down before Stephen Sondheim, at the request of a producer, changed the lyric to: “Puerto Rico, my heart’s devotion, let it sink back in the ocean.”\u003c/p>\n\u003cp>“And that’s how Stephen Sondheim saved me from turning down this magnificent role,” she says.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YhSKk-cvblc\u003c/p>\n\u003cp>After becoming the first Latina actor to win an Oscar for \u003cem>West Side Story, \u003c/em>Moreno expected more opportunities to follow. Instead, she was offered stereotyped roles as gang members and housewives.\u003c/p>\n\u003cp>“It was the heartbreak of my life,” Moreno says. She turned down the parts she thought were offensive or too insignificant, and wound up not making another movie for seven years.\u003c/p>\n\u003cp>But eventually Moreno’s career got back on track. She appeared on Broadway, was an original cast member of the children’s show \u003cem>The Electric Company\u003c/em> and later co-starred in the HBO prison series \u003cem>Oz\u003c/em>. In 1977 she became the first Latina performer to achieve EGOT status as a winner of an Emmy, Grammy, Oscar and Tony Award.\u003c/p>\n\u003cp>The new PBS \u003cem>American Masters\u003c/em> documentary, \u003ca href=\"https://www.pbs.org/wnet/americanmasters/rita-moreno-the-girl-who-decided-to-go-for-it-about/11654/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Just a\u003c/em> \u003cem>Girl Who Decided to Go for It,\u003c/em>\u003c/a>\u003cem> c\u003c/em>hronicles Moreno’s early life and her storied career. In it, she opens up about her experiences with racism and sexual assault in Hollywood\u003cem>. \u003c/em>Moreno appears in the forthcoming Steven Spielberg film adaptation of \u003cem>West Side Story, \u003c/em>for which she also serves as an executive producer.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=t84GEdvTLVQ\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview Highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On the roles MGM cast her in at the beginning of her career\u003c/strong>\u003c/p>\n\u003cp>I got native girls. I got Pacific Island parts, I got Egyptian girl parts, anything but just acting roles. They were all very specific. They all called for an accent or two that I wasn’t even familiar with. So I made up my own accents, thinking that that would enhance the parts. They all sounded Puerto Rican, actually. … I always sounded like this because it’s the only accent I understood and nobody ever said, “What are you doing? What the hell is that?” Because I would have answered, “Well, I’m trying to provide a foundation for this, this girl, this part.” But nobody asked. Nobody cared. It’s so odd when I look back.\u003c/p>\n\u003cp>\u003cstrong>On how the 1961 version of \u003c/strong>\u003cem>\u003cstrong>West Side Story\u003c/strong>\u003c/em>\u003cstrong> resonated\u003c/strong>\u003c/p>\n\u003cp>The fact that there was a person playing a \u003cem>Puertorriqueña\u003c/em> in a huge, successful musical was enough for a lot of Hispanics—not just Puerto Ricans—in this country to be thrilled to pieces. The fact that there were mistakes made … was also almost beyond the point, because we were just so glad to be paid attention to for a change. This was an extraordinary, extraordinary experience in every possible way. And it helped to inform a lot of people who were not Hispanic about what we were about—and that was important and absolutely fabulous. There were people, particularly in Puerto Rico, who were not thrilled because they felt that depicting Puerto Ricans as gang members was offensive and insulting. I think they missed the part about \u003cem>Romeo and Juliet, \u003c/em>which I thought was the genius of this. And here we are many, many, many years later with another edition of this film about to be released in December—by the way, when I will, literally, the day before we open, be 90 years old.\u003c/p>\n\u003cp>\u003cstrong>On having to darken her skin for film roles \u003c/strong>\u003c/p>\n\u003cp>I rarely, rarely ever saw my own color when I did movies. When I first went to MGM, I played a Cajun girl from New Orleans. So they actually used my own skin color. But as I got older and had more of a career, I kept getting darker and darker and darker. … [\u003cem>West Side Story\u003c/em>] was worse. That was like mud. … It was so thick and it was so dark that our faces would streak and show our real color underneath. And I remember saying to a makeup man once, “I don’t know why I have to be this color. … This is not my color.” And he actually said to me as he was making me up, “What are you, racist?” Well, talk about nonplussed. I didn’t even know what to say to him.\u003c/p>\n\u003cp>\u003cstrong>On the allegation that her Hollywood agent raped her early in her career\u003c/strong>\u003c/p>\n\u003cp>The very first time I spoke about it was when I did the documentary. I mentioned it in my book, also my biography, but it’s heartbreaking. By the way, I ran into this man, this agent, about five years ago in Palm Springs because it turned out he had booked me in a concert that I was going to do there. And I saw his face and I thought, oh, my God, it’s him. And you know what he told me without being asked? He said, “I’m sorry I didn’t make you pregnant, because that was the whole idea. … Then you would be beholden to me forever.” … I was speechless. I was absolutely speechless, I just said, “Excuse me.” And I left the room. I was dumbstruck. What do you say? “You cur, you bastard, you son of a bitch.” What do you say? … You know what, I’m glad I didn’t [say anything], because that would have probably opened too many doors.\u003c/p>\n\u003cp>\u003cstrong>On dating Marlon Brando and Elvis Presley \u003c/strong>\u003c/p>\n\u003cp>[aside postid='arts_13881446']I saw [Marlon Brando] as a person who was very strong. I had a very warped and twisted notion of what a real man was like. To me, that was Marlon. He was it. He was the king of movies and the king of everything. And on top of that, we had an extraordinary sexual relationship. So that kind of helped. …\u003c/p>\n\u003cp>I dated Elvis to make Marlon jealous. So for a short while there, I had the two kings of different things, show business royalty. And it was to make Marlon jealous, really. And he was a sweet fellow. He was very simple and he was boring, Elvis.\u003c/p>\n\u003cp>\u003cstrong>On her toxic relationship with Brando and her attempted suicide \u003c/strong>\u003c/p>\n\u003cp>My relationship with Marlon depended on what was happening at my psychotherapist’s. He would be very helpful. And then I would succumb to Marlon’s charms and go back to him for the 20th time. The only thing that really stopped it—and that was my intention at the time—was my attempted suicide. I couldn’t take being humiliated anymore. And I found that I was my own worst enemy. So it was my intention. The objective of this attempted suicide was to get rid of this relationship. …\u003c/p>\n\u003cp>[When I survived] I would never try that again. I absolutely knew I would never, ever try such a thing again. It’s so against my nature. And my doctor said to me, my therapist, he said, “You can never, ever, ever see Marlon again, because the next time you may not be as lucky.” And he made Marlon write me a letter about, “This is it, Rita, I’m sorry for everything, all the things I’ve done. This is a letter of goodbye. I will never see you again.” By the way, six months later, he called me on the phone and we became friends.\u003c/p>\n\u003cp>\u003cstrong>On being unhappy in her marriage to Leonard Gordon\u003c/strong>\u003c/p>\n\u003cp>I really did love him, but what happened was … sometimes people make contracts with each other that are never verbalized or spoken. In my case, it was “I’ll be a wonderful little girl and amuse you and make you happy if you will be my daddy and my protector and take care of me.” That’s what our contract really was, and the day that I decided I wanted to start growing up is when the marriage got into trouble, and that literally started in our seventh year. I remember talking divorce with him at that time. And of course, we didn’t, and I didn’t and that was that. But I was unhappy for a very, very, very long time.\u003c/p>\n\u003cp>\u003cstrong>On being on her own after Gordon died\u003c/strong>\u003c/p>\n\u003cp>I blossomed. I absolutely blossomed. I’m a person whose biggest hobby is laughing. Truly, I love laughter. I love humor. I love being raucous, which is one of the things that really annoyed my husband. He called it “my show business self.” And all of that was now up for grabs. I could be anyone I wanted to be. I could be what I felt. I wanted to be what I needed to be. And it was grand. Absolutely. I didn’t look back. Not one second, which is fascinating to me. I have not looked back.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Lauren Krenzel and Seth Kelley produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the web.\u003c/em>\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=Rita+Moreno+On+%27West+Side+Story%27+And+Becoming+The+Role+Model+She+Needed+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Actor Rita Moreno never had an on-screen, Latina role model as a child. “There was no such thing then,” she says. “Certainly not for little Puerto Rican girls like me.”\u003c/p>\n\u003cp>That changed when Moreno, who moved with her mother to the U.S. mainland from Puerto Rico in 1936 and spent years working as a contract player for MGM, landed her breakout role as Anita in the 1961 film \u003cem>West Side Story\u003c/em>.\u003c/p>\n\u003cp>“What was important about Anita to me—and still is—is that Anita, believe it or not, was the only part I ever remember where I represented Hispanics in a dignified and positive way,” she says. “It represented a lot of breakthroughs for young actors of Hispanic origin.”\u003c/p>\n\u003cp>But Moreno nearly didn’t take the part. Just before she signed the \u003cem>West Side Story \u003c/em>contract, she remembered a troubling verse in the song “\u003ca href=\"https://www.youtube.com/watch?v=tNN4WsEk984\" target=\"_blank\" rel=\"noopener noreferrer\">America\u003c/a>” in which she’d have to sing: “Puerto Rico. You ugly island, island of tropic diseases.”\u003c/p>\n\u003cp>“And it suddenly occurred to me, Oh my God, I can’t sing that! … I can’t do this to my people,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Moreno says she was “this close” to turning the role down before Stephen Sondheim, at the request of a producer, changed the lyric to: “Puerto Rico, my heart’s devotion, let it sink back in the ocean.”\u003c/p>\n\u003cp>“And that’s how Stephen Sondheim saved me from turning down this magnificent role,” she says.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/YhSKk-cvblc'\n title='//www.youtube.com/embed/YhSKk-cvblc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>After becoming the first Latina actor to win an Oscar for \u003cem>West Side Story, \u003c/em>Moreno expected more opportunities to follow. Instead, she was offered stereotyped roles as gang members and housewives.\u003c/p>\n\u003cp>“It was the heartbreak of my life,” Moreno says. She turned down the parts she thought were offensive or too insignificant, and wound up not making another movie for seven years.\u003c/p>\n\u003cp>But eventually Moreno’s career got back on track. She appeared on Broadway, was an original cast member of the children’s show \u003cem>The Electric Company\u003c/em> and later co-starred in the HBO prison series \u003cem>Oz\u003c/em>. In 1977 she became the first Latina performer to achieve EGOT status as a winner of an Emmy, Grammy, Oscar and Tony Award.