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"content": "\u003cp>In the dark comedy \u003cem>Promising Young Woman,\u003c/em> Cassie (Carey Mulligan) works at a coffee shop by day and hunts sexual predators by night. She goes to bars, pretends to be falling down drunk—and then confronts the men who try to take advantage of her.\u003c/p>\n\u003cp>Cassie is avenging the death of her best friend, who, the movie implies, has died by suicide after being raped at medical school. Writer and director Emerald Fennell says the film was inspired, in part, by the messages other movies send about alcohol and consent. [aside postid='arts_13874000']\u003c/p>\n\u003cp>“When I was growing up—and I think still probably it’s the case now—in movies, getting women drunk to sleep with them, filling up their drink more than you’d fill your own, waiting at the end of the night to see who’s drunk at the club, girls waking up not knowing who’s in bed next to them—it was just comedy fodder,” Fennell says. “We live in a culture where this sort of stuff is normalized.”\u003c/p>\n\u003cp>Fennell got her start in television as an actor, then worked as the showrunner for the second season of\u003cem> Killing Eve. Promising Young Woman \u003c/em>is the first film she’s directed. The movie has been nominated for five Academy Awards, including best director and best original screenplay. 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Honestly, the volume, the sheer volume of these stories shows just how commonplace this stuff is. There’s nothing in this film that isn’t—and regrettably—incredibly normal and certainly was when I was growing up. And I think for anyone who thinks that these things weren’t horribly common, I think, probably never went to a party or a nightclub, or is kidding themselves.\u003c/p>\n\u003cp>\u003cstrong>On the character of Cassie\u003c/strong>\u003c/p>\n\u003cp>This is a film about a woman who is trying to find a way forward in a very grief-stricken and angry way. And part of her journey, part of her means of coping is to present herself as incredibly functioning. Like a lot of addicts, I think, she is somewhat addicted to these nighttime excursions, which make her feel kind of fleetingly better. During the day, she wears a lot of pink. Her hair is always immaculate. Her nails are perfect—kind of whimsical pastels. She’s weaponized her femininity, not just in a kind of aggressive way, but as a defense. Like, she knows that people won’t ask too many questions of her if she hides in plain sight like this.\u003c/p>\n\u003cp>\u003cstrong>On why she wanted Cassie’s act of revenge to be scaring men rather than committing acts of violence \u003c/strong>\u003c/p>\n\u003cp>I think part of the film for me was taking a genre that I really love, which is the revenge thriller, and seeing if I could … use that structure, which we’re all so familiar with, but do something unexpected with it—and most importantly, do something that felt feasible to me and female, because I think so often in these kinds of films, and particularly when it pertains to violence, it is not feasible that a woman commits acts of violence against men in the night. It’s not a fair thing to expect. And I think this film is very clear about what happens if you were to try. I really started it by thinking: If I was going to go on a journey like this, what could I do? And if I couldn’t shoot a gun and I’m too unfit to kind of wrestle someone, what could I do to effect some kind of change or to punish people or frighten them? I could do what she does, which is scare them.\u003c/p>\n\u003cp>\u003cstrong>On whether she sees a similarity between \u003c/strong>\u003cem>\u003cstrong>Killing Eve \u003c/strong>\u003c/em>\u003cstrong>and\u003c/strong>\u003cem>\u003cstrong> Promising Young Woman,\u003c/strong>\u003c/em>\u003cstrong> in terms of how they subvert expectations \u003c/strong>[aside postid='arts_13884214']\u003c/p>\n\u003cp>I think, certainly, this sense of wickedness is something that it shares. Anything that gives you that laugh/gasp, sort of “No! Oh god. Yes!” is just always going to be such a fun space to be in. Absolutely, they’re both twists on genres, but I would say they’re both kind of quite different genres, and I’m always kind of quite careful not to make comparisons, just because I think also we do tend to make comparisons between female-led projects much more, just generally all of us as a kind of society. I do think of them as quite markedly different, but certainly, I think, they do share some sort of sense of macabre wickedness and a subversion of the feminine.\u003c/p>\n\u003cp>\u003cstrong>On portraying Camilla Parker Bowles in the latest season of \u003c/strong>\u003cem>\u003cstrong>The Crown \u003c/strong>\u003c/em>\u003c/p>\n\u003cp>I definitely don’t think of her as a villain. I think that increasingly what we’re realizing—and certainly on the show—is that anything that touches the royal family, anything that is part of that is so profoundly strange. It’s not like any other world. It’s not like any other family. The circumstances are just completely extraordinary. So that’s kind of the thing that was always interesting to me about Camilla, was that she’s actually very, very private. The Camilla that I was playing, there’s almost no footage, no photographs of her. … She was head girl of her school. She was incredibly popular. Everyone who’s met her from the research says she’s incredibly funny and kind and good fun, and I was just so interested in what happens to that kind of person when they get sucked into this world and then their biography is written for them by other people. I’m certainly not saying that having affairs is a good thing, but a lot of people do it, and it takes more than one person to do it, too. I went at it, to be honest, very much as a fiction. It’s just an amazingly genius drama.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Lauren Krenzel and Thea Chaloner 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=Emerald+Fennell%27s+%27Promising+Young+Woman%27+Doesn%27t+Let+Anyone+Off+The+Hook&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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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/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>\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On the film’s depictions of sexual assault, especially as it relates to alcohol \u003c/strong>\u003c/p>\n\u003cp>In Britain at the moment, the most incredible thing is happening, which is that women and girls are writing about their experiences [with sexual assault] at schools. Honestly, the volume, the sheer volume of these stories shows just how commonplace this stuff is. There’s nothing in this film that isn’t—and regrettably—incredibly normal and certainly was when I was growing up. And I think for anyone who thinks that these things weren’t horribly common, I think, probably never went to a party or a nightclub, or is kidding themselves.\u003c/p>\n\u003cp>\u003cstrong>On the character of Cassie\u003c/strong>\u003c/p>\n\u003cp>This is a film about a woman who is trying to find a way forward in a very grief-stricken and angry way. And part of her journey, part of her means of coping is to present herself as incredibly functioning. Like a lot of addicts, I think, she is somewhat addicted to these nighttime excursions, which make her feel kind of fleetingly better. During the day, she wears a lot of pink. Her hair is always immaculate. Her nails are perfect—kind of whimsical pastels. She’s weaponized her femininity, not just in a kind of aggressive way, but as a defense. Like, she knows that people won’t ask too many questions of her if she hides in plain sight like this.\u003c/p>\n\u003cp>\u003cstrong>On why she wanted Cassie’s act of revenge to be scaring men rather than committing acts of violence \u003c/strong>\u003c/p>\n\u003cp>I think part of the film for me was taking a genre that I really love, which is the revenge thriller, and seeing if I could … use that structure, which we’re all so familiar with, but do something unexpected with it—and most importantly, do something that felt feasible to me and female, because I think so often in these kinds of films, and particularly when it pertains to violence, it is not feasible that a woman commits acts of violence against men in the night. It’s not a fair thing to expect. And I think this film is very clear about what happens if you were to try. I really started it by thinking: If I was going to go on a journey like this, what could I do? And if I couldn’t shoot a gun and I’m too unfit to kind of wrestle someone, what could I do to effect some kind of change or to punish people or frighten them? I could do what she does, which is scare them.\u003c/p>\n\u003cp>\u003cstrong>On whether she sees a similarity between \u003c/strong>\u003cem>\u003cstrong>Killing Eve \u003c/strong>\u003c/em>\u003cstrong>and\u003c/strong>\u003cem>\u003cstrong> Promising Young Woman,\u003c/strong>\u003c/em>\u003cstrong> in terms of how they subvert expectations \u003c/strong>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I think, certainly, this sense of wickedness is something that it shares. Anything that gives you that laugh/gasp, sort of “No! Oh god. Yes!” is just always going to be such a fun space to be in. Absolutely, they’re both twists on genres, but I would say they’re both kind of quite different genres, and I’m always kind of quite careful not to make comparisons, just because I think also we do tend to make comparisons between female-led projects much more, just generally all of us as a kind of society. I do think of them as quite markedly different, but certainly, I think, they do share some sort of sense of macabre wickedness and a subversion of the feminine.\u003c/p>\n\u003cp>\u003cstrong>On portraying Camilla Parker Bowles in the latest season of \u003c/strong>\u003cem>\u003cstrong>The Crown \u003c/strong>\u003c/em>\u003c/p>\n\u003cp>I definitely don’t think of her as a villain. I think that increasingly what we’re realizing—and certainly on the show—is that anything that touches the royal family, anything that is part of that is so profoundly strange. It’s not like any other world. It’s not like any other family. The circumstances are just completely extraordinary. So that’s kind of the thing that was always interesting to me about Camilla, was that she’s actually very, very private. The Camilla that I was playing, there’s almost no footage, no photographs of her. … She was head girl of her school. She was incredibly popular. Everyone who’s met her from the research says she’s incredibly funny and kind and good fun, and I was just so interested in what happens to that kind of person when they get sucked into this world and then their biography is written for them by other people. I’m certainly not saying that having affairs is a good thing, but a lot of people do it, and it takes more than one person to do it, too. I went at it, to be honest, very much as a fiction. It’s just an amazingly genius drama.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'I Feel Like I'm an Olympian': Youn Yuh-jung on Her Historic Oscar Nomination",
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"content": "\u003cp>Youn Yuh-jung is an institution in Korean cinema. Her career spans five decades and includes starring roles in classic Korean films and famous TV dramas. Now, at 73, she has newfound fame in the U.S. for her role in the Oscar-nominated film \u003cem>Minari\u003c/em>.\u003c/p>\n\u003cp>Youn is nominated for Best Supporting Actress, making her the first South Korean woman ever to be nominated for an Academy Award in an acting category.\u003c/p>\n\u003cp>“This has never happened in Korea, and I feel like I’m an Olympian competing for my country,” Youn tells NPR in a call from her home in Seoul. “It’s very stressful,” she says with a laugh. [aside postid='arts_13893138']\u003c/p>\n\u003cp>The film \u003cem>Minari\u003c/em> centers around a Korean-American family that moves to rural Arkansas to start a new life on a farm. Youn plays Soonja, the grandmother who travels from South Korea to watch over her two young grandchildren.\u003c/p>\n\u003cp>“That character Soonja—she’s not a typical grandmother,” Youn says. Soonja is loving and lighthearted, but mischievous, too. She swears, watches pro wrestling, drinks Mountain Dew and shows her grandkids how to gamble.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“She was a widow—a Korean War widow, a single mother and a working mother,” Youn says of her character. “She likes to have some fun because she’s been through a lot. She tries to comfort [her family].”\u003c/p>\n\u003cp>Soonja develops a special bond with her young grandson David, played by Alan Kim. But cultivating a relationship with him takes patience. In David’s mind, Soonja isn’t a “real” grandmother—she shares a room with him and never bakes him cookies. He accuses her of wearing men’s underwear. Soonja is unfazed. In one scene, she embraces him and looks into his eyes, saying, “Pretty boy, pretty boy.”\u003c/p>\n\u003cp>David interjects: “I’m not pretty, I’m good looking!” as he storms off into his bedroom. Soonja laughs, then turns back to the TV to watch the wrestling match.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KQ0gFidlro8\u003c/p>\n\u003cp>Youn says the character Soonja holds a deeper meaning in her own life. While filming, she often thought about childhood memories of her great-grandmother.\u003c/p>\n\u003cp>“It’s a heartbreaking story,” Youn says. “I was born in 1947, so I was maybe 3 when the Korean War started. And after the war, we didn’t have enough water, enough rice, nothing. My grandmother passed away during the wartime, and my great-grandmother happened to be alive until I was 9.”\u003c/p>\n\u003cp>Youn says her family had to ration supplies, and her great-grandmother would often re-use the family’s water. “To me, she was very dirty, or not hygienic. So, I didn’t like her at all. What a stupid thing [to think],” Youn says. “I didn’t like her because she’s not clean and she’d always say she’s not hungry. She would always skip lunch.” [aside postid='arts_13874634']\u003c/p>\n\u003cp>As a child, Youn didn’t understand that her great-grandmother was skipping meals so her family could have more food. “I didn’t know that,” Youn says. “She never said, ‘I love you,’ but I realized, after I become 60 years old, all of a sudden I thought about my great-grandmother. Then I realized, ‘Oh, she was saving all the food and all the water for us. Every night, I prayed for her because I felt terrible,” she says. “I ask her for forgiveness, I was very ignorant.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Youn says she still lives with that guilt, but says playing the role of Soonja offered a chance to come to terms with her painful memories. “I really understood this script, deeply. It connected me. The script was very authentic and very real to me, and a very genuine story to me. It was very touching. So, I said, ‘OK, I’ll do it—without any condition.’ ”\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=%27I+Feel+Like+I%27m+An+Olympian%27%3A+Youn+Yuh-jung+On+Her+Historic+Oscar+Nomination&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>As a child, Youn didn’t understand that her great-grandmother was skipping meals so her family could have more food. “I didn’t know that,” Youn says. “She never said, ‘I love you,’ but I realized, after I become 60 years old, all of a sudden I thought about my great-grandmother. Then I realized, ‘Oh, she was saving all the food and all the water for us. Every night, I prayed for her because I felt terrible,” she says. “I ask her for forgiveness, I was very ignorant.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Youn says she still lives with that guilt, but says playing the role of Soonja offered a chance to come to terms with her painful memories. “I really understood this script, deeply. It connected me. The script was very authentic and very real to me, and a very genuine story to me. It was very touching. So, I said, ‘OK, I’ll do it—without any condition.’ ”\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=%27I+Feel+Like+I%27m+An+Olympian%27%3A+Youn+Yuh-jung+On+Her+Historic+Oscar+Nomination&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! SFFILM Festival Returns With Crime, Futurism, Sexual Revolutions and More",