\u003c/p>\n\u003cp>The new PBS \u003cem>American Masters\u003c/em> documentary, \u003ca href=\"https://www.pbs.org/wnet/americanmasters/rita-moreno-the-girl-who-decided-to-go-for-it-about/11654/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Just a\u003c/em> \u003cem>Girl Who Decided to Go for It,\u003c/em>\u003c/a>\u003cem> c\u003c/em>hronicles Moreno’s early life and her storied career. In it, she opens up about her experiences with racism and sexual assault in Hollywood\u003cem>. \u003c/em>Moreno appears in the forthcoming Steven Spielberg film adaptation of \u003cem>West Side Story, \u003c/em>for which she also serves as an executive producer.\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/t84GEdvTLVQ'\n title='//www.youtube.com/embed/t84GEdvTLVQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>\u003cstrong>Interview Highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On the roles MGM cast her in at the beginning of her career\u003c/strong>\u003c/p>\n\u003cp>I got native girls. I got Pacific Island parts, I got Egyptian girl parts, anything but just acting roles. They were all very specific. They all called for an accent or two that I wasn’t even familiar with. So I made up my own accents, thinking that that would enhance the parts. They all sounded Puerto Rican, actually. … I always sounded like this because it’s the only accent I understood and nobody ever said, “What are you doing? What the hell is that?” Because I would have answered, “Well, I’m trying to provide a foundation for this, this girl, this part.” But nobody asked. Nobody cared. It’s so odd when I look back.\u003c/p>\n\u003cp>\u003cstrong>On how the 1961 version of \u003c/strong>\u003cem>\u003cstrong>West Side Story\u003c/strong>\u003c/em>\u003cstrong> resonated\u003c/strong>\u003c/p>\n\u003cp>The fact that there was a person playing a \u003cem>Puertorriqueña\u003c/em> in a huge, successful musical was enough for a lot of Hispanics—not just Puerto Ricans—in this country to be thrilled to pieces. The fact that there were mistakes made … was also almost beyond the point, because we were just so glad to be paid attention to for a change. This was an extraordinary, extraordinary experience in every possible way. And it helped to inform a lot of people who were not Hispanic about what we were about—and that was important and absolutely fabulous. There were people, particularly in Puerto Rico, who were not thrilled because they felt that depicting Puerto Ricans as gang members was offensive and insulting. I think they missed the part about \u003cem>Romeo and Juliet, \u003c/em>which I thought was the genius of this. And here we are many, many, many years later with another edition of this film about to be released in December—by the way, when I will, literally, the day before we open, be 90 years old.\u003c/p>\n\u003cp>\u003cstrong>On having to darken her skin for film roles \u003c/strong>\u003c/p>\n\u003cp>I rarely, rarely ever saw my own color when I did movies. When I first went to MGM, I played a Cajun girl from New Orleans. So they actually used my own skin color. But as I got older and had more of a career, I kept getting darker and darker and darker. … [\u003cem>West Side Story\u003c/em>] was worse. That was like mud. … It was so thick and it was so dark that our faces would streak and show our real color underneath. And I remember saying to a makeup man once, “I don’t know why I have to be this color. … This is not my color.” And he actually said to me as he was making me up, “What are you, racist?” Well, talk about nonplussed. I didn’t even know what to say to him.\u003c/p>\n\u003cp>\u003cstrong>On the allegation that her Hollywood agent raped her early in her career\u003c/strong>\u003c/p>\n\u003cp>The very first time I spoke about it was when I did the documentary. I mentioned it in my book, also my biography, but it’s heartbreaking. By the way, I ran into this man, this agent, about five years ago in Palm Springs because it turned out he had booked me in a concert that I was going to do there. And I saw his face and I thought, oh, my God, it’s him. And you know what he told me without being asked? He said, “I’m sorry I didn’t make you pregnant, because that was the whole idea. … Then you would be beholden to me forever.” … I was speechless. I was absolutely speechless, I just said, “Excuse me.” And I left the room. I was dumbstruck. What do you say? “You cur, you bastard, you son of a bitch.” What do you say? … You know what, I’m glad I didn’t [say anything], because that would have probably opened too many doors.\u003c/p>\n\u003cp>\u003cstrong>On dating Marlon Brando and Elvis Presley \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I saw [Marlon Brando] as a person who was very strong. I had a very warped and twisted notion of what a real man was like. To me, that was Marlon. He was it. He was the king of movies and the king of everything. And on top of that, we had an extraordinary sexual relationship. So that kind of helped. …\u003c/p>\n\u003cp>I dated Elvis to make Marlon jealous. So for a short while there, I had the two kings of different things, show business royalty. And it was to make Marlon jealous, really. And he was a sweet fellow. He was very simple and he was boring, Elvis.\u003c/p>\n\u003cp>\u003cstrong>On her toxic relationship with Brando and her attempted suicide \u003c/strong>\u003c/p>\n\u003cp>My relationship with Marlon depended on what was happening at my psychotherapist’s. He would be very helpful. And then I would succumb to Marlon’s charms and go back to him for the 20th time. The only thing that really stopped it—and that was my intention at the time—was my attempted suicide. I couldn’t take being humiliated anymore. And I found that I was my own worst enemy. So it was my intention. The objective of this attempted suicide was to get rid of this relationship. …\u003c/p>\n\u003cp>[When I survived] I would never try that again. I absolutely knew I would never, ever try such a thing again. It’s so against my nature. And my doctor said to me, my therapist, he said, “You can never, ever, ever see Marlon again, because the next time you may not be as lucky.” And he made Marlon write me a letter about, “This is it, Rita, I’m sorry for everything, all the things I’ve done. This is a letter of goodbye. I will never see you again.” By the way, six months later, he called me on the phone and we became friends.\u003c/p>\n\u003cp>\u003cstrong>On being unhappy in her marriage to Leonard Gordon\u003c/strong>\u003c/p>\n\u003cp>I really did love him, but what happened was … sometimes people make contracts with each other that are never verbalized or spoken. In my case, it was “I’ll be a wonderful little girl and amuse you and make you happy if you will be my daddy and my protector and take care of me.” That’s what our contract really was, and the day that I decided I wanted to start growing up is when the marriage got into trouble, and that literally started in our seventh year. I remember talking divorce with him at that time. And of course, we didn’t, and I didn’t and that was that. But I was unhappy for a very, very, very long time.\u003c/p>\n\u003cp>\u003cstrong>On being on her own after Gordon died\u003c/strong>\u003c/p>\n\u003cp>I blossomed. I absolutely blossomed. I’m a person whose biggest hobby is laughing. Truly, I love laughter. I love humor. I love being raucous, which is one of the things that really annoyed my husband. He called it “my show business self.” And all of that was now up for grabs. I could be anyone I wanted to be. I could be what I felt. I wanted to be what I needed to be. And it was grand. Absolutely. I didn’t look back. Not one second, which is fascinating to me. I have not looked back.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Lauren Krenzel and Seth Kelley produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the web.\u003c/em>\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=Rita+Moreno+On+%27West+Side+Story%27+And+Becoming+The+Role+Model+She+Needed+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Listen Carefully: The Tense 'Quiet Place' Sequel Speaks to Our Present Time",
"headTitle": "Listen Carefully: The Tense ‘Quiet Place’ Sequel Speaks to Our Present Time | KQED",
"content": "\u003cp>In the sensational 2018 thriller \u003ca href=\"https://www.npr.org/2018/04/05/598796456/a-quiet-place-will-leave-you-shhhhhhaken\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>A Quiet Place\u003c/em>\u003c/a>, humanity has been ravaged by hideous alien predators with extraordinary powers of hearing. The story follows the Abbotts, a family of survivors who must stay quiet at all times, unable to talk or sneeze or step on a creaky floorboard or they’ll likely be dead.\u003c/p>\n\u003cp>It was a killer word-of-mouth hook: Here was a movie you \u003cem>had\u003c/em> to watch in a theater in your own state of silence, with no slurping or popcorn crunching allowed.\u003c/p>\n\u003cp>\u003cem>A Quiet Place \u003c/em>became a huge success, and its filmmaker and star, John Krasinski, wrote and directed a sequel that was supposed to open in March 2020. But then the COVID-19 pandemic forced theaters to close, and the movie’s release was postponed.\u003c/p>\n\u003cp>[aside postid='pop_110691']Now, more than a year later, theaters have reopened, and \u003cem>A Quiet Place Part II \u003c/em>is drawing large audiences. Is it too soon to go back to theaters, with the pandemic not yet fully subsided? I wondered as much when I watched the film at a recent media screening. I felt pretty safe: I was wearing a mask in a nearly empty theater and had been fully vaccinated weeks earlier. But I also felt privileged to be seeing a film on a big screen with strict precautions in place.\u003c/p>\n\u003cp>Whether you go to see it now or wait until it begins streaming, \u003cem>A Quiet Place Part II \u003c/em>is likely to make you a little jumpy. It doesn’t have the same claustrophobic intensity as its predecessor, but it’s just as taut, suspenseful and beautifully made.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BpdDN9d9Jio\u003c/p>\n\u003cp>As before, Krasinski doesn’t explain why the aliens are here in the first place. But he does give us an opening flashback to the terrible day they arrived, laying waste to the Abbotts’ small town in upstate New York—and other towns and cities all over the globe. Many people die, but the Abbotts survive, mainly because they’re quick to realize that the monsters hunt by sound.\u003c/p>\n\u003cp>Then the movie flashes forward many months, picking up right after the events of the first film. Krasinski’s character, Lee Abbott, has been tragically killed, leaving behind his wife, Evelyn, played by a fierce \u003ca href=\"https://www.npr.org/2014/12/21/372117734/desperate-to-speak-how-emily-blunt-found-her-voice\" target=\"_blank\" rel=\"noopener noreferrer\">Emily Blunt\u003c/a>, and their children. (Krasinski and Blunt are married in real life.)\u003c/p>\n\u003cp>The family is shaken but resilient: They’ve finally discovered the aliens’ fatal weakness, and they’re curious about making contact with other survivors. And so they set out from their farmhouse and make their way across an overgrown post-apocalyptic landscape where danger lurks around every corner.\u003c/p>\n\u003cp>The fact that the characters can’t speak out loud is one reason the \u003cem>Quiet Place\u003c/em> movies are so effective: Not being able to fall back on verbal exposition has forced Krasinski to become a ruthlessly efficient visual storyteller. It’s often said that Alfred Hitchcock’s movies are so sharply directed, you could turn the sound off and still follow the action—a truth that applies to these movies as well.\u003c/p>\n\u003cp>[aside postid='pop_6114']It helps that the Abbotts are fluent in American Sign Language since their oldest child, Regan, is deaf—as is the actor who plays her, the remarkable Millicent Simmonds. As in the first film, Regan emerges as the story’s truest hero: She’s tough, courageous and determined to help as many other people as she can. Less eager to take action is her traumatized younger brother, Marcus, heartbreakingly played by Noah Jupe.\u003c/p>\n\u003cp>Eventually the Abbotts take temporary shelter in an abandoned steel factory where they reunite with an old family friend, Emmett, played by a grave Cillian Murphy. Emmett is grieving the loss of his family and has become deeply cynical about humanity, at one point saying, “The people that are left … they’re not worth saving.” Regan disagrees; not only are people worth saving, she says, but if enough of them join forces, they might be able to fight back against the aliens.\u003c/p>\n\u003cp>The movie seems to think they both have a point. As Regan and Emmett embark on a perilous journey in search of survivors, they find themselves in situations that give rise to both hope and despair. Some of the people they meet are as predatory as the monsters; others are as brave and compassionate as Regan. That makes \u003cem>A Quiet Place Part II\u003c/em> an unexpectedly resonant film for the present moment as this country slowly emerges from a crisis that—while surely less terrifying than an alien apocalypse—has revealed humanity at its best and its worst.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The movie ends on an inconclusive note, leaving the door open for another sequel, which is both frustrating and heartening. I’m already looking forward to finding out what happens next—hopefully in a dark theater, watching as quietly as I can.\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=Listen+Carefully%3A+The+Tense+%27Quiet+Place%27+Sequel+Speaks+To+Our+Present+Time&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the sensational 2018 thriller \u003ca href=\"https://www.npr.org/2018/04/05/598796456/a-quiet-place-will-leave-you-shhhhhhaken\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>A Quiet Place\u003c/em>\u003c/a>, humanity has been ravaged by hideous alien predators with extraordinary powers of hearing. The story follows the Abbotts, a family of survivors who must stay quiet at all times, unable to talk or sneeze or step on a creaky floorboard or they’ll likely be dead.\u003c/p>\n\u003cp>It was a killer word-of-mouth hook: Here was a movie you \u003cem>had\u003c/em> to watch in a theater in your own state of silence, with no slurping or popcorn crunching allowed.\u003c/p>\n\u003cp>\u003cem>A Quiet Place \u003c/em>became a huge success, and its filmmaker and star, John Krasinski, wrote and directed a sequel that was supposed to open in March 2020. But then the COVID-19 pandemic forced theaters to close, and the movie’s release was postponed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Now, more than a year later, theaters have reopened, and \u003cem>A Quiet Place Part II \u003c/em>is drawing large audiences. Is it too soon to go back to theaters, with the pandemic not yet fully subsided? I wondered as much when I watched the film at a recent media screening. I felt pretty safe: I was wearing a mask in a nearly empty theater and had been fully vaccinated weeks earlier. But I also felt privileged to be seeing a film on a big screen with strict precautions in place.\u003c/p>\n\u003cp>Whether you go to see it now or wait until it begins streaming, \u003cem>A Quiet Place Part II \u003c/em>is likely to make you a little jumpy. It doesn’t have the same claustrophobic intensity as its predecessor, but it’s just as taut, suspenseful and beautifully made.\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/BpdDN9d9Jio'\n title='//www.youtube.com/embed/BpdDN9d9Jio'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As before, Krasinski doesn’t explain why the aliens are here in the first place. But he does give us an opening flashback to the terrible day they arrived, laying waste to the Abbotts’ small town in upstate New York—and other towns and cities all over the globe. Many people die, but the Abbotts survive, mainly because they’re quick to realize that the monsters hunt by sound.\u003c/p>\n\u003cp>Then the movie flashes forward many months, picking up right after the events of the first film. Krasinski’s character, Lee Abbott, has been tragically killed, leaving behind his wife, Evelyn, played by a fierce \u003ca href=\"https://www.npr.org/2014/12/21/372117734/desperate-to-speak-how-emily-blunt-found-her-voice\" target=\"_blank\" rel=\"noopener noreferrer\">Emily Blunt\u003c/a>, and their children. (Krasinski and Blunt are married in real life.)\u003c/p>\n\u003cp>The family is shaken but resilient: They’ve finally discovered the aliens’ fatal weakness, and they’re curious about making contact with other survivors. And so they set out from their farmhouse and make their way across an overgrown post-apocalyptic landscape where danger lurks around every corner.\u003c/p>\n\u003cp>The fact that the characters can’t speak out loud is one reason the \u003cem>Quiet Place\u003c/em> movies are so effective: Not being able to fall back on verbal exposition has forced Krasinski to become a ruthlessly efficient visual storyteller. It’s often said that Alfred Hitchcock’s movies are so sharply directed, you could turn the sound off and still follow the action—a truth that applies to these movies as well.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It helps that the Abbotts are fluent in American Sign Language since their oldest child, Regan, is deaf—as is the actor who plays her, the remarkable Millicent Simmonds. As in the first film, Regan emerges as the story’s truest hero: She’s tough, courageous and determined to help as many other people as she can. Less eager to take action is her traumatized younger brother, Marcus, heartbreakingly played by Noah Jupe.\u003c/p>\n\u003cp>Eventually the Abbotts take temporary shelter in an abandoned steel factory where they reunite with an old family friend, Emmett, played by a grave Cillian Murphy. Emmett is grieving the loss of his family and has become deeply cynical about humanity, at one point saying, “The people that are left … they’re not worth saving.” Regan disagrees; not only are people worth saving, she says, but if enough of them join forces, they might be able to fight back against the aliens.\u003c/p>\n\u003cp>The movie seems to think they both have a point. As Regan and Emmett embark on a perilous journey in search of survivors, they find themselves in situations that give rise to both hope and despair. Some of the people they meet are as predatory as the monsters; others are as brave and compassionate as Regan. That makes \u003cem>A Quiet Place Part II\u003c/em> an unexpectedly resonant film for the present moment as this country slowly emerges from a crisis that—while surely less terrifying than an alien apocalypse—has revealed humanity at its best and its worst.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The movie ends on an inconclusive note, leaving the door open for another sequel, which is both frustrating and heartening. I’m already looking forward to finding out what happens next—hopefully in a dark theater, watching as quietly as I can.\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=Listen+Carefully%3A+The+Tense+%27Quiet+Place%27+Sequel+Speaks+To+Our+Present+Time&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"headTitle": "‘Plan B’ is a Winning Comedy Infused With Some Painful Truths | KQED",
"content": "\u003cp>Few films walk a tonal tightrope as tricky as the one undertaken by \u003cem>Plan B\u003c/em>, a terrific out-all-night comedy now available on Hulu that manages to combine \u003ca href=\"https://www.npr.org/2019/05/30/728293028/a-wild-night-with-booksmart\" target=\"_blank\" rel=\"noopener noreferrer\">the energy of \u003cem>Booksmart\u003c/em>\u003c/a> with the compassion for teenagers and their parents \u003ca href=\"https://www.npr.org/2018/08/14/638605002/blockers-and-game-night-playing-catch-up-on-comedies-we-missed\" target=\"_blank\" rel=\"noopener noreferrer\">of \u003cem>Blockers\u003c/em>\u003c/a>. It adds, however, a refreshing and rare—at least until recently—willingness to tell a story about one of the things that can genuinely create a desperate situation for a girl this age: access to reproductive health care.\u003c/p>\n\u003cp>In this case, Sunny (Kuhoo Verma) is a South Dakota high school student whose first sexual encounter is unsatisfying and regrettable even before she realizes that a birth-control mishap means she’s at risk of getting pregnant. (It’s worth noting that out of all the birth-control mishaps you’ve seen in movies, this is one of the least shown but most plausible, particularly for teenagers whose sex education has been patchy and incomplete.) She knows her best chance to guard against pregnancy at this point is the morning-after pill (the titular Plan B), but when she goes with her best friend Lupe (Victoria Moroles) to get it, she’s denied by the local pharmacist for the simple reason that he doesn’t wish to give it to her. He explains that under South Dakota law, that means he doesn’t have to—even if she has no other option. “My hands are tied, morally speaking,” he says with a smile.\u003c/p>\n\u003cp>[aside postid='pop_112069']Thus begins a trek to a Planned Parenthood location three hours away in Rapid City, with the girls up against a clock that’s constantly ticking, since Sunny needs to take the pill within a relatively short time. As it does in any good buddy road movie, fate intercedes to throw all kinds of obstacles in front of Sunny and Lupe, from an unexpected encounter with Lupe’s online crush to a guy selling random pills out of a toolbox to problems with the van they’re driving and cell-service dead zones that require them to try to figure out how to read a paper map.\u003c/p>\n\u003cp>Wacky set pieces? Check! A horror send-up as the girls escape a dodgy party house? Check! An encounter with a quirky convenience store clerk (Edi Patterson) who gives incomprehensible directions? Check! These are the things that you expect from a film like this, and it delivers them with style and good humor.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=spIGWUdCVzA\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But what a breath of fresh air it is to see all this comfortably alongside such frank consideration of the position in which Sunny finds herself. There’s a smart and understated scene that serves to underscore the fact that because Sunny has to worry about getting pregnant, she doesn’t get to reflect on this sexual experience in the unguarded way the boy who was involved in it does: as a simple matter of whether she regrets it in any personal or moral or ethical sense. Instead, she has to spend her time on concrete problems, like whether she’s going to get pregnant. And as we discover, much of her world has been built to make pregnancy \u003cem>more\u003c/em> likely once she has sex at all. She seems to have had spotty education about birth control for a 17-year-old, she’s unable to get the backup method she asks for, and her relationship with her mother—who could help, if going to her seemed like an option—is complicated by how they both feel about sex.\u003c/p>\n\u003cp>The \u003cem>Plan B \u003c/em>script is from collaborators Prathi Srinivasan and Joshua Levy, who have worked on projects including the YouTube series \u003cem>Bollyweird\u003c/em> (and who both worked on \u003cem>iZombie\u003c/em>). It’s directed by actress Natalie Morales, who also directed the film \u003cem>Language Lessons\u003c/em>, which she and Mark Duplass wrote and starred in together. (Filmed during the pandemic, it won a Narrative Spotlight award at South by Southwest in March and is expected to be released later this year.) The creators and the cast deserve enormous credit for how deftly the broader comedy here is balanced with genuine fear and frustration, and how unexpectedly parts of the film unfold. A lot of it is somehow structurally familiar but specifically surprising.