"headTitle": "Now Playing! SFFILM Festival Returns With Crime, Futurism, Sexual Revolutions and More | KQED",
"content": "\u003cp>\u003ca href=\"https://sffilm.org\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cstrong>SFFILM\u003c/strong>\u003c/a>\u003cbr>\n\u003cstrong>Apr. 9-18\u003c/strong>\u003cbr>\nOnline and Drive-in at Fort Mason Center\u003c/p>\n\u003cp>One tune could serve as the unofficial anthem of this year’s SFFILM Festival: “\u003ca href=\"https://www.youtube.com/watch?v=kgYFHoWrcBM\" rel=\"noopener noreferrer\" target=\"_blank\">Happy Survival\u003c/a>,” the bluesy pop song that Nigerian twin brothers Arie and Chuko Esiri picked to play over the end credits of their engrossing 2019 feature debut, \u003cem>Eyimofe\u003c/em> (\u003cem>This Is My Desire\u003c/em>). A ’70s hit for Ifeanyi Eddie Okwedy & His Maymores Dance Band, it provides a perfect coda, rueful yet upbeat, to the Esiris’ naturalistic, slice-of-lives saga of persistence and compromise—and speaks now, as the arts \u003ca href=\"https://www.kqed.org/arts/13894499/reopened-bay-area-movies-museums-music-sports-open\" rel=\"noopener noreferrer\" target=\"_blank\">slowly reopen\u003c/a>, for all of us on the verge of making it through the pandemic.\u003c/p>\n\u003cp>[aside postID='arts_13894499']In the turbulent wake of the cancellation of the 2020 SFFILM festival and arrivals of new Executive Director Anne Lai and Director of Programming Jessie Fairbanks, the festival returns in what is, necessarily, a transition year. The smaller-than-usual program of just 45 feature films (including 20 documentaries), buttressed with a slew of shorts, is available through the pandemic-era combo of a streaming platform and several physical screenings at the Fort Mason Drive-In.\u003c/p>\n\u003cp>Consequently, it’s best to view the 2021 SFFILM Festival as a welcome spring fling rather than the annual d-e-e-e-e-p dive into global cinema. The cream of Cannes, Venice, Toronto and other festivals has already trickled out to virtual cinemas or is being held by distributors until theaters fully reopen. The inclusion of 15 world premieres and 15 North American debuts (along with five U.S. premieres) suggests, however, that SFFILM found plenty of films primed to begin their post-pandemic lives.\u003c/p>\n\u003cp>One of those world premieres is the Opening Night selection, \u003cem>Naked Singularity\u003c/em> (pictured above), a crime thriller starring John Boyega as a public defender with a noir hero’s opportunistic streak. Chase Palmer adapted Sergio De La Pava’s ambitious novel for his feature directorial debut.\u003c/p>\n\u003cfigure id=\"attachment_13895495\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Homeroom_Still1_Courtesy-of-SFFILM-800x450.jpg\" alt=\"A scene from Pete Nicks' 'Homeroom.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13895495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Homeroom_Still1_Courtesy-of-SFFILM-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Homeroom_Still1_Courtesy-of-SFFILM-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Homeroom_Still1_Courtesy-of-SFFILM-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Homeroom_Still1_Courtesy-of-SFFILM-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Homeroom_Still1_Courtesy-of-SFFILM-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Homeroom_Still1_Courtesy-of-SFFILM.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Pete Nicks’ ‘Homeroom.’ \u003ccite>(Courtesy SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As always, plenty of titles that debuted at Sundance make their way to the Bay. Oakland filmmaker Peter Nicks presents his engaging study of Oakland High School student activists, \u003cem>Homeroom\u003c/em>, and receives the George Gund III Craft of Cinema Award. \u003cem>Rita Moreno: Just a Girl Who Decided to Go For It\u003c/em> (screening ahead of its June theatrical release and subsequent American Masters broadcast) recasts the EGOT winner as a determined victor over racism and misogyny, with its social-justice message leavened by its subject’s irrepressible spirit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Another well-known Bay Area figure thriving into his golden years, albeit far from the showbiz heat lamp, is the pragmatic seeker Stewart Brand. David Alvarado and Jason Susskind’s fascinating and provocative portrait, \u003cem>We Are as Gods\u003c/em>, portrays the man behind \u003cem>The Whole Earth Catalog\u003c/em> as the bridge between ’60s independent thinking and Internet-age possibilities.\u003c/p>\n\u003cfigure id=\"attachment_13895496\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/We-Are-As-Gods_Still1-Courtesy-of-SFFILM-800x450.jpg\" alt=\"Stewart Brand (foreground, left) is the subject of 'We Are As Gods.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13895496\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/We-Are-As-Gods_Still1-Courtesy-of-SFFILM-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/We-Are-As-Gods_Still1-Courtesy-of-SFFILM-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/We-Are-As-Gods_Still1-Courtesy-of-SFFILM-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/We-Are-As-Gods_Still1-Courtesy-of-SFFILM-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/We-Are-As-Gods_Still1-Courtesy-of-SFFILM-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/We-Are-As-Gods_Still1-Courtesy-of-SFFILM.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stewart Brand (foreground, left) is the subject of ‘We Are As Gods.’ \u003ccite>(Courtesy SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For a younger man’s take on futurism, SFFILM gives us Dash Shaw’s color-drenched animated feature \u003cem>Cryptozoo\u003c/em>, a violent sex- and profanity-laced eco-fable about erstwhile savior conservationists and evil military contractors crisscrossing the country in a battle over rare cryptids (i.e., unicorn, winged horse, centaur). Acid isn’t necessary for this Garden-of-Eden-gone-wrong film trip, but a chilled glass of chartreuse with a mandarin orange segment might make a good pairing. And you’ll have a drink in hand to toast Shaw, this year’s Persistence of Vision Award recipient, as he joins recent honorees Isaac Julien, Barbara Kopple, Lynn Hershman Leeson, Nathaniel Dorsky and Kim Longinotto.\u003c/p>\n\u003cp>Another way the festival has tapped in to Generations Y and Z in recent years is by celebrating up-and-coming actors and actresses. Vanessa Kirby, the Academy Award-nominated star of Netflix’s \u003cem>Pieces of a Woman\u003c/em>, will receive the Impact Award. While the fest’s batting average at picking future household names hasn’t been great, Kirby is certainly well-positioned for stardom. \u003c/p>\n\u003cfigure id=\"attachment_13895494\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Seyran-Ates_Still3_Courtesy-of-SFFILM-800x450.jpg\" alt=\"A still from 'Seyran Ates: Sex, Revolution & Islam,' playing at SFFILM.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13895494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Seyran-Ates_Still3_Courtesy-of-SFFILM-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Seyran-Ates_Still3_Courtesy-of-SFFILM-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Seyran-Ates_Still3_Courtesy-of-SFFILM-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Seyran-Ates_Still3_Courtesy-of-SFFILM-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Seyran-Ates_Still3_Courtesy-of-SFFILM-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Seyran-Ates_Still3_Courtesy-of-SFFILM.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Seyran Ates: Sex, Revolution & Islam,’ playing at SFFILM. \u003ccite>(Courtesy SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Turkish-born, German-based lawyer and imam Seyran Ates doesn’t mind the spotlight, even if she must be protected by bodyguards or police wherever she goes. (Especially at the gender-neutral LGBTQ mosque she founded in Berlin.) The author of \u003cem>Islam Needs a Sexual Revolution\u003c/em> lives with a fatwa, and a stream of online abuse, on account of her advocacy for gender equality.\u003c/p>\n\u003cp>Norwegian director Nefise Özkal Lorentzen’s sisterly profile, \u003cem>Seyran Ates: Sex, Revolution & Islam\u003c/em>, gives the impression that its dedicated subject is well-known in Europe. Her profile is about to get a boost in the U.S. thanks to SFFILM’s North American premiere and the cascade of LGBTQ festival screenings to follow. Nonetheless, the soft-spoken Ates isn’t what you’d call a galvanizing personality—that is, a riveting film subject. \u003c/p>\n\u003cp>Ates is empathetic and effective in small groups and one-on-one, speaking with lesbian Muslims in China or to worshipers at her mosque. A woman of faith and tenacity, Ates is a scholar, a counselor, a rock. But she isn’t a firebrand, so set your expectations accordingly.\u003c/p>\n\u003cfigure id=\"attachment_13895493\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/This-Is-My-Desire_Still3-Courtesy-of-SFFILM-800x450.jpg\" alt=\"A still from 'This is My Desire,' playing at SFFILM.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13895493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/This-Is-My-Desire_Still3-Courtesy-of-SFFILM-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/This-Is-My-Desire_Still3-Courtesy-of-SFFILM-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/This-Is-My-Desire_Still3-Courtesy-of-SFFILM-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/This-Is-My-Desire_Still3-Courtesy-of-SFFILM-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/This-Is-My-Desire_Still3-Courtesy-of-SFFILM-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/This-Is-My-Desire_Still3-Courtesy-of-SFFILM.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘This is My Desire,’ playing at SFFILM. \u003ccite>(Courtesy SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The protagonists of \u003cem>This Is My Desire\u003c/em> are also everyday people, indistinguishable from the thousands thronging the streets, alleys and open-air markets of Lagos. A highlight of the festival, the film first follows Mofe (Jude Akuwudike), a mechanic at a printing factory who plans to emigrate to Spain until a family tragedy derails his dream. Further setbacks follow, but the Esiri brothers (who did their film studies in New York) aren’t interested in gritty nihilism and urban degradation but in Mofe’s resilience.\u003c/p>\n\u003cp>That’s not to say that the filmmakers aren’t attuned to the transactional nature of life. Everyone has a hand out or something to barter. While Mofe uses his ability to repair anything to rebound and rebuild, Rosa (Temi Ami-Williams) has less autonomy. A hairdresser and a bartender with sparkle and smarts, Rosa has her sights set on Italy but a pregnant teenage sister to look after. Like Mofe, she has no margin for error, for unexpected expenses, for fate.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Refreshingly, the characters in \u003cem>This is My Desire\u003c/em> don’t evince an iota of self-pity. They don’t complain. They don’t have the luxury of melodrama. There’s no time to lose. They weigh their options, calculate the costs of compromise, make a decision and go. Happy survival, indeed.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://sffilm.org\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cstrong>SFFILM\u003c/strong>\u003c/a>\u003cbr>\n\u003cstrong>Apr. 9-18\u003c/strong>\u003cbr>\nOnline and Drive-in at Fort Mason Center\u003c/p>\n\u003cp>One tune could serve as the unofficial anthem of this year’s SFFILM Festival: “\u003ca href=\"https://www.youtube.com/watch?v=kgYFHoWrcBM\" rel=\"noopener noreferrer\" target=\"_blank\">Happy Survival\u003c/a>,” the bluesy pop song that Nigerian twin brothers Arie and Chuko Esiri picked to play over the end credits of their engrossing 2019 feature debut, \u003cem>Eyimofe\u003c/em> (\u003cem>This Is My Desire\u003c/em>). A ’70s hit for Ifeanyi Eddie Okwedy & His Maymores Dance Band, it provides a perfect coda, rueful yet upbeat, to the Esiris’ naturalistic, slice-of-lives saga of persistence and compromise—and speaks now, as the arts \u003ca href=\"https://www.kqed.org/arts/13894499/reopened-bay-area-movies-museums-music-sports-open\" rel=\"noopener noreferrer\" target=\"_blank\">slowly reopen\u003c/a>, for all of us on the verge of making it through the pandemic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In the turbulent wake of the cancellation of the 2020 SFFILM festival and arrivals of new Executive Director Anne Lai and Director of Programming Jessie Fairbanks, the festival returns in what is, necessarily, a transition year. The smaller-than-usual program of just 45 feature films (including 20 documentaries), buttressed with a slew of shorts, is available through the pandemic-era combo of a streaming platform and several physical screenings at the Fort Mason Drive-In.\u003c/p>\n\u003cp>Consequently, it’s best to view the 2021 SFFILM Festival as a welcome spring fling rather than the annual d-e-e-e-e-p dive into global cinema. The cream of Cannes, Venice, Toronto and other festivals has already trickled out to virtual cinemas or is being held by distributors until theaters fully reopen. The inclusion of 15 world premieres and 15 North American debuts (along with five U.S. premieres) suggests, however, that SFFILM found plenty of films primed to begin their post-pandemic lives.\u003c/p>\n\u003cp>One of those world premieres is the Opening Night selection, \u003cem>Naked Singularity\u003c/em> (pictured above), a crime thriller starring John Boyega as a public defender with a noir hero’s opportunistic streak. Chase Palmer adapted Sergio De La Pava’s ambitious novel for his feature directorial debut.\u003c/p>\n\u003cfigure id=\"attachment_13895495\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Homeroom_Still1_Courtesy-of-SFFILM-800x450.jpg\" alt=\"A scene from Pete Nicks' 'Homeroom.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13895495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Homeroom_Still1_Courtesy-of-SFFILM-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Homeroom_Still1_Courtesy-of-SFFILM-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Homeroom_Still1_Courtesy-of-SFFILM-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Homeroom_Still1_Courtesy-of-SFFILM-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Homeroom_Still1_Courtesy-of-SFFILM-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Homeroom_Still1_Courtesy-of-SFFILM.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Pete Nicks’ ‘Homeroom.’ \u003ccite>(Courtesy SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As always, plenty of titles that debuted at Sundance make their way to the Bay. Oakland filmmaker Peter Nicks presents his engaging study of Oakland High School student activists, \u003cem>Homeroom\u003c/em>, and receives the George Gund III Craft of Cinema Award. \u003cem>Rita Moreno: Just a Girl Who Decided to Go For It\u003c/em> (screening ahead of its June theatrical release and subsequent American Masters broadcast) recasts the EGOT winner as a determined victor over racism and misogyny, with its social-justice message leavened by its subject’s irrepressible spirit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Another well-known Bay Area figure thriving into his golden years, albeit far from the showbiz heat lamp, is the pragmatic seeker Stewart Brand. David Alvarado and Jason Susskind’s fascinating and provocative portrait, \u003cem>We Are as Gods\u003c/em>, portrays the man behind \u003cem>The Whole Earth Catalog\u003c/em> as the bridge between ’60s independent thinking and Internet-age possibilities.\u003c/p>\n\u003cfigure id=\"attachment_13895496\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/We-Are-As-Gods_Still1-Courtesy-of-SFFILM-800x450.jpg\" alt=\"Stewart Brand (foreground, left) is the subject of 'We Are As Gods.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13895496\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/We-Are-As-Gods_Still1-Courtesy-of-SFFILM-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/We-Are-As-Gods_Still1-Courtesy-of-SFFILM-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/We-Are-As-Gods_Still1-Courtesy-of-SFFILM-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/We-Are-As-Gods_Still1-Courtesy-of-SFFILM-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/We-Are-As-Gods_Still1-Courtesy-of-SFFILM-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/We-Are-As-Gods_Still1-Courtesy-of-SFFILM.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stewart Brand (foreground, left) is the subject of ‘We Are As Gods.’ \u003ccite>(Courtesy SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For a younger man’s take on futurism, SFFILM gives us Dash Shaw’s color-drenched animated feature \u003cem>Cryptozoo\u003c/em>, a violent sex- and profanity-laced eco-fable about erstwhile savior conservationists and evil military contractors crisscrossing the country in a battle over rare cryptids (i.e., unicorn, winged horse, centaur). Acid isn’t necessary for this Garden-of-Eden-gone-wrong film trip, but a chilled glass of chartreuse with a mandarin orange segment might make a good pairing. And you’ll have a drink in hand to toast Shaw, this year’s Persistence of Vision Award recipient, as he joins recent honorees Isaac Julien, Barbara Kopple, Lynn Hershman Leeson, Nathaniel Dorsky and Kim Longinotto.\u003c/p>\n\u003cp>Another way the festival has tapped in to Generations Y and Z in recent years is by celebrating up-and-coming actors and actresses. Vanessa Kirby, the Academy Award-nominated star of Netflix’s \u003cem>Pieces of a Woman\u003c/em>, will receive the Impact Award. While the fest’s batting average at picking future household names hasn’t been great, Kirby is certainly well-positioned for stardom. \u003c/p>\n\u003cfigure id=\"attachment_13895494\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Seyran-Ates_Still3_Courtesy-of-SFFILM-800x450.jpg\" alt=\"A still from 'Seyran Ates: Sex, Revolution & Islam,' playing at SFFILM.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13895494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Seyran-Ates_Still3_Courtesy-of-SFFILM-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Seyran-Ates_Still3_Courtesy-of-SFFILM-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Seyran-Ates_Still3_Courtesy-of-SFFILM-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Seyran-Ates_Still3_Courtesy-of-SFFILM-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Seyran-Ates_Still3_Courtesy-of-SFFILM-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Seyran-Ates_Still3_Courtesy-of-SFFILM.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Seyran Ates: Sex, Revolution & Islam,’ playing at SFFILM. \u003ccite>(Courtesy SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Turkish-born, German-based lawyer and imam Seyran Ates doesn’t mind the spotlight, even if she must be protected by bodyguards or police wherever she goes. (Especially at the gender-neutral LGBTQ mosque she founded in Berlin.) The author of \u003cem>Islam Needs a Sexual Revolution\u003c/em> lives with a fatwa, and a stream of online abuse, on account of her advocacy for gender equality.\u003c/p>\n\u003cp>Norwegian director Nefise Özkal Lorentzen’s sisterly profile, \u003cem>Seyran Ates: Sex, Revolution & Islam\u003c/em>, gives the impression that its dedicated subject is well-known in Europe. Her profile is about to get a boost in the U.S. thanks to SFFILM’s North American premiere and the cascade of LGBTQ festival screenings to follow. Nonetheless, the soft-spoken Ates isn’t what you’d call a galvanizing personality—that is, a riveting film subject. \u003c/p>\n\u003cp>Ates is empathetic and effective in small groups and one-on-one, speaking with lesbian Muslims in China or to worshipers at her mosque. A woman of faith and tenacity, Ates is a scholar, a counselor, a rock. But she isn’t a firebrand, so set your expectations accordingly.\u003c/p>\n\u003cfigure id=\"attachment_13895493\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/This-Is-My-Desire_Still3-Courtesy-of-SFFILM-800x450.jpg\" alt=\"A still from 'This is My Desire,' playing at SFFILM.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13895493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/This-Is-My-Desire_Still3-Courtesy-of-SFFILM-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/This-Is-My-Desire_Still3-Courtesy-of-SFFILM-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/This-Is-My-Desire_Still3-Courtesy-of-SFFILM-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/This-Is-My-Desire_Still3-Courtesy-of-SFFILM-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/This-Is-My-Desire_Still3-Courtesy-of-SFFILM-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/This-Is-My-Desire_Still3-Courtesy-of-SFFILM.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘This is My Desire,’ playing at SFFILM. \u003ccite>(Courtesy SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The protagonists of \u003cem>This Is My Desire\u003c/em> are also everyday people, indistinguishable from the thousands thronging the streets, alleys and open-air markets of Lagos. A highlight of the festival, the film first follows Mofe (Jude Akuwudike), a mechanic at a printing factory who plans to emigrate to Spain until a family tragedy derails his dream. Further setbacks follow, but the Esiri brothers (who did their film studies in New York) aren’t interested in gritty nihilism and urban degradation but in Mofe’s resilience.\u003c/p>\n\u003cp>That’s not to say that the filmmakers aren’t attuned to the transactional nature of life. Everyone has a hand out or something to barter. While Mofe uses his ability to repair anything to rebound and rebuild, Rosa (Temi Ami-Williams) has less autonomy. A hairdresser and a bartender with sparkle and smarts, Rosa has her sights set on Italy but a pregnant teenage sister to look after. Like Mofe, she has no margin for error, for unexpected expenses, for fate.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Refreshingly, the characters in \u003cem>This is My Desire\u003c/em> don’t evince an iota of self-pity. They don’t complain. They don’t have the luxury of melodrama. There’s no time to lose. They weigh their options, calculate the costs of compromise, make a decision and go. Happy survival, indeed.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The film \u003cem>Judas and the Black Messiah\u003c/em> has already made history at the Oscars. It’s the first Best Picture nominee with an all-Black producing team, which includes two Kings and a Coogler: Ryan Coogler, Shaka King and Charles D. King, who brings a new vision for Hollywood.\u003c/p>\n\u003cp>King has always had an eye for spotting talent, and he knows diverse audiences are thirsty for their stories to be told in Hollywood. It’s why he created his own multiplatform company, called MACRO, “to focus on telling stories from and about people of color, ” he says. “There were just not enough of these types of movies.” [aside postid='arts_13892640']\u003c/p>\n\u003cp>King remembers the phone call he got from his good friend Ryan Coogler, whose superhero movie \u003cem>Black\u003c/em> \u003cem>Panther \u003c/em>was a hit. He says Coogler was ready to produce a film about a real life Black Panther leader. “He said, hey, there’s this incredible script written by Shaka King about Fred Hampton,” King recalls. “And I’d like to see if you and MACRO would be interested in collaborating on it.”\u003c/p>\n\u003cp>“We were just blown away by the story,” he says, a story examining the work and life of Black Panther leader Fred Hampton, and the FBI informant who infiltrated the Chicago chapter of the Black Panther Party.\u003c/p>\n\u003cp>As a producer, King helped develop the script for \u003cem>Judas and the Black Messiah\u003c/em>; he was on the set and he was intensely involved with the film’s release and marketing. Writer/director Shaka King says Charles King’s support was crucial.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“He committed 50 per cent of the budget before we even went out to a studio, which is incredibly rare, which also gave us just a certain level of autonomy,” says Shaka King. ” If he had put in less money, the studio would have had more control … I think one of the reasons [Charles] wanted to put up 50 per cent was because he wanted to make sure that I got to make the movie that I wanted to make, which was very generous of him.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6ivHf4ODMi4\u003c/p>\n\u003cp>King knows that representation matters. He was born in Harlem in 1969 and grew up in an Atlanta suburb, where his father was a pediatrician and his mother wrote novels and poetry. While studying political science at Vanderbilt, a friend suggested he become an entertainment lawyer.\u003c/p>\n\u003cp>“Growing up in Decatur, Georgia in a middle class family, I just didn’t know what an entertainment lawyer did,” he says. “But I watched this television show with my mother called \u003cem>L.A. Law\u003c/em>, and I remember there was this one Black character on the show played by Blair Underwood. He’s this charismatic African American attorney at the firm and he stood up for himself and he was just the man.”\u003c/p>\n\u003cp>King was inspired to study at Howard University School of Law. After graduating in 1997, he packed up a U-Haul truck and moved to Los Angeles with a few hundred dollars to his name. His ten-year plan to lead his own entertainment and media company began in the mailroom of the famed William Morris agency.\u003c/p>\n\u003cp>“I looked at the agency world as as the perfect launching ground to get my feet wet, to build relationships, to understand the industry,” King says. [aside postid='arts_13892167']\u003c/p>\n\u003cp>Even as a trainee in the mailroom, King brought in new clients, like hip-hop star Missy Elliot. He got to know the company’s CEO; he networked at conferences and wrote reports on cultural trends such as hip-hop, and on the viewing patterns and revenue potential of Black, Latino and Asian audiences. King moved up quickly.\u003c/p>\n\u003cp>“When I got promoted, it was the first time in, I believe, 101 years, [for an] African American to go from the mailroom to film and television agent, at least in the Beverly Hills office,” says King. “I was very good at being an agent, and I broke tremendous ground. I became the first Black partner in the history of Hollywood when William Morris and Endeavor merged.”\u003c/p>\n\u003cp>As an agent, King grew an impressive roster. Among his clients: Oprah, Janet Jackson, Lin-Manuel Miranda, and Tyler Perry, who he signed before anyone else in Hollywood knew who he was. King introduced Perry to studio executives and got them to see Perry’s plays. King also helped set up a deal at Lionsgate for Perry’s first film, \u003cem>Diary of a Mad Black Woman\u003c/em>.\u003c/p>\n\u003cp>“Everyone was like, oh, my God, I can’t believe this five million dollar movie made fifty million at box office and sold millions and millions and millions of DVDs,” he says. “And that was just the launch of this incredible franchise and business.”\u003c/p>\n\u003cp>King also helped Perry set up a new business model for syndicating TV projects, starting with \u003cem>Tyler Perry’s House of Payne\u003c/em>. With Perry’s lawyer, King structured what was called the “10-90” distribution deal, designed to maximize profitability: an arrangement where a network test runs ten episodes of a new television series. If it does well, the network then orders 90 more episodes and guarantees the entire 100-episode package will be sold for syndication.\u003c/p>\n\u003cp>“My nickname was 2005,” King recalls. That was the year, his fifth as an agent, he not only struck gold with Tyler Perry, but he also brought in filmmaker Craig Brewer, whose film \u003cem>Hustle and Flow\u003c/em> was a big seller at the Sundance Film Festival. King began repping the film’s star, Terrence Howard, who earned an Oscar nomination. And he began representing Prince.\u003c/p>\n\u003cp>King says as an African American man, he had to make ten times as many phone calls as his colleagues representing white movie stars and filmmakers. And he did a lot of educating about the value of diversity. [aside postid='arts_13819809']\u003c/p>\n\u003cp>“The leaders at the top of William Morris and, frankly, the senior chairman level of a lot of the studios that I would interface with, they would usually get it,” King says. “A lot of times, you find it’s the people in the middle that are less visionary. And so, yeah, of course, there were moments where I would be discussing things or bringing up concepts and meetings and literally got laughed at. And then a few years later, I was running the meetings because I was generating ten times more revenue than they were.”\u003c/p>\n\u003cp>In 2015, after nearly 20 years at William Morris, King took a leap of faith. He left the agency to create MACRO with his wife Stacey and a few partners. They launched a month before the #OscarsSoWhite movement began, and hit it out of the ballpark with the first film they produced, \u003cem>Fences\u003c/em>. The film’s star Denzel Washington earned an Oscar nomination, and co-star Viola Davis won Best Supporting Actress.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jj-ZYPVRQbc\u003c/p>\n\u003cp>Then Mary J. Blige was nominated for another MACRO film, \u003cem>Mudbound\u003c/em>. Since then, MACRO has produced other films, including \u003cem>Just Mercy\u003c/em>, \u003cem>Sorry to Bother You\u003c/em> and the series \u003cem>Gentefied\u003c/em> and \u003cem>Raising Dion\u003c/em>. Earlier this year, King’s company inked a first-look deal with Warner Brothers to develop and package features.\u003c/p>\n\u003cp>King says up to 70 per cent of his team leaders are women, and everyone at his company is encouraged to present ideas. He says MACRO’s mission is to present a new paradigm in the media landscape, to disrupt the way things have always been done.\u003c/p>\n\u003cp>“This is not just about building an entertainment and media brand that will be around for generations,” he says. “This is also about lifting culture. It’s about creating opportunity. It’s about making our world better.”\u003c/p>\n\u003cp>King says his empire in Hollywood has only just begun.