\u003c/p>\n\u003cp>[aside postid='arts_13897161']One example: There is a charmer of a scene in a diner that’s simply a boy and a girl eating and talking, and it advances the plot far less than it infuses the film with a generosity toward everyone in it, not just Sunny and Lupe. There are moments for these girls that are terrible, but also ones that are heartening and touching. And there’s still plenty of time for the raunchy comedy that gives the film its TV-MA rating. (Although as always, the obligatory note: Ratings are chuckle-headed, for the most part! Your teenager would be way better off watching this, for my money, than the countless dopey shootouts that wiggle in under the TV-14/PG-13 banner.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This is a gentle, goofy, sweet \u003cem>and \u003c/em>frank story about the importance of your best friends, the fact that people often love you more than you fear they will, and the concrete consequences of public policy debates that often don’t even include the people who will navigate those consequences. Sunny and Lupe are marvelous and rootable protagonists, and they would be even if the emergency they face seemed fanciful, as it is when people wind up running from criminals or misunderstandings. But, of course, it’s not. And the film is more valuable for it.\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=%27Plan+B%27+Is+A+Winning+Comedy+With+Some+Painful+Truths&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But what a breath of fresh air it is to see all this comfortably alongside such frank consideration of the position in which Sunny finds herself. There’s a smart and understated scene that serves to underscore the fact that because Sunny has to worry about getting pregnant, she doesn’t get to reflect on this sexual experience in the unguarded way the boy who was involved in it does: as a simple matter of whether she regrets it in any personal or moral or ethical sense. Instead, she has to spend her time on concrete problems, like whether she’s going to get pregnant. And as we discover, much of her world has been built to make pregnancy \u003cem>more\u003c/em> likely once she has sex at all. She seems to have had spotty education about birth control for a 17-year-old, she’s unable to get the backup method she asks for, and her relationship with her mother—who could help, if going to her seemed like an option—is complicated by how they both feel about sex.\u003c/p>\n\u003cp>The \u003cem>Plan B \u003c/em>script is from collaborators Prathi Srinivasan and Joshua Levy, who have worked on projects including the YouTube series \u003cem>Bollyweird\u003c/em> (and who both worked on \u003cem>iZombie\u003c/em>). It’s directed by actress Natalie Morales, who also directed the film \u003cem>Language Lessons\u003c/em>, which she and Mark Duplass wrote and starred in together. (Filmed during the pandemic, it won a Narrative Spotlight award at South by Southwest in March and is expected to be released later this year.) The creators and the cast deserve enormous credit for how deftly the broader comedy here is balanced with genuine fear and frustration, and how unexpectedly parts of the film unfold. A lot of it is somehow structurally familiar but specifically surprising.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>One example: There is a charmer of a scene in a diner that’s simply a boy and a girl eating and talking, and it advances the plot far less than it infuses the film with a generosity toward everyone in it, not just Sunny and Lupe. There are moments for these girls that are terrible, but also ones that are heartening and touching. And there’s still plenty of time for the raunchy comedy that gives the film its TV-MA rating. (Although as always, the obligatory note: Ratings are chuckle-headed, for the most part! Your teenager would be way better off watching this, for my money, than the countless dopey shootouts that wiggle in under the TV-14/PG-13 banner.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This is a gentle, goofy, sweet \u003cem>and \u003c/em>frank story about the importance of your best friends, the fact that people often love you more than you fear they will, and the concrete consequences of public policy debates that often don’t even include the people who will navigate those consequences. Sunny and Lupe are marvelous and rootable protagonists, and they would be even if the emergency they face seemed fanciful, as it is when people wind up running from criminals or misunderstandings. But, of course, it’s not. And the film is more valuable for it.\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=%27Plan+B%27+Is+A+Winning+Comedy+With+Some+Painful+Truths&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Chalk it up to our eternal fascination with human evil or to a movie industry that’s short on original ideas, but it seems like almost every classic villain nowadays is guaranteed their own feature-length backstory. The results have been a mixed but not uninteresting bag, and they’ve allowed some fine actors to go entertainingly over-the-top: \u003ca href=\"https://www.npr.org/2014/01/21/264524233/phoenix-to-self-why-am-i-talking-about-this-joaquin-shut-up\" target=\"_blank\" rel=\"noopener noreferrer\">Joaquin Phoenix\u003c/a> won an Oscar for his psychic meltdown as the \u003ca href=\"https://www.npr.org/2019/10/03/765082771/joker-is-wild-ly-dull\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Joker\u003c/em>\u003c/a>, and \u003ca href=\"https://www.npr.org/2019/10/17/770272123/maleficent-mistress-of-evil-clips-angelina-jolie-s-wings\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Maleficent\u003c/em>\u003c/a>, a clever reframing of \u003cem>Sleeping Beauty\u003c/em>, remains one of only a few movies that have put Angelina Jolie’s otherworldly screen presence to effective use.\u003c/p>\n\u003cp>The latest example of this trend is \u003cem>Cruella\u003c/em>, and it’s, well, a mixed but not uninteresting bag. Like \u003cem>Maleficent\u003c/em>, it’s a Disney live-action movie inspired by an earlier Disney animated classic—in this case, \u003cem>One Hundred and One Dalmatians\u003c/em>. It’s set in 1970s London, and it means to show us the youthful origins of Cruella de Vil, that fascist fashionista who kidnapped a litter of Dalmatian puppies and tried to turn them into a spotted fur coat.\u003c/p>\n\u003cp>The thing is, though, that dog killers aren’t the most sympathetic protagonists, and this movie definitely wants us to sympathize. As a result, this Cruella doesn’t really seem evil enough to commit puppycide by movie’s end. She’s presented as a rebel—impatient, perpetually misunderstood and unwilling to play by the rules of a world that casts her aside at every turn.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gmRKv7n2If8\u003c/p>\n\u003cp>Cruella is already a mischief maker when we first meet her as a young girl named Estella. Her loving mother tries to put her on the straight and narrow, but after a series of tragic events, Estella is orphaned and left to fend for herself on the streets of London. A few years later, Estella, now played by Emma Stone, is a seasoned grifter committing robberies with her buddies Horace and Jasper. (They’re played by Paul Walter Hauser and Joel Fry.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13896604']Estella has an extraordinary eye for fashion; she sews amazing disguises for herself and her partners in crime, with a bit of inspiration from a vintage store owner, Artie, played by John McCrea. Before long, Estella lucks her way into a job as a designer for the Baroness, an imperious queen of couture who runs the most exclusive fashion label in London.\u003c/p>\n\u003cp>As the Baroness, the great \u003ca href=\"https://www.npr.org/2014/01/09/261044820/not-so-cheery-disposition-emma-thompson-on-poppins-cranky-creator\" target=\"_blank\" rel=\"noopener noreferrer\">Emma Thompson \u003c/a>gives a performance of diabolical wit—she’s half wicked stepmother, half Miranda Priestly from \u003cem>The Devil Wears Prada\u003c/em>. The Baroness brings out a madly competitive streak in Estella, who soon unleashes her pent-up alter ego, Cruella, as a kind of glam-punk performance artist of the fashion world.\u003c/p>\n\u003cp>Determined to upstage her nemesis while still guarding her secret identity as Estella, Cruella begins crashing the Baroness’ galas and parties in attention-grabbing gowns—the work of the brilliant costume designer Jenny Beavan, in her biggest showcase since \u003ca href=\"https://www.npr.org/2015/05/14/406009465/a-visceral-inventive-blockbuster-roars-to-life-in-mad-max-fury-road\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Mad Max: Fury Road\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The Emma-vs.-Emma matchup is as irresistible onscreen as it must have been on paper. But their rivalry also points out a conceptual weakness in the movie, and perhaps in the ongoing trend of trying to recast villains as sympathetic antiheroes. Thompson’s Baroness is flat-out monstrous in ways that put this Cruella to shame. In a movie that’s supposed to be about the rise of a great villain, the Baroness turns out to be the actual great villain.\u003c/p>\n\u003cp>Nonetheless, Stone gives it her all in a tricky role with echoes of the lowly young woman turned ruthless schemer she played in \u003ca href=\"https://www.npr.org/2018/11/28/670833369/the-favourite-sou-smart-sou-wicked-sou-witty-sou-gououd\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Favourite\u003c/em>\u003c/a>. Here, she’s frankly more interesting as Estella, smartly biding her time and plotting her next move, than she is as Cruella, who is often upstaged by her own wardrobe. Is Cruella meant to come off as misguided, unhinged or genuinely unscrupulous? The script tries to suggest a complicated mix of all three and winds up feeling mostly confused.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[aside postid='arts_13892167']\u003cem>Cruella\u003c/em> was flashily directed by Craig Gillespie, who previously made the darkly comic Tonya Harding biopic \u003ca href=\"https://www.npr.org/2017/12/07/567460570/i-tonya-you-implicated\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>I, Tonya\u003c/em>\u003c/a>\u003cem>. \u003c/em>His filmmaking in \u003cem>Cruella\u003c/em> is all on the surface, but that surface is undeniably entertaining. The soaring, whooshing camerawork sometimes seems to be channeling \u003cem>Goodfellas\u003c/em>-era \u003ca href=\"https://www.npr.org/2020/01/15/796276592/can-a-person-change-martin-scorsese-on-gangsters-death-and-redemption\" target=\"_blank\" rel=\"noopener noreferrer\">Martin Scorsese\u003c/a>, and the rebellion-themed soundtrack is crammed with ’60s and ’70s hits from the Rolling Stones, the Doors, The Clash, Blondie and more. \u003cem>Cruella\u003c/em> is much too long and undisciplined at two hours and 14 minutes, but in its best moments, it surges with a rude punk energy. It’s not a bad movie, even if its protagonist isn’t nearly bad enough.\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=A+Kinder+%27Cruella%27%3F+Film+Reimagines+The+Dalmatian+Villain+With+Spotty+Success&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Chalk it up to our eternal fascination with human evil or to a movie industry that’s short on original ideas, but it seems like almost every classic villain nowadays is guaranteed their own feature-length backstory. The results have been a mixed but not uninteresting bag, and they’ve allowed some fine actors to go entertainingly over-the-top: \u003ca href=\"https://www.npr.org/2014/01/21/264524233/phoenix-to-self-why-am-i-talking-about-this-joaquin-shut-up\" target=\"_blank\" rel=\"noopener noreferrer\">Joaquin Phoenix\u003c/a> won an Oscar for his psychic meltdown as the \u003ca href=\"https://www.npr.org/2019/10/03/765082771/joker-is-wild-ly-dull\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Joker\u003c/em>\u003c/a>, and \u003ca href=\"https://www.npr.org/2019/10/17/770272123/maleficent-mistress-of-evil-clips-angelina-jolie-s-wings\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Maleficent\u003c/em>\u003c/a>, a clever reframing of \u003cem>Sleeping Beauty\u003c/em>, remains one of only a few movies that have put Angelina Jolie’s otherworldly screen presence to effective use.\u003c/p>\n\u003cp>The latest example of this trend is \u003cem>Cruella\u003c/em>, and it’s, well, a mixed but not uninteresting bag. Like \u003cem>Maleficent\u003c/em>, it’s a Disney live-action movie inspired by an earlier Disney animated classic—in this case, \u003cem>One Hundred and One Dalmatians\u003c/em>. It’s set in 1970s London, and it means to show us the youthful origins of Cruella de Vil, that fascist fashionista who kidnapped a litter of Dalmatian puppies and tried to turn them into a spotted fur coat.\u003c/p>\n\u003cp>The thing is, though, that dog killers aren’t the most sympathetic protagonists, and this movie definitely wants us to sympathize. As a result, this Cruella doesn’t really seem evil enough to commit puppycide by movie’s end. She’s presented as a rebel—impatient, perpetually misunderstood and unwilling to play by the rules of a world that casts her aside at every turn.\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/gmRKv7n2If8'\n title='//www.youtube.com/embed/gmRKv7n2If8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Cruella is already a mischief maker when we first meet her as a young girl named Estella. Her loving mother tries to put her on the straight and narrow, but after a series of tragic events, Estella is orphaned and left to fend for herself on the streets of London. A few years later, Estella, now played by Emma Stone, is a seasoned grifter committing robberies with her buddies Horace and Jasper. (They’re played by Paul Walter Hauser and Joel Fry.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Estella has an extraordinary eye for fashion; she sews amazing disguises for herself and her partners in crime, with a bit of inspiration from a vintage store owner, Artie, played by John McCrea. Before long, Estella lucks her way into a job as a designer for the Baroness, an imperious queen of couture who runs the most exclusive fashion label in London.\u003c/p>\n\u003cp>As the Baroness, the great \u003ca href=\"https://www.npr.org/2014/01/09/261044820/not-so-cheery-disposition-emma-thompson-on-poppins-cranky-creator\" target=\"_blank\" rel=\"noopener noreferrer\">Emma Thompson \u003c/a>gives a performance of diabolical wit—she’s half wicked stepmother, half Miranda Priestly from \u003cem>The Devil Wears Prada\u003c/em>. The Baroness brings out a madly competitive streak in Estella, who soon unleashes her pent-up alter ego, Cruella, as a kind of glam-punk performance artist of the fashion world.\u003c/p>\n\u003cp>Determined to upstage her nemesis while still guarding her secret identity as Estella, Cruella begins crashing the Baroness’ galas and parties in attention-grabbing gowns—the work of the brilliant costume designer Jenny Beavan, in her biggest showcase since \u003ca href=\"https://www.npr.org/2015/05/14/406009465/a-visceral-inventive-blockbuster-roars-to-life-in-mad-max-fury-road\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Mad Max: Fury Road\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The Emma-vs.-Emma matchup is as irresistible onscreen as it must have been on paper. But their rivalry also points out a conceptual weakness in the movie, and perhaps in the ongoing trend of trying to recast villains as sympathetic antiheroes. Thompson’s Baroness is flat-out monstrous in ways that put this Cruella to shame. In a movie that’s supposed to be about the rise of a great villain, the Baroness turns out to be the actual great villain.\u003c/p>\n\u003cp>Nonetheless, Stone gives it her all in a tricky role with echoes of the lowly young woman turned ruthless schemer she played in \u003ca href=\"https://www.npr.org/2018/11/28/670833369/the-favourite-sou-smart-sou-wicked-sou-witty-sou-gououd\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Favourite\u003c/em>\u003c/a>. Here, she’s frankly more interesting as Estella, smartly biding her time and plotting her next move, than she is as Cruella, who is often upstaged by her own wardrobe. Is Cruella meant to come off as misguided, unhinged or genuinely unscrupulous? The script tries to suggest a complicated mix of all three and winds up feeling mostly confused.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Cruella\u003c/em> was flashily directed by Craig Gillespie, who previously made the darkly comic Tonya Harding biopic \u003ca href=\"https://www.npr.org/2017/12/07/567460570/i-tonya-you-implicated\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>I, Tonya\u003c/em>\u003c/a>\u003cem>. \u003c/em>His filmmaking in \u003cem>Cruella\u003c/em> is all on the surface, but that surface is undeniably entertaining. The soaring, whooshing camerawork sometimes seems to be channeling \u003cem>Goodfellas\u003c/em>-era \u003ca href=\"https://www.npr.org/2020/01/15/796276592/can-a-person-change-martin-scorsese-on-gangsters-death-and-redemption\" target=\"_blank\" rel=\"noopener noreferrer\">Martin Scorsese\u003c/a>, and the rebellion-themed soundtrack is crammed with ’60s and ’70s hits from the Rolling Stones, the Doors, The Clash, Blondie and more. \u003cem>Cruella\u003c/em> is much too long and undisciplined at two hours and 14 minutes, but in its best moments, it surges with a rude punk energy. It’s not a bad movie, even if its protagonist isn’t nearly bad enough.\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=A+Kinder+%27Cruella%27%3F+Film+Reimagines+The+Dalmatian+Villain+With+Spotty+Success&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Thirty Years After ‘Thelma & Louise,’ Feminist Revenge Movie Endings Still Suck",
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"content": "\u003cp>Spoiler alert: You’re about to hear, in detail, the endings of the movies \u003cem>Promising Young Woman\u003c/em> and \u003cem>Things Heard and Seen\u003c/em>. If you don’t want to, please leave now.\u003c/p>\n\u003cp>I’m about to talk about the ending of \u003cem>Thelma & Louise\u003c/em> too, but if you still haven’t seen that, this probably isn’t the essay for you. The movie turned 30 on May 24 and is, at this point, woven deep into the American consciousness. Who could ever forget the image of the brand-new outlaws driving that ’66 T-Bird into the Grand Canyon, hands locked together in united defiance? Women who would rather die a fiery death on their own terms than live under the thumbs of any more men. It’s an iconic ending to an unerringly feminist movie.\u003c/p>\n\u003cp>And I absolutely hate it.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=66CP-pq7Cx0\u003c/p>\n\u003cp>Allow me to give my ire some context. In \u003cem>Thelma & Louise\u003c/em>, the titular characters are on the run after Louise murders a man who is in the process of violently raping Thelma. (We find out later that Louise had, some years earlier, herself survived a deeply traumatizing sexual assault.) After Louise’s life savings are stolen by a hitchhiker who Thelma spends the night with, Thelma robs a convenience store in order to get gas money. The friends then blow up the truck of a man who is persistently sexually harassing them as they desperately try to reach Mexico.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>These outlaws aren’t just easy to root for, they offer wish fulfillment to every woman watching. Then, after a few days of living free for the first time in their entire lives, and discovering strength they never knew they had, they just… \u003cem>die\u003c/em>.\u003c/p>\n\u003cp>[aside postid='pop_105090']Imagine, for a moment, how you’d feel if, at the end of \u003cem>The Shawshank Redemption\u003c/em>, instead of making it to Zihuatanejo, Andy and Red just died instead? Right at the moment when they were almost free, no less. Well, that’s how I feel every time I watch \u003cem>Thelma & Louise\u003c/em>. I also think about this every time I watch \u003cem>True Romance\u003c/em> and see that even Clarence and Alabama Worley got to their beach in time. Why is it, I wonder, that Thelma and Louise are denied the happy ending granted to other pop culture outlaws?\u003c/p>\n\u003cp>Two movies released in the last six months offer some answers. The first is \u003cem>Things Heard and Seen\u003c/em>, a supernatural thriller set in 1980 and starring Amanda Seyfried. The second is \u003cem>Promising Young Woman\u003c/em>, one of the most talked about movies of the last year, starring Carey Mulligan. Like \u003cem>Thelma & Louise\u003c/em>, both of these films are driven by feminist themes. And like \u003cem>Thelma & Louise\u003c/em>, they both end with our heroines dying brutal, untimely deaths.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HCAaonjgDEA\u003c/p>\n\u003cp>In \u003cem>Things Heard and Seen\u003c/em>, Seyfried’s character, Catherine, abandons a rewarding career and relocates to upstate New York at the behest of her (cheating, gaslighting) husband, George. The two move into an old farmhouse where supernatural events occur nightly. Catherine soon comes to find that the house has borne witness to two separate incidents of femicide at the hands of violent husbands.\u003c/p>\n\u003cp>After seeing that Catherine is having a hard time advocating for herself, Catherine’s assertive new friend Justine invites her to a women’s group. George objects to this kind of female solidarity. Then, after Justine finds out that George is having an affair \u003cem>and\u003c/em> that he got his job through fraudulent means, he runs her car off the road, leaving her in a coma. When Catherine finally reaches her breaking point and readies herself to leave him, George drugs Catherine and kills her with an axe.\u003c/p>\n\u003cp>[aside postid='pop_112098']One of the most startling things about this conclusion is that the viewer is supposed to find some semblance of satisfaction in the aftermath of Catherine’s gory murder. We see her spirit join forces with the ghost of the last woman murdered in the house, to make sure that George doesn’t get away. They wake Justine from her coma so she can tell police what George did. Then they guide a sailboat carrying an escaping George into the eye of a storm, and to his certain death.\u003c/p>\n\u003cp>Writer/director \u003ca href=\"https://www.imdb.com/name/nm0075849/\" target=\"_blank\" rel=\"noopener noreferrer\">Shari Springer Berman\u003c/a> told \u003cem>Decider\u003c/em> that she viewed the movie’s message as empowering. “I was excited to make a film where we showed a woman trying to find her voice, and to get her voice with the help of some very unexpected allies.”\u003c/p>\n\u003cp>That’s all well and good, but in \u003cem>Things Heard and Seen\u003c/em>—just as in \u003cem>Thelma & Louise\u003c/em>—the punishment for a woman seeking liberation is death. The fact that the movie asks us to celebrate this outcome because it results in the punishment of a sociopath is fairly astonishing. Even more so because it’s also exactly what happens at the end of \u003cem>Promising Young Woman\u003c/em>.