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Nina Gregory and adapted for the Web by Mandalit del Barco and Petra Mayer.\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=%27This+Is+About+Lifting+Culture%2C%27+Says+History-Making+Producer+Charles+D.+King&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The film \u003cem>Judas and the Black Messiah\u003c/em> has already made history at the Oscars. It’s the first Best Picture nominee with an all-Black producing team, which includes two Kings and a Coogler: Ryan Coogler, Shaka King and Charles D. King, who brings a new vision for Hollywood.\u003c/p>\n\u003cp>King has always had an eye for spotting talent, and he knows diverse audiences are thirsty for their stories to be told in Hollywood. It’s why he created his own multiplatform company, called MACRO, “to focus on telling stories from and about people of color, ” he says. “There were just not enough of these types of movies.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>King remembers the phone call he got from his good friend Ryan Coogler, whose superhero movie \u003cem>Black\u003c/em> \u003cem>Panther \u003c/em>was a hit. He says Coogler was ready to produce a film about a real life Black Panther leader. “He said, hey, there’s this incredible script written by Shaka King about Fred Hampton,” King recalls. “And I’d like to see if you and MACRO would be interested in collaborating on it.”\u003c/p>\n\u003cp>“We were just blown away by the story,” he says, a story examining the work and life of Black Panther leader Fred Hampton, and the FBI informant who infiltrated the Chicago chapter of the Black Panther Party.\u003c/p>\n\u003cp>As a producer, King helped develop the script for \u003cem>Judas and the Black Messiah\u003c/em>; he was on the set and he was intensely involved with the film’s release and marketing. Writer/director Shaka King says Charles King’s support was crucial.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“He committed 50 per cent of the budget before we even went out to a studio, which is incredibly rare, which also gave us just a certain level of autonomy,” says Shaka King. ” If he had put in less money, the studio would have had more control … I think one of the reasons [Charles] wanted to put up 50 per cent was because he wanted to make sure that I got to make the movie that I wanted to make, which was very generous of him.”\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/6ivHf4ODMi4'\n title='//www.youtube.com/embed/6ivHf4ODMi4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>King knows that representation matters. He was born in Harlem in 1969 and grew up in an Atlanta suburb, where his father was a pediatrician and his mother wrote novels and poetry. While studying political science at Vanderbilt, a friend suggested he become an entertainment lawyer.\u003c/p>\n\u003cp>“Growing up in Decatur, Georgia in a middle class family, I just didn’t know what an entertainment lawyer did,” he says. “But I watched this television show with my mother called \u003cem>L.A. Law\u003c/em>, and I remember there was this one Black character on the show played by Blair Underwood. He’s this charismatic African American attorney at the firm and he stood up for himself and he was just the man.”\u003c/p>\n\u003cp>King was inspired to study at Howard University School of Law. After graduating in 1997, he packed up a U-Haul truck and moved to Los Angeles with a few hundred dollars to his name. His ten-year plan to lead his own entertainment and media company began in the mailroom of the famed William Morris agency.\u003c/p>\n\u003cp>“I looked at the agency world as as the perfect launching ground to get my feet wet, to build relationships, to understand the industry,” King says. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Even as a trainee in the mailroom, King brought in new clients, like hip-hop star Missy Elliot. He got to know the company’s CEO; he networked at conferences and wrote reports on cultural trends such as hip-hop, and on the viewing patterns and revenue potential of Black, Latino and Asian audiences. King moved up quickly.\u003c/p>\n\u003cp>“When I got promoted, it was the first time in, I believe, 101 years, [for an] African American to go from the mailroom to film and television agent, at least in the Beverly Hills office,” says King. “I was very good at being an agent, and I broke tremendous ground. I became the first Black partner in the history of Hollywood when William Morris and Endeavor merged.”\u003c/p>\n\u003cp>As an agent, King grew an impressive roster. Among his clients: Oprah, Janet Jackson, Lin-Manuel Miranda, and Tyler Perry, who he signed before anyone else in Hollywood knew who he was. King introduced Perry to studio executives and got them to see Perry’s plays. King also helped set up a deal at Lionsgate for Perry’s first film, \u003cem>Diary of a Mad Black Woman\u003c/em>.\u003c/p>\n\u003cp>“Everyone was like, oh, my God, I can’t believe this five million dollar movie made fifty million at box office and sold millions and millions and millions of DVDs,” he says. “And that was just the launch of this incredible franchise and business.”\u003c/p>\n\u003cp>King also helped Perry set up a new business model for syndicating TV projects, starting with \u003cem>Tyler Perry’s House of Payne\u003c/em>. With Perry’s lawyer, King structured what was called the “10-90” distribution deal, designed to maximize profitability: an arrangement where a network test runs ten episodes of a new television series. If it does well, the network then orders 90 more episodes and guarantees the entire 100-episode package will be sold for syndication.\u003c/p>\n\u003cp>“My nickname was 2005,” King recalls. That was the year, his fifth as an agent, he not only struck gold with Tyler Perry, but he also brought in filmmaker Craig Brewer, whose film \u003cem>Hustle and Flow\u003c/em> was a big seller at the Sundance Film Festival. King began repping the film’s star, Terrence Howard, who earned an Oscar nomination. And he began representing Prince.\u003c/p>\n\u003cp>King says as an African American man, he had to make ten times as many phone calls as his colleagues representing white movie stars and filmmakers. And he did a lot of educating about the value of diversity. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The leaders at the top of William Morris and, frankly, the senior chairman level of a lot of the studios that I would interface with, they would usually get it,” King says. “A lot of times, you find it’s the people in the middle that are less visionary. And so, yeah, of course, there were moments where I would be discussing things or bringing up concepts and meetings and literally got laughed at. And then a few years later, I was running the meetings because I was generating ten times more revenue than they were.”\u003c/p>\n\u003cp>In 2015, after nearly 20 years at William Morris, King took a leap of faith. He left the agency to create MACRO with his wife Stacey and a few partners. They launched a month before the #OscarsSoWhite movement began, and hit it out of the ballpark with the first film they produced, \u003cem>Fences\u003c/em>. The film’s star Denzel Washington earned an Oscar nomination, and co-star Viola Davis won Best Supporting Actress.\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/jj-ZYPVRQbc'\n title='//www.youtube.com/embed/jj-ZYPVRQbc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Then Mary J. Blige was nominated for another MACRO film, \u003cem>Mudbound\u003c/em>. Since then, MACRO has produced other films, including \u003cem>Just Mercy\u003c/em>, \u003cem>Sorry to Bother You\u003c/em> and the series \u003cem>Gentefied\u003c/em> and \u003cem>Raising Dion\u003c/em>. Earlier this year, King’s company inked a first-look deal with Warner Brothers to develop and package features.\u003c/p>\n\u003cp>King says up to 70 per cent of his team leaders are women, and everyone at his company is encouraged to present ideas. He says MACRO’s mission is to present a new paradigm in the media landscape, to disrupt the way things have always been done.\u003c/p>\n\u003cp>“This is not just about building an entertainment and media brand that will be around for generations,” he says. “This is also about lifting culture. It’s about creating opportunity. It’s about making our world better.”\u003c/p>\n\u003cp>King says his empire in Hollywood has only just begun.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Nina Gregory and adapted for the Web by Mandalit del Barco and Petra Mayer.\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=%27This+Is+About+Lifting+Culture%2C%27+Says+History-Making+Producer+Charles+D.+King&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The SFFILM Festival, canceled last year as COVID-19 exploded on the scene, returns \u003ca href=\"https://sffilm.org/\" rel=\"noopener noreferrer\" target=\"_blank\">April 9\u003c/a> as a virtual and drive-in event. Tickets are on sale now, and I’ll write about the lineup next week, so stay tuned. My picks for your pre-festival viewing unfold at the intersection of community and family, and before the fork in the road to the future.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Concrete Cowboy\u003c/strong>\u003c/em>\u003cbr>\nPremieres April 2\u003cbr>\n\u003ca href=\"https://www.netflix.com/title/81368729\" rel=\"noopener noreferrer\" target=\"_blank\">Netflix\u003c/a>\u003c/p>\n\u003cp>The setting is what stands out initially about Ricky Staub’s winning debut feature, just as with the 2011 source novel for adolescents that he adapted, G. Neri’s \u003cem>Ghetto Cowboy\u003c/em>: Black-operated stables in North Philadelphia. A vestige of an earlier era of pre-electric horsemen, the stables represent an endangered outpost of Black autonomy and community perpetually threatened by condo developers and the city’s indifference.\u003c/p>\n\u003cp>Our introduction to this curious scene is as disorienting as Cole’s (Caleb McLaughlin of \u003cem>Stranger Things\u003c/em>), a high school malcontent whose frustrated mother drops him in the middle of the night on his estranged father’s doorstep a few blocks from the horse hostel. He may as well have landed in Wakanda, hence the allure of childhood friend and erstwhile criminal Smush (Jharrel Jerome, in the film’s most compelling performance). But Cole is a blank canvas, not a problem child, and he reluctantly comes to grasp the stature and sacrifices of his father (Idris Elba).\u003c/p>\n\u003cp>\u003cem>Concrete Cowboy\u003c/em> unfolds pretty much as you’d expect, but it’s unusually deft at dealing with coming-of-age potholes like parent-child tensions and first love as well as the clichés of gentrification and drug dealers. The themes of acceptance, personal responsibility, pride and loyalty will resonate with adult viewers and, combined with the unique environment of the stables, make the film worthwhile viewing for the whole family.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Refreshingly, the film is as attuned to the characters around the stables as it is to Cole, which is to say that it centers the community as well as the individual. At the same time, \u003cem>Concrete Cowboy\u003c/em> shares the concern of practically every movie about the contemporary Black experience: How does a man (or a woman) with restricted opportunities and few resources achieve a satisfying, safe place in our society?\u003c/p>\n\u003cfigure id=\"attachment_13895001\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Jia_Swimming-Out-Till-the-Sea-Turns-Blue_002_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13895001\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Jia_Swimming-Out-Till-the-Sea-Turns-Blue_002_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Jia_Swimming-Out-Till-the-Sea-Turns-Blue_002_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Jia_Swimming-Out-Till-the-Sea-Turns-Blue_002_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Jia_Swimming-Out-Till-the-Sea-Turns-Blue_002_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Jia_Swimming-Out-Till-the-Sea-Turns-Blue_002_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Jia Zhang-ke’s ‘Swimming Out Till the Sea Turns Blue.’ \u003ccite>(BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Swimming Out Till the Sea Turns Blue\u003c/strong>\u003c/em>\u003cbr>\nOpens April 2\u003cbr>\n\u003ca href=\"https://bampfa.org/event/swimming-out-till-sea-turns-blue\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a> \u003c/p>\n\u003cp>Nonfiction directors documenting China’s rush to capitalism and loss of its soul fall into three camps: unknown filmmakers who risk everything by criticizing their society; outspoken dissidents with an international audience (Ai Weiwei); and successful mid-career artists who produce subtle, veiled critiques. Jia Zhang-ke stands out among the last group.\u003c/p>\n\u003cp>Jia’s reputation spread with his shift this decade to narrative features (\u003cem>Ash Is Purest White\u003c/em>, \u003cem>Mountains May Depart\u003c/em>, \u003cem>A Touch of Sin\u003c/em>), so his return to nonfiction with \u003cem>Swimming Out Till the Sea Turns Blue\u003c/em> is of note. Pitched between the past and the future, and the village and the city, this is a straightforward oral history with few stylistic flourishes that takes a while to find its groove. But once it does, the film quietly reverberates with the echoes of stories told and untold.\u003c/p>\n\u003cp>The storytellers—authors Jia Pingwa, Yu Hua, and Liang Hong—in recounting their unlikely paths to writing, describe their upbringings and family dynamics. They are from different generations, importantly, and Jia employs them as legs in a relay that spans 1949 to today. In so doing, he evokes a broader picture of a society thrown to and fro by disorienting transitions.\u003c/p>\n\u003cp>The writers aren’t prone to nostalgia—no one misses the bad old days of arranged marriages, food coupons, politicized blackballing, erratic medicine and scarce university slots—yet the oldest of the three invokes a time of communal enterprise and problem-solving. Jia contrasts their recollections with shots of people on their phones and headphones, inviting us to consider what’s gained and lost in modern-day individualism and isolation.\u003c/p>\n\u003cp>Near the end of \u003cem>Swimming Out Till the Sea Turns Blue\u003c/em>, the 14-year-old son of Liang Hong muses, “[My mother] says the river used to be much closer to the village. Over many years, the river has changed its course. ‘Thirty years on the east, 30 years on the west.’ I find that saying especially touching.” The lad is too young to grasp the full ramification of what he’s saying, but Jia recognizes a metaphor for China’s post-1949 cultural and economic development when he hears it, and knows his audience will also.\u003c/p>\n\u003cfigure id=\"attachment_13895004\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/1_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13895004\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/1_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/1_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/1_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/1_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Michelle Pfeiffer and Lucas Hedges in Azazel Jacobs’ ‘French Exit.’ \u003ccite>(Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>French Exit\u003c/strong>\u003c/em>\u003cbr>\nOpens April 2\u003cbr>\nEmbarcadero Center Cinema, Shattuck (Berkeley), Regency (San Rafael), CinéArts at Palo Alto Square, AMC Saratoga (San Jose)\u003c/p>\n\u003cp>For the first many, many minutes of Azazel Jacobs’ adaptation of Patrick deWitt’s acclaimed 2018 comic novel, I felt like I’d fallen through a vortex into a long-ago world where the existential struggles of rich, talentless white people were assumed to be of universal interest and paramount importance. Was I actually expected to sympathize with the tussles of a cash-strapped Upper East Side matron (played by Michelle Pfeiffer, the screen epitome of white privilege in the ’80s and ’90s) and her vapid, amoral son (professional moper Lucas Hedges) to preserve their parasitic way of life?\u003c/p>\n\u003cp>This would be a good time to publish the results of my years of empirical research: Comedies play far better in a crowded theater than on my couch with an audience of two. (Individual laughs coalesce into a wave, which carries the viewer.) So do satires, but for a different reason: You don’t feel like a shmuck rooting for a character’s comeuppance when everyone else is, too.\u003c/p>\n\u003cp>For those unfamiliar with the book, unhappy Frances and Malcolm Price run off by boat to France with their cat (who is hosting the spirit of their late husband and father, voiced by Tracy Letts). In lieu of romance and relaxation, Paris serves up a buffet of humiliation that propels Frances—who is nobody’s fool, it must be emphasized—to arrive at a drastic conclusion that involves another exit.\u003c/p>\n\u003cp>Before that late development, I am pleased to report, \u003cem>French Exit\u003c/em> won me over. The Prices are revealed to have more self-awareness and, believe it or not, compassion, than the average serpent \u003cem>sur l’herbe\u003c/em>. Whether Frances and Malcolm are ultimately redeemed from their chronic selfishness is open to discussion, but the question’s very existence enables the film to plausibly shift from an arch comedy of fake manners to a human drama with a large heart and a dash of pathos.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Will the current limited occupancy of movie houses create a large enough wave to ride through the first two acts? We all await the results of your empirical research.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The SFFILM Festival, canceled last year as COVID-19 exploded on the scene, returns \u003ca href=\"https://sffilm.org/\" rel=\"noopener noreferrer\" target=\"_blank\">April 9\u003c/a> as a virtual and drive-in event. Tickets are on sale now, and I’ll write about the lineup next week, so stay tuned. My picks for your pre-festival viewing unfold at the intersection of community and family, and before the fork in the road to the future.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Concrete Cowboy\u003c/strong>\u003c/em>\u003cbr>\nPremieres April 2\u003cbr>\n\u003ca href=\"https://www.netflix.com/title/81368729\" rel=\"noopener noreferrer\" target=\"_blank\">Netflix\u003c/a>\u003c/p>\n\u003cp>The setting is what stands out initially about Ricky Staub’s winning debut feature, just as with the 2011 source novel for adolescents that he adapted, G. Neri’s \u003cem>Ghetto Cowboy\u003c/em>: Black-operated stables in North Philadelphia. A vestige of an earlier era of pre-electric horsemen, the stables represent an endangered outpost of Black autonomy and community perpetually threatened by condo developers and the city’s indifference.\u003c/p>\n\u003cp>Our introduction to this curious scene is as disorienting as Cole’s (Caleb McLaughlin of \u003cem>Stranger Things\u003c/em>), a high school malcontent whose frustrated mother drops him in the middle of the night on his estranged father’s doorstep a few blocks from the horse hostel. He may as well have landed in Wakanda, hence the allure of childhood friend and erstwhile criminal Smush (Jharrel Jerome, in the film’s most compelling performance). But Cole is a blank canvas, not a problem child, and he reluctantly comes to grasp the stature and sacrifices of his father (Idris Elba).\u003c/p>\n\u003cp>\u003cem>Concrete Cowboy\u003c/em> unfolds pretty much as you’d expect, but it’s unusually deft at dealing with coming-of-age potholes like parent-child tensions and first love as well as the clichés of gentrification and drug dealers. The themes of acceptance, personal responsibility, pride and loyalty will resonate with adult viewers and, combined with the unique environment of the stables, make the film worthwhile viewing for the whole family.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Refreshingly, the film is as attuned to the characters around the stables as it is to Cole, which is to say that it centers the community as well as the individual. At the same time, \u003cem>Concrete Cowboy\u003c/em> shares the concern of practically every movie about the contemporary Black experience: How does a man (or a woman) with restricted opportunities and few resources achieve a satisfying, safe place in our society?\u003c/p>\n\u003cfigure id=\"attachment_13895001\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Jia_Swimming-Out-Till-the-Sea-Turns-Blue_002_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13895001\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Jia_Swimming-Out-Till-the-Sea-Turns-Blue_002_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Jia_Swimming-Out-Till-the-Sea-Turns-Blue_002_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Jia_Swimming-Out-Till-the-Sea-Turns-Blue_002_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Jia_Swimming-Out-Till-the-Sea-Turns-Blue_002_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Jia_Swimming-Out-Till-the-Sea-Turns-Blue_002_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Jia Zhang-ke’s ‘Swimming Out Till the Sea Turns Blue.’ \u003ccite>(BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Swimming Out Till the Sea Turns Blue\u003c/strong>\u003c/em>\u003cbr>\nOpens April 2\u003cbr>\n\u003ca href=\"https://bampfa.org/event/swimming-out-till-sea-turns-blue\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a> \u003c/p>\n\u003cp>Nonfiction directors documenting China’s rush to capitalism and loss of its soul fall into three camps: unknown filmmakers who risk everything by criticizing their society; outspoken dissidents with an international audience (Ai Weiwei); and successful mid-career artists who produce subtle, veiled critiques. Jia Zhang-ke stands out among the last group.\u003c/p>\n\u003cp>Jia’s reputation spread with his shift this decade to narrative features (\u003cem>Ash Is Purest White\u003c/em>, \u003cem>Mountains May Depart\u003c/em>, \u003cem>A Touch of Sin\u003c/em>), so his return to nonfiction with \u003cem>Swimming Out Till the Sea Turns Blue\u003c/em> is of note. Pitched between the past and the future, and the village and the city, this is a straightforward oral history with few stylistic flourishes that takes a while to find its groove. But once it does, the film quietly reverberates with the echoes of stories told and untold.\u003c/p>\n\u003cp>The storytellers—authors Jia Pingwa, Yu Hua, and Liang Hong—in recounting their unlikely paths to writing, describe their upbringings and family dynamics. They are from different generations, importantly, and Jia employs them as legs in a relay that spans 1949 to today. In so doing, he evokes a broader picture of a society thrown to and fro by disorienting transitions.\u003c/p>\n\u003cp>The writers aren’t prone to nostalgia—no one misses the bad old days of arranged marriages, food coupons, politicized blackballing, erratic medicine and scarce university slots—yet the oldest of the three invokes a time of communal enterprise and problem-solving. Jia contrasts their recollections with shots of people on their phones and headphones, inviting us to consider what’s gained and lost in modern-day individualism and isolation.\u003c/p>\n\u003cp>Near the end of \u003cem>Swimming Out Till the Sea Turns Blue\u003c/em>, the 14-year-old son of Liang Hong muses, “[My mother] says the river used to be much closer to the village. Over many years, the river has changed its course. ‘Thirty years on the east, 30 years on the west.’ I find that saying especially touching.” The lad is too young to grasp the full ramification of what he’s saying, but Jia recognizes a metaphor for China’s post-1949 cultural and economic development when he hears it, and knows his audience will also.\u003c/p>\n\u003cfigure id=\"attachment_13895004\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/1_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13895004\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/1_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/1_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/1_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/1_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Michelle Pfeiffer and Lucas Hedges in Azazel Jacobs’ ‘French Exit.’ \u003ccite>(Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>French Exit\u003c/strong>\u003c/em>\u003cbr>\nOpens April 2\u003cbr>\nEmbarcadero Center Cinema, Shattuck (Berkeley), Regency (San Rafael), CinéArts at Palo Alto Square, AMC Saratoga (San Jose)\u003c/p>\n\u003cp>For the first many, many minutes of Azazel Jacobs’ adaptation of Patrick deWitt’s acclaimed 2018 comic novel, I felt like I’d fallen through a vortex into a long-ago world where the existential struggles of rich, talentless white people were assumed to be of universal interest and paramount importance. Was I actually expected to sympathize with the tussles of a cash-strapped Upper East Side matron (played by Michelle Pfeiffer, the screen epitome of white privilege in the ’80s and ’90s) and her vapid, amoral son (professional moper Lucas Hedges) to preserve their parasitic way of life?\u003c/p>\n\u003cp>This would be a good time to publish the results of my years of empirical research: Comedies play far better in a crowded theater than on my couch with an audience of two. (Individual laughs coalesce into a wave, which carries the viewer.) So do satires, but for a different reason: You don’t feel like a shmuck rooting for a character’s comeuppance when everyone else is, too.\u003c/p>\n\u003cp>For those unfamiliar with the book, unhappy Frances and Malcolm Price run off by boat to France with their cat (who is hosting the spirit of their late husband and father, voiced by Tracy Letts). In lieu of romance and relaxation, Paris serves up a buffet of humiliation that propels Frances—who is nobody’s fool, it must be emphasized—to arrive at a drastic conclusion that involves another exit.\u003c/p>\n\u003cp>Before that late development, I am pleased to report, \u003cem>French Exit\u003c/em> won me over. The Prices are revealed to have more self-awareness and, believe it or not, compassion, than the average serpent \u003cem>sur l’herbe\u003c/em>. Whether Frances and Malcolm are ultimately redeemed from their chronic selfishness is open to discussion, but the question’s very existence enables the film to plausibly shift from an arch comedy of fake manners to a human drama with a large heart and a dash of pathos.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In our transient society, one sometimes forgets that home is a formative and permanent component of identity. This week’s films take us to the Mexican border, sacred Native American lands, the Middle East and the forests of Piedmont, Italy. \u003c/p>\n\u003cp>\u003cem>\u003cstrong>Cousins and Kin\u003c/strong>\u003c/em>\u003cbr>\nThrough July 15\u003cbr>\n\u003ca href=\"https://www.sfcinematheque.org\" rel=\"noopener noreferrer\" target=\"_blank\">SF Cinematheque online\u003c/a>\u003c/p>\n\u003cp>The latest expansive collection of experimental films streaming for free on the SF Cinematheque website is the curatorial handiwork of four indigenous filmmakers who banded together a couple years ago as the Cousin Collective to boost homegrown film artists. The deeply individualistic shorts, divided into four programs on view for a month apiece, deal largely with place, which is to say the filmmaker’s inherited, claimed and frequently denied place in the modern world.\u003c/p>\n\u003cp>Raven Chacon and Cristóbal Martínez’s satirical narrative \u003ci>A Song Often Played on the Radio\u003c/i> (2019) leads off the first show, Cycle 0 (streaming through April 15). A middle-aged bilingual horseman rides alone through the open country in Coronado’s footsteps, ostensibly looking for treasure (using a beach-combing metal detector) and dispensing aphorisms: “When you are hungry there is no bad food, even burritos created by gringos.” It’s a witty, pointed and enigmatic ramble through the present-day vestiges of cruel, dusty history.\u003c/p>\n\u003cp>Fox Maxy’s \u003ci>San Diego\u003c/i> (2020) offers a more fragmented travelogue comprised of glimpses and scraps of daily life that the filmmaker calls “a reaction to colonialism and quarantine.” Social media postings of a Native American child’s dance and Dolly Parton singing an Easter song collide with on-the-fly ocean vistas and phone-filmed clips of friends. Best seen as a half-hour scrapbook, the film vibrates with a SoCal vibe of alienation, frustration and youthful intensity.\u003c/p>\n\u003cfigure id=\"attachment_13895046\" class=\"wp-caption aligncenter\" style=\"max-width: 1210px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Heiny-Srour-_The-Hour-of-Liberation-Has-Arrived_2_o.jpeg\" alt=\"\" width=\"1210\" height=\"941\" class=\"size-full wp-image-13895046\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Heiny-Srour-_The-Hour-of-Liberation-Has-Arrived_2_o.jpeg 1210w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Heiny-Srour-_The-Hour-of-Liberation-Has-Arrived_2_o-800x622.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Heiny-Srour-_The-Hour-of-Liberation-Has-Arrived_2_o-1020x793.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Heiny-Srour-_The-Hour-of-Liberation-Has-Arrived_2_o-160x124.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Heiny-Srour-_The-Hour-of-Liberation-Has-Arrived_2_o-768x597.jpeg 768w\" sizes=\"(max-width: 1210px) 100vw, 1210px\">\u003cfigcaption class=\"wp-caption-text\">Still from Heiny Srour’s ‘The Hour of Liberation Has Arrived,’ 1975. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://arabfilm.eventive.org/arabwomen\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cb>6 Days | 6 Nights: Revolutionary Arab Women in the Arts\u003c/b>\u003c/a>\u003cbr>\nMarch 25–30\u003cbr>\nOnline\u003c/p>\n\u003cp>As its title promises, the Arab Film & Media Institute’s spotlight on female filmmakers and artists blows away stereotypes and received wisdom about the (lack of) autonomy and influence of women in the Middle East. For most Americans, a dip into any of the programs on any day will deliver a bracing blow to anachronistic misperceptions.\u003c/p>\n\u003cp>Lebanese filmmaker Heiny Srour’s \u003cem>The Hour of Liberation Has Arrived\u003c/em> (\u003cem>Saat El Tahrir Dakkat\u003c/em>) (1974) opens the series with a chunk of forgotten yet timely history. Srour traversed 500 miles of desert to document the Popular Front for the Liberation of the Occupied Arabian Gulf’s successful late-’60s revolt against the British-supported Sultanate of Oman and the ensuing social progress. (Fortunately, oil no longer dictates Western “diplomacy.” Wait, what?)\u003c/p>\n\u003cp>Tunisian director Leyla Bouzid’s multi-award-winning narrative debut \u003cem>As I Open My Eyes\u003c/em> (2015) follows a young woman’s struggle to bridge the gulf between her family’s old-school expectations and her passionate singing with a politically conscious rock band. The real-life Saudi writer Hissa Hilal, profiled in \u003cem>The Poetess\u003c/em>, demonstrates even more bravery by calling out an extremist religious leader on live television.\u003c/p>\n\u003cp>Egyptian director Hala Elkoussy is represented by three half-hour films, released between 2006 and 2010, that take us around and outside Cairo, where reverberations of the past infuse the present. Elkoussy’s work reminds us that listening is as important as looking, and often more important than speaking. \u003c/p>\n\u003cfigure id=\"attachment_13894816\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/1.jpeg\" alt=\"\" width=\"853\" height=\"480\" class=\"size-full wp-image-13894816\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/1.jpeg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/1-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/1-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/1-768x432.jpeg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Truffle Hunters.’ \u003ccite>(Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>The Truffle Hunters\u003c/strong>\u003c/em>\u003cbr>\nOpens March 26\u003cbr>\nEmbarcadero Center Cinema, Smith Rafael Film Center, AMC Saratoga 14\u003c/p>\n\u003cp>U.S. filmmakers Michael Dweck and Gregory Kershaw spent quite some time insinuating themselves into the good graces of three elderly Italian men who are presented to us as legends of a sort. The locals’ particular talent, honed across decades and aided and abetted by their enthusiastic dogs, is finding the much-coveted white Alba truffle in unmarked woods.\u003c/p>\n\u003cp>The result of Dweck and Kershaw’s not-inconsiderable dedication is a lovely little movie, but set your expectations accordingly: \u003cem>The Truffle Hunters\u003c/em> is not a film for foodies. You’ll have to patiently wait an hour and seven minutes for the lone scene of someone enjoying a truffle, which has been sliced over his egg and cheese dish. Even if the theater is equipped with Smell-o-Vision, the documentary isn’t crafted to whet your appetite.\u003c/p>\n\u003cp>Nor, for that matter, does it persuade us that we are deep inside the informal network of hunters, “sales reps,” middlemen, auctioneers and restaurateurs. We get the contours of the scene, and that may be enough to satisfy your curiosity (it did mine) or it may leave you with a sense of a sketch rather than a landscape.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>The Truffle Hunters\u003c/em> is distinguished by a propensity for measured, fixed-camera shots, which have the effect of slowing time and setting us at the pace of its three sort-of protagonists. The shots don’t last as long as to push the film into the realm of “slow cinema,” mind you, but the strategy is nonetheless at odds with the verité approach generally favored by immersive documentaries.\u003c/p>\n\u003cp>The prominent exception is the wonderfully pleasurable dog-cam sequence, in which a small camera is affixed atop the dog’s head. I didn’t realize I coveted the experience of being a dog, racing down a trail and rooting around in leaves and dirt, until that moment.\u003c/p>\n\u003cp>The love that emanates from the film is the owners’ adoration of their dogs, notably Titina, Birba and Fiona. At its heart, \u003cem>The Truffle Hunters\u003c/em> is a movie for dog lovers and dog owners. And people who wish, for one minute, that they were dogs.\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In our transient society, one sometimes forgets that home is a formative and permanent component of identity. This week’s films take us to the Mexican border, sacred Native American lands, the Middle East and the forests of Piedmont, Italy. \u003c/p>\n\u003cp>\u003cem>\u003cstrong>Cousins and Kin\u003c/strong>\u003c/em>\u003cbr>\nThrough July 15\u003cbr>\n\u003ca href=\"https://www.sfcinematheque.org\" rel=\"noopener noreferrer\" target=\"_blank\">SF Cinematheque online\u003c/a>\u003c/p>\n\u003cp>The latest expansive collection of experimental films streaming for free on the SF Cinematheque website is the curatorial handiwork of four indigenous filmmakers who banded together a couple years ago as the Cousin Collective to boost homegrown film artists. The deeply individualistic shorts, divided into four programs on view for a month apiece, deal largely with place, which is to say the filmmaker’s inherited, claimed and frequently denied place in the modern world.\u003c/p>\n\u003cp>Raven Chacon and Cristóbal Martínez’s satirical narrative \u003ci>A Song Often Played on the Radio\u003c/i> (2019) leads off the first show, Cycle 0 (streaming through April 15). A middle-aged bilingual horseman rides alone through the open country in Coronado’s footsteps, ostensibly looking for treasure (using a beach-combing metal detector) and dispensing aphorisms: “When you are hungry there is no bad food, even burritos created by gringos.” It’s a witty, pointed and enigmatic ramble through the present-day vestiges of cruel, dusty history.\u003c/p>\n\u003cp>Fox Maxy’s \u003ci>San Diego\u003c/i> (2020) offers a more fragmented travelogue comprised of glimpses and scraps of daily life that the filmmaker calls “a reaction to colonialism and quarantine.” Social media postings of a Native American child’s dance and Dolly Parton singing an Easter song collide with on-the-fly ocean vistas and phone-filmed clips of friends. Best seen as a half-hour scrapbook, the film vibrates with a SoCal vibe of alienation, frustration and youthful intensity.\u003c/p>\n\u003cfigure id=\"attachment_13895046\" class=\"wp-caption aligncenter\" style=\"max-width: 1210px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Heiny-Srour-_The-Hour-of-Liberation-Has-Arrived_2_o.jpeg\" alt=\"\" width=\"1210\" height=\"941\" class=\"size-full wp-image-13895046\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Heiny-Srour-_The-Hour-of-Liberation-Has-Arrived_2_o.jpeg 1210w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Heiny-Srour-_The-Hour-of-Liberation-Has-Arrived_2_o-800x622.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Heiny-Srour-_The-Hour-of-Liberation-Has-Arrived_2_o-1020x793.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Heiny-Srour-_The-Hour-of-Liberation-Has-Arrived_2_o-160x124.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Heiny-Srour-_The-Hour-of-Liberation-Has-Arrived_2_o-768x597.jpeg 768w\" sizes=\"(max-width: 1210px) 100vw, 1210px\">\u003cfigcaption class=\"wp-caption-text\">Still from Heiny Srour’s ‘The Hour of Liberation Has Arrived,’ 1975. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://arabfilm.eventive.org/arabwomen\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cb>6 Days | 6 Nights: Revolutionary Arab Women in the Arts\u003c/b>\u003c/a>\u003cbr>\nMarch 25–30\u003cbr>\nOnline\u003c/p>\n\u003cp>As its title promises, the Arab Film & Media Institute’s spotlight on female filmmakers and artists blows away stereotypes and received wisdom about the (lack of) autonomy and influence of women in the Middle East. For most Americans, a dip into any of the programs on any day will deliver a bracing blow to anachronistic misperceptions.\u003c/p>\n\u003cp>Lebanese filmmaker Heiny Srour’s \u003cem>The Hour of Liberation Has Arrived\u003c/em> (\u003cem>Saat El Tahrir Dakkat\u003c/em>) (1974) opens the series with a chunk of forgotten yet timely history. Srour traversed 500 miles of desert to document the Popular Front for the Liberation of the Occupied Arabian Gulf’s successful late-’60s revolt against the British-supported Sultanate of Oman and the ensuing social progress. (Fortunately, oil no longer dictates Western “diplomacy.” Wait, what?)\u003c/p>\n\u003cp>Tunisian director Leyla Bouzid’s multi-award-winning narrative debut \u003cem>As I Open My Eyes\u003c/em> (2015) follows a young woman’s struggle to bridge the gulf between her family’s old-school expectations and her passionate singing with a politically conscious rock band. The real-life Saudi writer Hissa Hilal, profiled in \u003cem>The Poetess\u003c/em>, demonstrates even more bravery by calling out an extremist religious leader on live television.\u003c/p>\n\u003cp>Egyptian director Hala Elkoussy is represented by three half-hour films, released between 2006 and 2010, that take us around and outside Cairo, where reverberations of the past infuse the present. Elkoussy’s work reminds us that listening is as important as looking, and often more important than speaking. \u003c/p>\n\u003cfigure id=\"attachment_13894816\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/1.jpeg\" alt=\"\" width=\"853\" height=\"480\" class=\"size-full wp-image-13894816\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/1.jpeg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/1-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/1-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/1-768x432.jpeg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Truffle Hunters.’ \u003ccite>(Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>The Truffle Hunters\u003c/strong>\u003c/em>\u003cbr>\nOpens March 26\u003cbr>\nEmbarcadero Center Cinema, Smith Rafael Film Center, AMC Saratoga 14\u003c/p>\n\u003cp>U.S. filmmakers Michael Dweck and Gregory Kershaw spent quite some time insinuating themselves into the good graces of three elderly Italian men who are presented to us as legends of a sort. The locals’ particular talent, honed across decades and aided and abetted by their enthusiastic dogs, is finding the much-coveted white Alba truffle in unmarked woods.\u003c/p>\n\u003cp>The result of Dweck and Kershaw’s not-inconsiderable dedication is a lovely little movie, but set your expectations accordingly: \u003cem>The Truffle Hunters\u003c/em> is not a film for foodies. You’ll have to patiently wait an hour and seven minutes for the lone scene of someone enjoying a truffle, which has been sliced over his egg and cheese dish. Even if the theater is equipped with Smell-o-Vision, the documentary isn’t crafted to whet your appetite.\u003c/p>\n\u003cp>Nor, for that matter, does it persuade us that we are deep inside the informal network of hunters, “sales reps,” middlemen, auctioneers and restaurateurs. We get the contours of the scene, and that may be enough to satisfy your curiosity (it did mine) or it may leave you with a sense of a sketch rather than a landscape.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The pandemic has had most of Hollywood cowering for the last year or so, but nothing intimidates a Titan.\u003c/p>\n\u003cp>Crashing in where even Marvel’s \u003cem>Black Widow\u003c/em> fears to tread, \u003cem>Godzilla vs. Kong\u003c/em> is opening on any screen that’ll make room for it—home or cinematic. And with theaters coming back to life in Los Angeles and New York City, there’s a lot of fresh real estate for them to trample.\u003c/p>\n\u003cp>Credit where it’s due: Kong knows how to make an entrance. He announces himself by pulling a tree up by its roots and hurling it in the air hard enough to punch a hole in the sky.\u003c/p>\n\u003cp>I don’t mean that metaphorically—I mean an actual hole. He’s shattered a containment dome over his island that’s been cleverly camouflaged by his keepers.\u003c/p>\n\u003cp>Rebecca Hall, gamely trying to spit out exposition in a manner that suggests conversation, promptly explains that Kong’s been sequestered to protect him from Godzilla. “There can’t be two alpha Titans,” she says, “The whole theory of an ancient rivalry stems from….”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Nah, I’ll spare you the whole theory. Suffice it to say that letting him out would be nuts—so that’s what they do.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=odM92ap8_c0\u003c/p>\n\u003cp>Before long, while the good guys (and some less-good guys) are talking energy sources and a “hollow Earth” that owes a little something to Jules Verne, Kong is using an aircraft carrier as a surfboard.\u003c/p>\n\u003cp>That’s what you came for, right? Off to the side, there’s a fearless podcaster (Brian Tyree Henry) taking on a fearsome corporation, but that’s mostly to get everybody to Hong Kong where there are buildings that can splinter prettily as our leading Titans finally get their playdate. (I may have imagined this, but at one point I think Kong uses a skyscraper’s revolving restaurant as a frisbee.)\u003c/p>\n\u003cp>Can’t talk plot without spoilers so let’s talk technique. Scale is everything with Kaiju—a sliding scale, of course, so that a critter that can plow through skyscrapers won’t seem implausibly enormous should the plot require, say, a really big defibrillator. [aside postid='pop_97638']\u003c/p>\n\u003cp>Let it be said that the special effects are decently special—and frequently in broad daylight this time, as opposed to in the Monsterverse’s last installment, \u003cem>Godzilla: King of the Monsters\u003c/em>, in which nearly everything took place either at night or under water. In \u003cem>Godzilla vs. Kong,\u003c/em> you can always see what’s going on, whether its in daylight or neon-drenched night—even if it’s a little disengaged from anything we’d normally regard as reality.\u003c/p>\n\u003cp>Also disengaged from people. Back in college, I had a geology professor who, whenever he drew a volcano on the blackboard, also drew a village at its base—his way of giving us a rooting interest when the lava started flowing.\u003c/p>\n\u003cp>Director Adam Wingard and his army of digitizers don’t bother with engagement niceties. \u003cem>Godzilla vs. Kong\u003c/em> rarely has bystanders to speak of—not even just screamers and runners. I kept waiting for someone to say “Oh my god, there are 7 million people in Hong Kong.”\u003c/p>\n\u003cp>But for all the terror they inspire in Asia’s commercial crossroads, the Eighth Wonder of the World and the King of the Monsters might as well be throwing punches in the wilderness (Kong has a mean right hook, by the way).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Not sure I needed almost two hours of throwing punches, even accompanied by collapsing skyscrapers. But after a year spent battling a tiny virus you can’t see, audiences may well appreciate a title bout featuring antagonists of a certain size.\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=In+A+Long-Awaited+Match+Up%2C+Godzilla+And+Kong+Stomp+Where+Marvel+Fears+To+Tread&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>Nah, I’ll spare you the whole theory. Suffice it to say that letting him out would be nuts—so that’s what they do.\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/odM92ap8_c0'\n title='//www.youtube.com/embed/odM92ap8_c0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Before long, while the good guys (and some less-good guys) are talking energy sources and a “hollow Earth” that owes a little something to Jules Verne, Kong is using an aircraft carrier as a surfboard.\u003c/p>\n\u003cp>That’s what you came for, right? Off to the side, there’s a fearless podcaster (Brian Tyree Henry) taking on a fearsome corporation, but that’s mostly to get everybody to Hong Kong where there are buildings that can splinter prettily as our leading Titans finally get their playdate. (I may have imagined this, but at one point I think Kong uses a skyscraper’s revolving restaurant as a frisbee.)\u003c/p>\n\u003cp>Can’t talk plot without spoilers so let’s talk technique. Scale is everything with Kaiju—a sliding scale, of course, so that a critter that can plow through skyscrapers won’t seem implausibly enormous should the plot require, say, a really big defibrillator. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Let it be said that the special effects are decently special—and frequently in broad daylight this time, as opposed to in the Monsterverse’s last installment, \u003cem>Godzilla: King of the Monsters\u003c/em>, in which nearly everything took place either at night or under water. In \u003cem>Godzilla vs. Kong,\u003c/em> you can always see what’s going on, whether its in daylight or neon-drenched night—even if it’s a little disengaged from anything we’d normally regard as reality.\u003c/p>\n\u003cp>Also disengaged from people. Back in college, I had a geology professor who, whenever he drew a volcano on the blackboard, also drew a village at its base—his way of giving us a rooting interest when the lava started flowing.\u003c/p>\n\u003cp>Director Adam Wingard and his army of digitizers don’t bother with engagement niceties. \u003cem>Godzilla vs. Kong\u003c/em> rarely has bystanders to speak of—not even just screamers and runners. I kept waiting for someone to say “Oh my god, there are 7 million people in Hong Kong.”\u003c/p>\n\u003cp>But for all the terror they inspire in Asia’s commercial crossroads, the Eighth Wonder of the World and the King of the Monsters might as well be throwing punches in the wilderness (Kong has a mean right hook, by the way).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Not sure I needed almost two hours of throwing punches, even accompanied by collapsing skyscrapers. But after a year spent battling a tiny virus you can’t see, audiences may well appreciate a title bout featuring antagonists of a certain size.\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=In+A+Long-Awaited+Match+Up%2C+Godzilla+And+Kong+Stomp+Where+Marvel+Fears+To+Tread&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>\u003cstrong>Over 4 weeks, Rightnowish is looking at filmmaking in the Bay Area. \u003ca href=\"https://www.kqed.org/arts/13893541/reel-talk-filmmaking-in-the-bay-area-rightnowish\">Learn more about the series here\u003c/a>. \u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC3233437392&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Filmmaker \u003ca href=\"http://cheryldunye.com/services\" target=\"_blank\" rel=\"noopener noreferrer\">Cheryl Dunye\u003c/a> is a legend. She’s best known for her seminal film, \u003ca href=\"https://www.imdb.com/title/tt0118125/?ref_=nm_flmg_dr_9\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Watermelon Woman\u003c/em>\u003c/a>, an innovative depiction of Black women in cinema; 2021 marks 25 years since it debuted.\u003c/p>\n\u003cp>In making that film, Dunye, a graduate of Temple University and Rutgers University, created her own style of filmmaking known as “Dunyementary.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OiTBGPmL2mo\u003c/p>\n\u003cp>Since then, Dunye has put multiple films under her belt. Most of them do the work that Hollywood hasn’t: putting Black women and queer and trans people in leading roles. She’s also working on TV shows, directing episodes of \u003cem>Lovecraft Country\u003c/em> and \u003cem>Queen Sugar\u003c/em>, to name a few.\u003c/p>\n\u003cp>Dunye, a proud product of Philadelphia, has made Oakland her chosen home for over a decade. She’s even named her production company after a neighborhood in East Oakland, \u003ca href=\"https://www.jingletownfilms.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jingletown Films,\u003c/a> and has produced a film set in Oakland, \u003cem>\u003ca href=\"https://www.imdb.com/title/tt3593320/\" target=\"_blank\" rel=\"noopener noreferrer\">Black is Blue\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Cheryl Dunye.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: Wondering just how you feel about that film [The Watermelon Woman] being twenty five years into its success?\u003c/em>\u003c/p>\n\u003cp>Cheryl: At the time when I made it, back in 94/95… I had been doing a lot of work as an art curator and was on that path to make art. Ostensibly, The Watermelon Woman is a piece of art, and sort of lives in both worlds.\u003c/p>\n\u003cp>Cheryl: Something that was sort of biting at me as an African-American lesbian and seeing all these new queer films coming out — It’s been labeled as the Queer New Wave — Also at that time period was the culture wars — So we’re talking about looking at culture, looking at representation, looking at intersectionality. It’s about me. It’s about my community. I wanted to put people in the film that I saw in my world. Audre Lorde was alive around that time. So I was just doing my work, as Audre Lorde would say.\u003c/p>\n\u003cp>Cheryl: So [I made] the first African-American lesbian feature because there was none… It took a while for people to understand and accept and see all that… It’s only now in retrospect where people are like, ‘oh my God, that’s groundbreaking.’\u003c/p>\n\u003cp>\u003cem>Pen: What’s Dunyementery and how do you wish they would teach it in classes?\u003c/em>\u003c/p>\n\u003cp>Cheryl: So, the Dunyementary is Do-Your-Own-Mentary… If you are living in the margins and you’re invisible… you can do anything. So marginality is my strength in that sense. It allowed me to have my own sense of visibility, it help me create my own world, make my own cinema. So the Dunyementary is basically putting myself in my own picture with my own truth, using documentary elements.\u003c/p>\n\u003cp>Cheryl: I was calling it the theory of 3’s, where you see me talking to you, in sort of a talking head style.. you see a vignette… and then you see text that says something, or is poetic or whatnot on a title card.\u003c/p>\n\u003cp>Cheryl: And if you didn’t understand who I was, or what I’m talking about at that point, then bye bye!\u003c/p>\n\u003cp>\u003cem>Pen: [laughs] I like the break down.\u003c/em>\u003c/p>\n\u003cp>Cheryl: I really wanted to kind of put the truth of what my life was like. I’ve always been out. I was never in the closet or anything, so I really wanted to [show] a life that was my life, not coming out, lived, a little bit damaged, functional, dreaming, stuck on traffic, whatever I was doing. I had to put those real elements that people don’t really include in film, but makes it much more authentic…. you see people picking up on that style, later on… The \u003cem>40 Year Old Version\u003c/em> sorta used that style in a good way.\u003c/p>\n\u003cp>\u003cem>Pen: The realness and intimacy. How did that influence or inform the direction that you did for Lovecraft Country: Strange Case?\u003c/em>\u003c/p>\n\u003cp>Cheryl: I had just, you know, ran crazily to \u003cem>Lovecraft Country\u003c/em> with all my visions… I’m queer, I know cinema, I know Blackness. And in my first film, \u003cem>Janine\u003c/em>, it talks about my relationships with a white young girl in high school and having a crush on her… and desire questioning whiteness and blackness and skin and stuff like that. So I brought all that.\u003c/p>\n\u003cp>Cheryl: And then most of the cinematic visuals in it are from my family… My father worked at Polaroid. We had tons of cameras around the house. My mom had pictures from the forties and fifties and thirties. And I would just look at these things. I just dipped into myself again using my own stuff and putting that on top of some wonderful writing by [Misha Green], Sonya [Winton] and [Jonathan] Kidd.\u003c/p>\n\u003cp>\u003cem>Pen: I love it. It’s like this thread of you being a scholar, a scholar of yourself, a scholar of art, a scholar of Philly… Your production company Jingletown Films is obviously influenced by Oakland. I’m wondering, how was the history of Oakland, of Jingletown specifically, influenced you and your filmmaking?\u003c/em>\u003c/p>\n\u003cp>Cheryl: I was living in Jingletown! Which is a section of Oakland in the Fruitvale area, I could see Fruitvale Station from my loft window.\u003c/p>\n\u003cp>Cheryl: Jingletown was named Jingletown because there were workers there who, back in the early 20th century, when they got paid, they had money in their pocket and it would jingle. And that’s sort of where that came from. So I thought it was a wonderful way to name the company.\u003c/p>\n\u003cp>Cheryl: And then, lo and behold, people are on the street just running into Boots Riley, right. Running into Natalie Baszile, who wrote Queen Sugar the book and just running to a variety of other filmmakers and artists.\u003c/p>\n\u003cp>Cheryl: Oakland is historically, one of the most powerful Black places and woman spaces and queer spaces in the world. And to be at the epicenter of all that, that was a choice for me to move to Oakland. Some people were lucky, to magically be able to be from there. Which I wasn’t. I moved [to Oakland] full time in about 2010… I was living in L.A. I was like, I’m done with L.A. This is where I want to be. I feel complete. I feel agency. And that’s why the company is called Jingletown, because it’s the possibility and agency that we must give ourselves…\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Over 4 weeks, Rightnowish is looking at filmmaking in the Bay Area. \u003ca href=\"https://www.kqed.org/arts/13893541/reel-talk-filmmaking-in-the-bay-area-rightnowish\">Learn more about the series here\u003c/a>. \u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC3233437392&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Filmmaker \u003ca href=\"http://cheryldunye.com/services\" target=\"_blank\" rel=\"noopener noreferrer\">Cheryl Dunye\u003c/a> is a legend. She’s best known for her seminal film, \u003ca href=\"https://www.imdb.com/title/tt0118125/?ref_=nm_flmg_dr_9\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Watermelon Woman\u003c/em>\u003c/a>, an innovative depiction of Black women in cinema; 2021 marks 25 years since it debuted.\u003c/p>\n\u003cp>In making that film, Dunye, a graduate of Temple University and Rutgers University, created her own style of filmmaking known as “Dunyementary.”\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/OiTBGPmL2mo'\n title='//www.youtube.com/embed/OiTBGPmL2mo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Since then, Dunye has put multiple films under her belt. Most of them do the work that Hollywood hasn’t: putting Black women and queer and trans people in leading roles. She’s also working on TV shows, directing episodes of \u003cem>Lovecraft Country\u003c/em> and \u003cem>Queen Sugar\u003c/em>, to name a few.\u003c/p>\n\u003cp>Dunye, a proud product of Philadelphia, has made Oakland her chosen home for over a decade. She’s even named her production company after a neighborhood in East Oakland, \u003ca href=\"https://www.jingletownfilms.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jingletown Films,\u003c/a> and has produced a film set in Oakland, \u003cem>\u003ca href=\"https://www.imdb.com/title/tt3593320/\" target=\"_blank\" rel=\"noopener noreferrer\">Black is Blue\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Cheryl Dunye.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: Wondering just how you feel about that film [The Watermelon Woman] being twenty five years into its success?\u003c/em>\u003c/p>\n\u003cp>Cheryl: At the time when I made it, back in 94/95… I had been doing a lot of work as an art curator and was on that path to make art. Ostensibly, The Watermelon Woman is a piece of art, and sort of lives in both worlds.\u003c/p>\n\u003cp>Cheryl: Something that was sort of biting at me as an African-American lesbian and seeing all these new queer films coming out — It’s been labeled as the Queer New Wave — Also at that time period was the culture wars — So we’re talking about looking at culture, looking at representation, looking at intersectionality. It’s about me. It’s about my community. I wanted to put people in the film that I saw in my world. Audre Lorde was alive around that time. So I was just doing my work, as Audre Lorde would say.\u003c/p>\n\u003cp>Cheryl: So [I made] the first African-American lesbian feature because there was none… It took a while for people to understand and accept and see all that… It’s only now in retrospect where people are like, ‘oh my God, that’s groundbreaking.’\u003c/p>\n\u003cp>\u003cem>Pen: What’s Dunyementery and how do you wish they would teach it in classes?\u003c/em>\u003c/p>\n\u003cp>Cheryl: So, the Dunyementary is Do-Your-Own-Mentary… If you are living in the margins and you’re invisible… you can do anything. So marginality is my strength in that sense. It allowed me to have my own sense of visibility, it help me create my own world, make my own cinema. So the Dunyementary is basically putting myself in my own picture with my own truth, using documentary elements.\u003c/p>\n\u003cp>Cheryl: I was calling it the theory of 3’s, where you see me talking to you, in sort of a talking head style.. you see a vignette… and then you see text that says something, or is poetic or whatnot on a title card.\u003c/p>\n\u003cp>Cheryl: And if you didn’t understand who I was, or what I’m talking about at that point, then bye bye!\u003c/p>\n\u003cp>\u003cem>Pen: [laughs] I like the break down.\u003c/em>\u003c/p>\n\u003cp>Cheryl: I really wanted to kind of put the truth of what my life was like. I’ve always been out. I was never in the closet or anything, so I really wanted to [show] a life that was my life, not coming out, lived, a little bit damaged, functional, dreaming, stuck on traffic, whatever I was doing. I had to put those real elements that people don’t really include in film, but makes it much more authentic…. you see people picking up on that style, later on… The \u003cem>40 Year Old Version\u003c/em> sorta used that style in a good way.\u003c/p>\n\u003cp>\u003cem>Pen: The realness and intimacy. How did that influence or inform the direction that you did for Lovecraft Country: Strange Case?\u003c/em>\u003c/p>\n\u003cp>Cheryl: I had just, you know, ran crazily to \u003cem>Lovecraft Country\u003c/em> with all my visions… I’m queer, I know cinema, I know Blackness. And in my first film, \u003cem>Janine\u003c/em>, it talks about my relationships with a white young girl in high school and having a crush on her… and desire questioning whiteness and blackness and skin and stuff like that. So I brought all that.\u003c/p>\n\u003cp>Cheryl: And then most of the cinematic visuals in it are from my family… My father worked at Polaroid. We had tons of cameras around the house. My mom had pictures from the forties and fifties and thirties. And I would just look at these things. I just dipped into myself again using my own stuff and putting that on top of some wonderful writing by [Misha Green], Sonya [Winton] and [Jonathan] Kidd.\u003c/p>\n\u003cp>\u003cem>Pen: I love it. It’s like this thread of you being a scholar, a scholar of yourself, a scholar of art, a scholar of Philly… Your production company Jingletown Films is obviously influenced by Oakland. I’m wondering, how was the history of Oakland, of Jingletown specifically, influenced you and your filmmaking?\u003c/em>\u003c/p>\n\u003cp>Cheryl: I was living in Jingletown! Which is a section of Oakland in the Fruitvale area, I could see Fruitvale Station from my loft window.\u003c/p>\n\u003cp>Cheryl: Jingletown was named Jingletown because there were workers there who, back in the early 20th century, when they got paid, they had money in their pocket and it would jingle. And that’s sort of where that came from. So I thought it was a wonderful way to name the company.\u003c/p>\n\u003cp>Cheryl: And then, lo and behold, people are on the street just running into Boots Riley, right. Running into Natalie Baszile, who wrote Queen Sugar the book and just running to a variety of other filmmakers and artists.\u003c/p>\n\u003cp>Cheryl: Oakland is historically, one of the most powerful Black places and woman spaces and queer spaces in the world. And to be at the epicenter of all that, that was a choice for me to move to Oakland. Some people were lucky, to magically be able to be from there. Which I wasn’t. I moved [to Oakland] full time in about 2010… I was living in L.A. I was like, I’m done with L.A. This is where I want to be. I feel complete. I feel agency. And that’s why the company is called Jingletown, because it’s the possibility and agency that we must give ourselves…\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'Another Round'? This Tipsy Danish Film Asks, Why Not?",