\u003c/p>\n\u003cp>For the first half of its narrative, \u003cem>Promising Young Woman\u003c/em>—also like \u003cem>Thelma & Louise\u003c/em>—offers wish fulfillment for women. When we meet her, Cassie is already wide awake to life’s misogynistic realities. She has been since her best friend Nina’s rape and subsequent suicide in college. Now, in a defiant expression of vengeance, Cassie goes to clubs alone, acts inebriated and waits for a “nice guy” to help her. Once these men try to take physical advantage of her (and they always do), Cassie snaps awake and teaches them a lesson.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7i5kiFDunk8\u003c/p>\n\u003cp>One of \u003cem>Promising Young Woman\u003c/em>’s great successes is in its portrayal of predators. These are not outwardly creepy, drooling boogie men. They are men who look and act, on the surface at least, like people you know. Driving the point home further is the fact that each of them is played by a beloved comic actor—\u003ca href=\"https://www.imdb.com/name/nm3931538/?ref_=tt_cl_t3\" target=\"_blank\" rel=\"noopener noreferrer\">Sam Richardson\u003c/a>, \u003ca href=\"https://www.imdb.com/name/nm0111013/?ref_=tt_cl_t1\" target=\"_blank\" rel=\"noopener noreferrer\">Adam Brody\u003c/a>, and \u003ca href=\"https://www.imdb.com/name/nm0339011/?ref_=ttfc_fc_cl_t23\" target=\"_blank\" rel=\"noopener noreferrer\">Max Greenfield\u003c/a> all appear. This, the movie quietly informs the men watching, is why women live in fear. It’s impossible to tell the difference between the nice guys and the would-be rapists until it’s too late.\u003c/p>\n\u003cp>It is when Cassie tries to exact revenge on Al, the man who raped Nina, that the narrative goes wildly awry. Al manages to get free from Cassie’s handcuffs and murders her; smothering her to death before callously burning her body. It’s a vicious and deeply disappointing end for a realistically flawed character who simply wanted to feel some semblance of justice in her lifetime. Similar to \u003cem>Things Heard and Seen\u003c/em>, the viewer is supposed to find subsequent relief from the fact that Cassie’s death sets off a chain of events that results in the arrest of Nina’s rapist—this time, for murder.\u003c/p>\n\u003cp>[aside postid='pop_103560']\u003ca href=\"https://variety.com/2020/film/news/promising-young-woman-carey-mulligan-emerald-fennell-1234848775/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Variety\u003c/em>\u003c/a> called \u003cem>Promising Young Woman\u003c/em> “the most audacious, feminist movie of the year.” And the \u003cem>New York Times\u003c/em> declared that problematic ending “the movie’s most authentic moment… \u003cem>Promising Young Woman\u003c/em> isn’t a revenge fantasy so much as a sad tale of warped grief and blazing fury.”\u003c/p>\n\u003cp>Last December, director \u003ca href=\"https://www.harpersbazaar.com/culture/film-tv/a35045490/promising-young-woman-ending-explained/\" target=\"_blank\" rel=\"noopener noreferrer\">Emerald Fennel told \u003cem>Harper’s Bazaar\u003c/em>\u003c/a>: “It was the only ending that felt real to me … That’s not to say it’s not incredibly devastating and grueling to watch. But I just couldn’t see it any other way. I wish I could! I wish I could have let myself, and everybody else, off the hook, because there is, of course, a hypothetical alternative ending to this movie that is incredibly satisfying.”\u003c/p>\n\u003cp>And Fennel made a conscious decision not to give it to us. Because when it comes to revenge movies, women aren’t ever truly allowed off the hook. Traditional rape-revenge movies—think \u003ca href=\"https://www.imdb.com/title/tt1242432/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>I Spit on Your Grave\u003c/em>\u003c/a>, and yes, even 2017’s much-lauded \u003ca href=\"https://www.kqed.org/pop/103560/revenge-is-marketed-as-a-metoo-movie-but-is-actually-part-of-the-problem\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Revenge\u003c/em>\u003c/a>—are either too exploitative or too triggering to provide many women in the audience a real escape. \u003ca href=\"https://www.imdb.com/title/tt0278435/?ref_=nv_sr_srsg_5\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Enough\u003c/em>\u003c/a> is too long of a slog for too quick of a payoff. And Olivia Wilde’s \u003ca href=\"https://www.imdb.com/title/tt6211976/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>A Vigilante\u003c/em>\u003c/a> provides some catharsis in the story arc, but is so relentlessly bleak throughout, it’s not something you’d ever stage a girls’ night around.\u003c/p>\n\u003cp>It has taken Hollywood three decades to give women another revenge spree movie we could have a little fun with. But just as \u003cem>Thelma & Louise\u003c/em> refused to allow our heroines to get away with it, even the candy-colored, sometimes comedic \u003cem>Promising Young Woman\u003c/em> denied us as well.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Women don’t need realistic endings to feminist revenge movies; we need endings that give us a respite from the frightening statistics about \u003ca href=\"https://ncadv.org/STATISTICS\" target=\"_blank\" rel=\"noopener noreferrer\">rape\u003c/a> and \u003ca href=\"https://now.org/resource/violence-against-women-in-the-united-states-statistic/\" target=\"_blank\" rel=\"noopener noreferrer\">intimate partner violence\u003c/a> and \u003ca href=\"https://www.rainn.org/statistics/criminal-justice-system\" target=\"_blank\" rel=\"noopener noreferrer\">injustice\u003c/a> that swirl in our brains on a loop. That we still haven’t been granted that relief, even three decades after \u003cem>Thelma & Louise\u003c/em> won the Oscar for best screenplay, isn’t just depressing, it’s an indication of how much further we still have to go.\u003c/p>\n\n",
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"excerpt": "The feminist classic turns 30 this month, but movies still haven't figured out how to liberate women without also punishing them.",
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"description": "The feminist classic turns 30 this month, but movies still haven't figured out how to liberate women without also punishing them.",
"title": "Thirty Years After ‘Thelma & Louise,’ Feminist Revenge Movie Endings Still Suck | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Spoiler alert: You’re about to hear, in detail, the endings of the movies \u003cem>Promising Young Woman\u003c/em> and \u003cem>Things Heard and Seen\u003c/em>. If you don’t want to, please leave now.\u003c/p>\n\u003cp>I’m about to talk about the ending of \u003cem>Thelma & Louise\u003c/em> too, but if you still haven’t seen that, this probably isn’t the essay for you. The movie turned 30 on May 24 and is, at this point, woven deep into the American consciousness. Who could ever forget the image of the brand-new outlaws driving that ’66 T-Bird into the Grand Canyon, hands locked together in united defiance? Women who would rather die a fiery death on their own terms than live under the thumbs of any more men. It’s an iconic ending to an unerringly feminist movie.\u003c/p>\n\u003cp>And I absolutely hate it.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/66CP-pq7Cx0'\n title='//www.youtube.com/embed/66CP-pq7Cx0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Allow me to give my ire some context. In \u003cem>Thelma & Louise\u003c/em>, the titular characters are on the run after Louise murders a man who is in the process of violently raping Thelma. (We find out later that Louise had, some years earlier, herself survived a deeply traumatizing sexual assault.) After Louise’s life savings are stolen by a hitchhiker who Thelma spends the night with, Thelma robs a convenience store in order to get gas money. The friends then blow up the truck of a man who is persistently sexually harassing them as they desperately try to reach Mexico.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>These outlaws aren’t just easy to root for, they offer wish fulfillment to every woman watching. Then, after a few days of living free for the first time in their entire lives, and discovering strength they never knew they had, they just… \u003cem>die\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Imagine, for a moment, how you’d feel if, at the end of \u003cem>The Shawshank Redemption\u003c/em>, instead of making it to Zihuatanejo, Andy and Red just died instead? Right at the moment when they were almost free, no less. Well, that’s how I feel every time I watch \u003cem>Thelma & Louise\u003c/em>. I also think about this every time I watch \u003cem>True Romance\u003c/em> and see that even Clarence and Alabama Worley got to their beach in time. Why is it, I wonder, that Thelma and Louise are denied the happy ending granted to other pop culture outlaws?\u003c/p>\n\u003cp>Two movies released in the last six months offer some answers. The first is \u003cem>Things Heard and Seen\u003c/em>, a supernatural thriller set in 1980 and starring Amanda Seyfried. The second is \u003cem>Promising Young Woman\u003c/em>, one of the most talked about movies of the last year, starring Carey Mulligan. Like \u003cem>Thelma & Louise\u003c/em>, both of these films are driven by feminist themes. And like \u003cem>Thelma & Louise\u003c/em>, they both end with our heroines dying brutal, untimely deaths.\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/HCAaonjgDEA'\n title='//www.youtube.com/embed/HCAaonjgDEA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In \u003cem>Things Heard and Seen\u003c/em>, Seyfried’s character, Catherine, abandons a rewarding career and relocates to upstate New York at the behest of her (cheating, gaslighting) husband, George. The two move into an old farmhouse where supernatural events occur nightly. Catherine soon comes to find that the house has borne witness to two separate incidents of femicide at the hands of violent husbands.\u003c/p>\n\u003cp>After seeing that Catherine is having a hard time advocating for herself, Catherine’s assertive new friend Justine invites her to a women’s group. George objects to this kind of female solidarity. Then, after Justine finds out that George is having an affair \u003cem>and\u003c/em> that he got his job through fraudulent means, he runs her car off the road, leaving her in a coma. When Catherine finally reaches her breaking point and readies herself to leave him, George drugs Catherine and kills her with an axe.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>One of the most startling things about this conclusion is that the viewer is supposed to find some semblance of satisfaction in the aftermath of Catherine’s gory murder. We see her spirit join forces with the ghost of the last woman murdered in the house, to make sure that George doesn’t get away. They wake Justine from her coma so she can tell police what George did. Then they guide a sailboat carrying an escaping George into the eye of a storm, and to his certain death.\u003c/p>\n\u003cp>Writer/director \u003ca href=\"https://www.imdb.com/name/nm0075849/\" target=\"_blank\" rel=\"noopener noreferrer\">Shari Springer Berman\u003c/a> told \u003cem>Decider\u003c/em> that she viewed the movie’s message as empowering. “I was excited to make a film where we showed a woman trying to find her voice, and to get her voice with the help of some very unexpected allies.”\u003c/p>\n\u003cp>That’s all well and good, but in \u003cem>Things Heard and Seen\u003c/em>—just as in \u003cem>Thelma & Louise\u003c/em>—the punishment for a woman seeking liberation is death. The fact that the movie asks us to celebrate this outcome because it results in the punishment of a sociopath is fairly astonishing. Even more so because it’s also exactly what happens at the end of \u003cem>Promising Young Woman\u003c/em>.\u003c/p>\n\u003cp>For the first half of its narrative, \u003cem>Promising Young Woman\u003c/em>—also like \u003cem>Thelma & Louise\u003c/em>—offers wish fulfillment for women. When we meet her, Cassie is already wide awake to life’s misogynistic realities. She has been since her best friend Nina’s rape and subsequent suicide in college. Now, in a defiant expression of vengeance, Cassie goes to clubs alone, acts inebriated and waits for a “nice guy” to help her. Once these men try to take physical advantage of her (and they always do), Cassie snaps awake and teaches them a lesson.\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/7i5kiFDunk8'\n title='//www.youtube.com/embed/7i5kiFDunk8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>One of \u003cem>Promising Young Woman\u003c/em>’s great successes is in its portrayal of predators. These are not outwardly creepy, drooling boogie men. They are men who look and act, on the surface at least, like people you know. Driving the point home further is the fact that each of them is played by a beloved comic actor—\u003ca href=\"https://www.imdb.com/name/nm3931538/?ref_=tt_cl_t3\" target=\"_blank\" rel=\"noopener noreferrer\">Sam Richardson\u003c/a>, \u003ca href=\"https://www.imdb.com/name/nm0111013/?ref_=tt_cl_t1\" target=\"_blank\" rel=\"noopener noreferrer\">Adam Brody\u003c/a>, and \u003ca href=\"https://www.imdb.com/name/nm0339011/?ref_=ttfc_fc_cl_t23\" target=\"_blank\" rel=\"noopener noreferrer\">Max Greenfield\u003c/a> all appear. This, the movie quietly informs the men watching, is why women live in fear. It’s impossible to tell the difference between the nice guys and the would-be rapists until it’s too late.\u003c/p>\n\u003cp>It is when Cassie tries to exact revenge on Al, the man who raped Nina, that the narrative goes wildly awry. Al manages to get free from Cassie’s handcuffs and murders her; smothering her to death before callously burning her body. It’s a vicious and deeply disappointing end for a realistically flawed character who simply wanted to feel some semblance of justice in her lifetime. Similar to \u003cem>Things Heard and Seen\u003c/em>, the viewer is supposed to find subsequent relief from the fact that Cassie’s death sets off a chain of events that results in the arrest of Nina’s rapist—this time, for murder.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ca href=\"https://variety.com/2020/film/news/promising-young-woman-carey-mulligan-emerald-fennell-1234848775/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Variety\u003c/em>\u003c/a> called \u003cem>Promising Young Woman\u003c/em> “the most audacious, feminist movie of the year.” And the \u003cem>New York Times\u003c/em> declared that problematic ending “the movie’s most authentic moment… \u003cem>Promising Young Woman\u003c/em> isn’t a revenge fantasy so much as a sad tale of warped grief and blazing fury.”\u003c/p>\n\u003cp>Last December, director \u003ca href=\"https://www.harpersbazaar.com/culture/film-tv/a35045490/promising-young-woman-ending-explained/\" target=\"_blank\" rel=\"noopener noreferrer\">Emerald Fennel told \u003cem>Harper’s Bazaar\u003c/em>\u003c/a>: “It was the only ending that felt real to me … That’s not to say it’s not incredibly devastating and grueling to watch. But I just couldn’t see it any other way. I wish I could! I wish I could have let myself, and everybody else, off the hook, because there is, of course, a hypothetical alternative ending to this movie that is incredibly satisfying.”\u003c/p>\n\u003cp>And Fennel made a conscious decision not to give it to us. Because when it comes to revenge movies, women aren’t ever truly allowed off the hook. Traditional rape-revenge movies—think \u003ca href=\"https://www.imdb.com/title/tt1242432/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>I Spit on Your Grave\u003c/em>\u003c/a>, and yes, even 2017’s much-lauded \u003ca href=\"https://www.kqed.org/pop/103560/revenge-is-marketed-as-a-metoo-movie-but-is-actually-part-of-the-problem\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Revenge\u003c/em>\u003c/a>—are either too exploitative or too triggering to provide many women in the audience a real escape. \u003ca href=\"https://www.imdb.com/title/tt0278435/?ref_=nv_sr_srsg_5\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Enough\u003c/em>\u003c/a> is too long of a slog for too quick of a payoff. And Olivia Wilde’s \u003ca href=\"https://www.imdb.com/title/tt6211976/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>A Vigilante\u003c/em>\u003c/a> provides some catharsis in the story arc, but is so relentlessly bleak throughout, it’s not something you’d ever stage a girls’ night around.\u003c/p>\n\u003cp>It has taken Hollywood three decades to give women another revenge spree movie we could have a little fun with. But just as \u003cem>Thelma & Louise\u003c/em> refused to allow our heroines to get away with it, even the candy-colored, sometimes comedic \u003cem>Promising Young Woman\u003c/em> denied us as well.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Women don’t need realistic endings to feminist revenge movies; we need endings that give us a respite from the frightening statistics about \u003ca href=\"https://ncadv.org/STATISTICS\" target=\"_blank\" rel=\"noopener noreferrer\">rape\u003c/a> and \u003ca href=\"https://now.org/resource/violence-against-women-in-the-united-states-statistic/\" target=\"_blank\" rel=\"noopener noreferrer\">intimate partner violence\u003c/a> and \u003ca href=\"https://www.rainn.org/statistics/criminal-justice-system\" target=\"_blank\" rel=\"noopener noreferrer\">injustice\u003c/a> that swirl in our brains on a loop. That we still haven’t been granted that relief, even three decades after \u003cem>Thelma & Louise\u003c/em> won the Oscar for best screenplay, isn’t just depressing, it’s an indication of how much further we still have to go.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! Berlin & Beyond Takes Aim at the Impediments Faced by Women",
"headTitle": "Now Playing! Berlin & Beyond Takes Aim at the Impediments Faced by Women | KQED",
"content": "\u003cp>Back in the mid-’90s, when Goethe-Institut San Francisco cultural director Ingrid Eggers launched the \u003ca href=\"https://berlinbeyond.com/25/\" rel=\"noopener noreferrer\" target=\"_blank\">Berlin & Beyond Film Festival\u003c/a>, the two cities shared global artistic reputations for thrilling innovation and fearless transgression. Cultural moments and movements pass, of course, and we can see in retrospect that Eggers’ splendid conception coincided with the ending of an era rather than its peak.\u003c/p>\n\u003cp>Although the fall of the Wall released pent-up energy from the East, Berlin was no longer the thrilling underground music, fashion and film hub it had been in the ’80s. San Francisco’s artist community, meanwhile, was devastated by AIDS and staggered by rising real estate prices about to be turbocharged by the dot-com boom.\u003c/p>\n\u003cp>Still, Berliners and San Franciscans shared a palpable affinity that encompassed the Beats and the hippies, Fassbinder and Wenders, Nico and Nina Hagen. The Haight and North Beach teemed with German tourists in those days, and in January the Castro buzzed with bundled-up, black-clad locals catching the new drama with heartthrob Moritz Bleibtreu or the latest provocation by Rosa von Praunheim.\u003c/p>\n\u003cfigure id=\"attachment_13897767\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Enfant_Terrible_1200.jpg\" alt=\"\" width=\"1200\" height=\"671\" class=\"size-full wp-image-13897767\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Enfant_Terrible_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Enfant_Terrible_1200-800x447.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Enfant_Terrible_1200-1020x570.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Enfant_Terrible_1200-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Enfant_Terrible_1200-768x429.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Oskar Roehler’s Fassbinder biopic ‘Enfant Terrible,’ 2020. \u003ccite>(Courtesy Berlin & Beyond)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The breadth of Berlin & Beyond, which launches its 25th edition May 25 with the cross-border drama \u003cem>Sisters Apart\u003c/em> at the Fort Mason Drive-In, isn’t surprising given that Germany’s film industry is one of the largest in Europe. But you won’t find past years’ fringy, edgy films in the festival, continuing online through May 30 with a May 29 sortie to the Vogue for Christian Petzold’s modern-day fable \u003cem>\u003ca href=\"https://berlinbeyond.com/25/movies/undine_/\" rel=\"noopener noreferrer\" target=\"_blank\">Undine\u003c/a>\u003c/em> and the centerpiece selection, Burhan Qurbani’s contemporary riff on Alfred Döblin’s 1929 novel \u003cem>\u003ca href=\"https://berlinbeyond.com/25/movies/alexanderplatz/\" rel=\"noopener noreferrer\" target=\"_blank\">Berlin Alexanderplatz\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>I suppose Oskar Roehler’s raw biopic \u003cem>\u003ca href=\"https://berlinbeyond.com/25/movies/enfant-terrible/\" rel=\"noopener noreferrer\" target=\"_blank\">Enfant Terrible\u003c/a>\u003c/em>, featuring Oliver Masucci’s award-winning performance as the omnivorous, exploitative and relentless theater and film savant Rainer Werner Fassbinder, will shock some cloistered viewers. Although there’s little to admire about Fassbinder’s leather-jacketed brand of abuse (including self-), his refusal to compromise is greatly missed these days.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Artful, tasteful critiques of society define this Berlin & Beyond lineup, which is hardly cause for caterwauling. Festival director Sophoan Sorn, now in his 11th year at the helm, has compiled a group of unfamiliar discoveries to go with films by, about or based on familiar names (like the three mentioned above).\u003c/p>\n\u003cfigure id=\"attachment_13897770\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/My_Wonderful_Wanda.jpg\" alt=\"\" width=\"1280\" height=\"720\" class=\"size-full wp-image-13897770\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/My_Wonderful_Wanda.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/My_Wonderful_Wanda-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/My_Wonderful_Wanda-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/My_Wonderful_Wanda-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/My_Wonderful_Wanda-768x432.jpg 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Still from Bettina Oberli’s ‘My Wonderful Wanda,’ 2020. \u003ccite>(Courtesy Berlin & Beyond)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The cannily constructed Swiss success \u003cem>\u003ca href=\"https://berlinbeyond.com/25/movies/wanda/\" rel=\"noopener noreferrer\" target=\"_blank\">My Wonderful Wanda\u003c/a>\u003c/em> (the Beyond part of the festival allows for the inclusion of German-language films from Austria and Switzerland, whose national cinemas are overshadowed by their neighbor), is a sly comedy of manners set in a picturesque lake house. Co-written and directed by Bettina Oberli, who enjoyed a modest hit back in 2006 with \u003cem>Late Bloomers\u003c/em>, the plot revolves around a Polish caregiver (Agnieszka Grochowska) who is by turns the employee, object, target and accomplice to the wealthy stroke-struck head of the household, his status-conscious wife (Marthe Keller) and their stunted adult children.\u003c/p>\n\u003cp>As you guessed, \u003cem>My Wonderful Wanda\u003c/em> is a parable of old-style Western entitlement and contemporary Eastern aspirations. But Oberli doesn’t pick on the easy targets—she keeps the family just this side of irredeemably abominable (though who names their dog Mephisto?)—so as to more fruitfully explore the ways in which what people want costs them what they have.\u003c/p>\n\u003cp>Another female filmmaker, Daphne Charizani, the Greek writer-director of the opening night film \u003cem>\u003ca href=\"https://berlinbeyond.com/25/movies/sisters/\" rel=\"noopener noreferrer\" target=\"_blank\">Sisters Apart\u003c/a>\u003c/em>, is likewise concerned with the expectations and impediments that women must deal with at home and in the outside world. Kurdish-born Rojda (Almila Bagriacik) grew up in Germany and is assimilated to the degree that she’s an officer in the army. Her mother arrives from Iraq with the news that Rojda’s sister Dilan stayed to battle ISIS, layering her concern for that daughter with her disappointment in \u003cem>this\u003c/em> one.\u003c/p>\n\u003cfigure id=\"attachment_13897769\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Yella_1200.jpg\" alt=\"\" width=\"1200\" height=\"646\" class=\"size-full wp-image-13897769\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Yella_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Yella_1200-800x431.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Yella_1200-1020x549.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Yella_1200-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Yella_1200-768x413.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Christian Petzold’s ‘Yella,’ 2007. \u003ccite>(Courtesy Berlin & Beyond)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The bulk of the movie unfolds in Iraq, where Rojda has arranged to be transferred as a translator helping train Kurdish women fighters, albeit with the secret agenda of finding Dilan. (As you guessed, she does.) \u003cem>Sisters Apart\u003c/em> is a linear and refreshingly concise story whose themes of identity, destiny and familial responsibility are invested with unusual intimacy.\u003c/p>\n\u003cp>Charizani’s movie marks another evolutionary step in the portrayal of refugees in German society, from despised outsiders to mainstream figures (at the same time that it’s made clear that plenty of people look at Rojda and see “foreigner”).\u003c/p>\n\u003cp>Rojda, and especially Wanda, are distant cousins to Yella, the titular heroine of Christian Petzold’s breakthrough 2007 feature starring longtime collaborator Nina Hoss as an abused wife whose seemingly successful escape from the East in post-reunification Germany is shadowed by the past. Revived by Berlin & Beyond as a tribute to Ingrid Eggers, \u003cem>Yella\u003c/em> exposes the schism in the psyche of a society in transition. Perhaps that’s the endemic condition that links San Francisco and Berlin.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Berlin & Beyond takes place May 25–30 with both in-person and online screenings. \u003ca href=\"https://berlinbeyond.com/25/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Back in the mid-’90s, when Goethe-Institut San Francisco cultural director Ingrid Eggers launched the \u003ca href=\"https://berlinbeyond.com/25/\" rel=\"noopener noreferrer\" target=\"_blank\">Berlin & Beyond Film Festival\u003c/a>, the two cities shared global artistic reputations for thrilling innovation and fearless transgression. Cultural moments and movements pass, of course, and we can see in retrospect that Eggers’ splendid conception coincided with the ending of an era rather than its peak.\u003c/p>\n\u003cp>Although the fall of the Wall released pent-up energy from the East, Berlin was no longer the thrilling underground music, fashion and film hub it had been in the ’80s. San Francisco’s artist community, meanwhile, was devastated by AIDS and staggered by rising real estate prices about to be turbocharged by the dot-com boom.\u003c/p>\n\u003cp>Still, Berliners and San Franciscans shared a palpable affinity that encompassed the Beats and the hippies, Fassbinder and Wenders, Nico and Nina Hagen. The Haight and North Beach teemed with German tourists in those days, and in January the Castro buzzed with bundled-up, black-clad locals catching the new drama with heartthrob Moritz Bleibtreu or the latest provocation by Rosa von Praunheim.\u003c/p>\n\u003cfigure id=\"attachment_13897767\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Enfant_Terrible_1200.jpg\" alt=\"\" width=\"1200\" height=\"671\" class=\"size-full wp-image-13897767\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Enfant_Terrible_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Enfant_Terrible_1200-800x447.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Enfant_Terrible_1200-1020x570.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Enfant_Terrible_1200-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Enfant_Terrible_1200-768x429.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Oskar Roehler’s Fassbinder biopic ‘Enfant Terrible,’ 2020. \u003ccite>(Courtesy Berlin & Beyond)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The breadth of Berlin & Beyond, which launches its 25th edition May 25 with the cross-border drama \u003cem>Sisters Apart\u003c/em> at the Fort Mason Drive-In, isn’t surprising given that Germany’s film industry is one of the largest in Europe. But you won’t find past years’ fringy, edgy films in the festival, continuing online through May 30 with a May 29 sortie to the Vogue for Christian Petzold’s modern-day fable \u003cem>\u003ca href=\"https://berlinbeyond.com/25/movies/undine_/\" rel=\"noopener noreferrer\" target=\"_blank\">Undine\u003c/a>\u003c/em> and the centerpiece selection, Burhan Qurbani’s contemporary riff on Alfred Döblin’s 1929 novel \u003cem>\u003ca href=\"https://berlinbeyond.com/25/movies/alexanderplatz/\" rel=\"noopener noreferrer\" target=\"_blank\">Berlin Alexanderplatz\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>I suppose Oskar Roehler’s raw biopic \u003cem>\u003ca href=\"https://berlinbeyond.com/25/movies/enfant-terrible/\" rel=\"noopener noreferrer\" target=\"_blank\">Enfant Terrible\u003c/a>\u003c/em>, featuring Oliver Masucci’s award-winning performance as the omnivorous, exploitative and relentless theater and film savant Rainer Werner Fassbinder, will shock some cloistered viewers. Although there’s little to admire about Fassbinder’s leather-jacketed brand of abuse (including self-), his refusal to compromise is greatly missed these days.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Artful, tasteful critiques of society define this Berlin & Beyond lineup, which is hardly cause for caterwauling. Festival director Sophoan Sorn, now in his 11th year at the helm, has compiled a group of unfamiliar discoveries to go with films by, about or based on familiar names (like the three mentioned above).\u003c/p>\n\u003cfigure id=\"attachment_13897770\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/My_Wonderful_Wanda.jpg\" alt=\"\" width=\"1280\" height=\"720\" class=\"size-full wp-image-13897770\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/My_Wonderful_Wanda.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/My_Wonderful_Wanda-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/My_Wonderful_Wanda-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/My_Wonderful_Wanda-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/My_Wonderful_Wanda-768x432.jpg 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Still from Bettina Oberli’s ‘My Wonderful Wanda,’ 2020. \u003ccite>(Courtesy Berlin & Beyond)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The cannily constructed Swiss success \u003cem>\u003ca href=\"https://berlinbeyond.com/25/movies/wanda/\" rel=\"noopener noreferrer\" target=\"_blank\">My Wonderful Wanda\u003c/a>\u003c/em> (the Beyond part of the festival allows for the inclusion of German-language films from Austria and Switzerland, whose national cinemas are overshadowed by their neighbor), is a sly comedy of manners set in a picturesque lake house. Co-written and directed by Bettina Oberli, who enjoyed a modest hit back in 2006 with \u003cem>Late Bloomers\u003c/em>, the plot revolves around a Polish caregiver (Agnieszka Grochowska) who is by turns the employee, object, target and accomplice to the wealthy stroke-struck head of the household, his status-conscious wife (Marthe Keller) and their stunted adult children.\u003c/p>\n\u003cp>As you guessed, \u003cem>My Wonderful Wanda\u003c/em> is a parable of old-style Western entitlement and contemporary Eastern aspirations. But Oberli doesn’t pick on the easy targets—she keeps the family just this side of irredeemably abominable (though who names their dog Mephisto?)—so as to more fruitfully explore the ways in which what people want costs them what they have.\u003c/p>\n\u003cp>Another female filmmaker, Daphne Charizani, the Greek writer-director of the opening night film \u003cem>\u003ca href=\"https://berlinbeyond.com/25/movies/sisters/\" rel=\"noopener noreferrer\" target=\"_blank\">Sisters Apart\u003c/a>\u003c/em>, is likewise concerned with the expectations and impediments that women must deal with at home and in the outside world. Kurdish-born Rojda (Almila Bagriacik) grew up in Germany and is assimilated to the degree that she’s an officer in the army. Her mother arrives from Iraq with the news that Rojda’s sister Dilan stayed to battle ISIS, layering her concern for that daughter with her disappointment in \u003cem>this\u003c/em> one.\u003c/p>\n\u003cfigure id=\"attachment_13897769\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Yella_1200.jpg\" alt=\"\" width=\"1200\" height=\"646\" class=\"size-full wp-image-13897769\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Yella_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Yella_1200-800x431.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Yella_1200-1020x549.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Yella_1200-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Yella_1200-768x413.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Christian Petzold’s ‘Yella,’ 2007. \u003ccite>(Courtesy Berlin & Beyond)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The bulk of the movie unfolds in Iraq, where Rojda has arranged to be transferred as a translator helping train Kurdish women fighters, albeit with the secret agenda of finding Dilan. (As you guessed, she does.) \u003cem>Sisters Apart\u003c/em> is a linear and refreshingly concise story whose themes of identity, destiny and familial responsibility are invested with unusual intimacy.\u003c/p>\n\u003cp>Charizani’s movie marks another evolutionary step in the portrayal of refugees in German society, from despised outsiders to mainstream figures (at the same time that it’s made clear that plenty of people look at Rojda and see “foreigner”).\u003c/p>\n\u003cp>Rojda, and especially Wanda, are distant cousins to Yella, the titular heroine of Christian Petzold’s breakthrough 2007 feature starring longtime collaborator Nina Hoss as an abused wife whose seemingly successful escape from the East in post-reunification Germany is shadowed by the past. Revived by Berlin & Beyond as a tribute to Ingrid Eggers, \u003cem>Yella\u003c/em> exposes the schism in the psyche of a society in transition. Perhaps that’s the endemic condition that links San Francisco and Berlin.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Berlin & Beyond takes place May 25–30 with both in-person and online screenings. \u003ca href=\"https://berlinbeyond.com/25/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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