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"content": "\u003cp>In one of his many hymns to drinking, Charles Bukowski, that great bard of the barstool, explained the eternal promise of drunkenness. “It [takes] away the obvious,” he wrote, “and maybe if you could get away from the obvious often enough, you wouldn’t become obvious yourself.”\u003c/p>\n\u003cp>This claim gets a test drive in \u003cem>Another Round\u003c/em>, a crowd-pleasing Danish movie that’s the frontrunner for this year’s Oscar for Best International Feature Film. Directed by Thomas Vinterberg—himself a surprise nominee for Best Director—\u003cem>Another Round \u003c/em>has an amusingly louche premise: Four middle-aged high school teachers decide to see whether their lives will be better if they always have alcohol in their system.\u003c/p>\n\u003cp>Mads Mikkelsen stars as Martin, a one-time live-wire who’s become a bored and boring teacher, and a detached father and husband. One night he joins his pals Peter and Tommy for their friend Nikolaj’s 40th birthday dinner. Over many bottles, Nikolaj tells them about a Norwegian psychiatrist who argues that human bodies are designed to run best with .05 percent alcohol in their bloodstream. (In the U.S., a person is considered legally impaired when their blood alcohol content is .08 percent or higher.) [aside postid='arts_13874634']\u003c/p>\n\u003cp>Telling themselves they’re doing research—why, they’ll write a paper!—the four agree to try the idea out. The next day they knock back some booze before entering the classroom. And at first, Bukowski and the Norwegian shrink appear to be right. Walking around with a nice buzz, they feel liberated from the obvious, in the world and in themselves. As for Martin, he not only turns back into a funny, inspiring teacher but also an attentive and romantic family man.\u003c/p>\n\u003cp>In fact, the experiment is going so well that Martin suggests things might go even better with even more alcohol in their system. How could anything go wrong?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Before getting to what exactly goes wrong, though, I want to emphasize that \u003cem>Another Round \u003c/em>is a very entertaining film. It’s energetic, attentively shot and exceedingly well acted—which is impressive because it’s so easy to overdo playing drunk. While all four friends are terrific, the film rightly orbits around Mikkelsen, a genuine movie star whose ambiguous, slightly sinister good looks make even the early, boring Martin charismatic. Whether tippling, moping or dancing—at which he’s great, by the way—he’s as good here as any of this year’s Best Actor nominees.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bj8Jmz_srDg\u003c/p>\n\u003cp>This is Mikkelsen’s second collaboration with Vinterberg, who made his name as co-creator of the movement known as Dogme 95. It sought to do for film what punk had done for music—strip away its pricey, overproduced commercial slickness and get back to something purer, more real and more aggressive. Vinterberg’s breakthrough 1998 film \u003cem>The Celebration\u003c/em>, was a sensationally good example—and like so many Dogme films, it was also gleefully naughty.\u003c/p>\n\u003cp>Two decades on, Vinterberg has kept some of that movement’s trademarks, from the jittery hand-held camera that captures flickering emotions to its promise of the transgressive. The film’s Danish title is \u003cem>Druk\u003c/em>, which means “Binge Drinking”—a far less inviting title than \u003cem>Another Round\u003c/em>. Curiously enough, the English title is truer to the film. You see, despite its surface realism and apparently bold theme, \u003cem>Another Round \u003c/em>is the kind of safe film Dogme rejected.\u003c/p>\n\u003cp>Now, Vinterberg is no square, and his film is clearly rebelling against our modern puritanism about intoxication. He wants to celebrate the boozing and camaraderie that sustains a drinking culture like Denmark. And that’s fair enough. Still, this doesn’t free him from his obligations to the reality lurking in his premise. [aside postid='arts_13892406']\u003c/p>\n\u003cp>When I suggested earlier that things go wrong, I meant with the film \u003cem>not \u003c/em>the characters. Because \u003cem>Another Round \u003c/em>sets up a provocative situation with four men drinking far too much, we expect it to provoke a deeper understanding of alcohol, men and their midlife crises. That’s what John Cassavetes sought to do with his bold, if unlikable 1970 film \u003cem>Husbands\u003c/em>. Here, despite a few painful moments, Vinterberg steers us in the opposite direction, building toward a conventionally upbeat finale that isn’t merely sentimental but exuberantly so.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That said, it doesn’t really bother me that so many viewers love \u003cem>Another Round \u003c/em>and revel in its Hollywood ending. After all, the whole world feels like it’s been mired in a midlife crisis for the last year, so it cheers people up to see a movie in which drinking too much actually makes things better.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In one of his many hymns to drinking, Charles Bukowski, that great bard of the barstool, explained the eternal promise of drunkenness. “It [takes] away the obvious,” he wrote, “and maybe if you could get away from the obvious often enough, you wouldn’t become obvious yourself.”\u003c/p>\n\u003cp>This claim gets a test drive in \u003cem>Another Round\u003c/em>, a crowd-pleasing Danish movie that’s the frontrunner for this year’s Oscar for Best International Feature Film. Directed by Thomas Vinterberg—himself a surprise nominee for Best Director—\u003cem>Another Round \u003c/em>has an amusingly louche premise: Four middle-aged high school teachers decide to see whether their lives will be better if they always have alcohol in their system.\u003c/p>\n\u003cp>Mads Mikkelsen stars as Martin, a one-time live-wire who’s become a bored and boring teacher, and a detached father and husband. One night he joins his pals Peter and Tommy for their friend Nikolaj’s 40th birthday dinner. Over many bottles, Nikolaj tells them about a Norwegian psychiatrist who argues that human bodies are designed to run best with .05 percent alcohol in their bloodstream. (In the U.S., a person is considered legally impaired when their blood alcohol content is .08 percent or higher.) \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Telling themselves they’re doing research—why, they’ll write a paper!—the four agree to try the idea out. The next day they knock back some booze before entering the classroom. And at first, Bukowski and the Norwegian shrink appear to be right. Walking around with a nice buzz, they feel liberated from the obvious, in the world and in themselves. As for Martin, he not only turns back into a funny, inspiring teacher but also an attentive and romantic family man.\u003c/p>\n\u003cp>In fact, the experiment is going so well that Martin suggests things might go even better with even more alcohol in their system. How could anything go wrong?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Before getting to what exactly goes wrong, though, I want to emphasize that \u003cem>Another Round \u003c/em>is a very entertaining film. It’s energetic, attentively shot and exceedingly well acted—which is impressive because it’s so easy to overdo playing drunk. While all four friends are terrific, the film rightly orbits around Mikkelsen, a genuine movie star whose ambiguous, slightly sinister good looks make even the early, boring Martin charismatic. Whether tippling, moping or dancing—at which he’s great, by the way—he’s as good here as any of this year’s Best Actor nominees.\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/bj8Jmz_srDg'\n title='//www.youtube.com/embed/bj8Jmz_srDg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This is Mikkelsen’s second collaboration with Vinterberg, who made his name as co-creator of the movement known as Dogme 95. It sought to do for film what punk had done for music—strip away its pricey, overproduced commercial slickness and get back to something purer, more real and more aggressive. Vinterberg’s breakthrough 1998 film \u003cem>The Celebration\u003c/em>, was a sensationally good example—and like so many Dogme films, it was also gleefully naughty.\u003c/p>\n\u003cp>Two decades on, Vinterberg has kept some of that movement’s trademarks, from the jittery hand-held camera that captures flickering emotions to its promise of the transgressive. The film’s Danish title is \u003cem>Druk\u003c/em>, which means “Binge Drinking”—a far less inviting title than \u003cem>Another Round\u003c/em>. Curiously enough, the English title is truer to the film. You see, despite its surface realism and apparently bold theme, \u003cem>Another Round \u003c/em>is the kind of safe film Dogme rejected.\u003c/p>\n\u003cp>Now, Vinterberg is no square, and his film is clearly rebelling against our modern puritanism about intoxication. He wants to celebrate the boozing and camaraderie that sustains a drinking culture like Denmark. And that’s fair enough. Still, this doesn’t free him from his obligations to the reality lurking in his premise. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When I suggested earlier that things go wrong, I meant with the film \u003cem>not \u003c/em>the characters. Because \u003cem>Another Round \u003c/em>sets up a provocative situation with four men drinking far too much, we expect it to provoke a deeper understanding of alcohol, men and their midlife crises. That’s what John Cassavetes sought to do with his bold, if unlikable 1970 film \u003cem>Husbands\u003c/em>. Here, despite a few painful moments, Vinterberg steers us in the opposite direction, building toward a conventionally upbeat finale that isn’t merely sentimental but exuberantly so.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That said, it doesn’t really bother me that so many viewers love \u003cem>Another Round \u003c/em>and revel in its Hollywood ending. After all, the whole world feels like it’s been mired in a midlife crisis for the last year, so it cheers people up to see a movie in which drinking too much actually makes things better.\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=%27Another+Round%27%3F+This+Tipsy+Danish+Film+Asks%2C+Why+Not%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There’s plenty of disturbing content that stays with you long after watching \u003cem>\u003ca href=\"https://www.hbo.com/documentaries/tina\" target=\"_blank\" rel=\"noopener noreferrer\">TINA\u003c/a>\u003c/em>, HBO’s new documentary about Tina Turner’s life and career. There’s the searing descriptions of the violence inflicted on her by her first husband and collaborator, Ike Turner. There’s the eyewitness accounts of the abuse, including a particularly heartbreaking story from Tina’s late son, Craig. And there’s Tina’s own recounting of both her suicide attempt and ultimate escape, carrying only 34 cents and a Mobile gas card in her pocket. It all makes for extremely tough viewing.\u003c/p>\n\u003cp>But something unexpected in \u003cem>TINA\u003c/em> is, in some ways, even harder to tolerate. And it’s the sound of a woman being forced to repeatedly—and reluctantly—recount the worst things that have ever happened to her. It’s the sound of a woman being defined throughout the decades not by her own talents or worldwide fame, but rather by the monster she escaped before the most successful portion of her career had even begun.\u003c/p>\n\u003cp>There is, of course, joy in the two-hour film. It’s in stunning live performances, TV appearances, and the sweet relationship Turner has with her current husband, Erwin Bach. It’s also present in the inspiration Tina Turner has provided to other survivors of domestic violence throughout the decades. But \u003cem>TINA\u003c/em> ultimately leaves the viewer with a serious moral conundrum. Are we willing to sacrifice the emotional and mental well-being of our musical icons for the sake of our own comfort and—even more uncomfortably—entertainment?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=w9IkVtLvflU\u003c/p>\n\u003cp>The story of how the press and public has demanded Turner endlessly revisit her past weaves throughout \u003cem>TINA\u003c/em>. We hear clips from her very first interview about Ike’s abuse, for a story originally printed in the Dec. 7, 1981 edition of \u003cem>People\u003c/em> magazine. “I was living a life of death,” she told then-music editor, Carl Arrington. “I didn’t exist. But I survived it. And when I walked out, I walked. And I didn’t look back.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Arrington recalls in \u003cem>TINA\u003c/em> that “she wanted to just tell it and then forget it. It didn’t quite work out that way.” [aside postid='arts_13890087']\u003c/p>\n\u003cp>Arrington’s understatement is writ large throughout the rest of the film, as we see Turner tolerate—and politely answer—question after (often inane) question about her ex-husband. She often laughs when his name comes up, but the interviews are transparently, consistently painful for her. Her grace and patience under fire is thoroughly impressive.\u003c/p>\n\u003cp>\u003cem>TINA\u003c/em> explains that Turner’s tell-all book, \u003ca href=\"https://www.goodreads.com/book/show/568429.I_Tina\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>I, Tina\u003c/em>\u003c/a> (co-written by Kurt Loder) came about as part of the ongoing effort to preempt questions about Ike. As her success exploded after the 1984 album \u003cem>Private Dancer\u003c/em>, Turner was besieged once more with queries about her abuser. “They’d bring up the same old stuff, over and over in every interview,” Turner’s manager Roger Davies recalls in the film. “We couldn’t stop it.”\u003c/p>\n\u003cp>Turner remembers, “Out of all the success I was having, why are they talking about Ike and Tina? I said to Roger, ‘I’m beginning to get really very depressed.’ And he said, ‘Well the only thing you can do is write a book.’ … I wasn’t interested in telling that ridiculously embarrassing story of my life. But I felt that’s one way I could get the journalists off my back.”\u003c/p>\n\u003cp>\u003cem>I, Tina\u003c/em> was an instant worldwide best seller. But it did the opposite of end the chatter. Nowhere is this more obvious in \u003cem>TINA\u003c/em> than during a clip from a 1993 Venice Film Festival press conference for \u003ca href=\"https://www.imdb.com/title/tt0108551/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>What’s Love Got to Do With It?\u003c/em>\u003c/a>—the biopic based on the book.\u003c/p>\n\u003cp>After a journalist asks Turner what she thinks of the movie, she replies that she hasn’t yet seen it. When subsequently asked, “Why not?” Turner visibly stiffens, awkwardly fiddles with her microphone, and replies:\u003c/p>\n\u003cblockquote>\u003cp>I am not so thrilled thinking about the past and how I lived my life. The story was actually written so I would no longer have to discuss the issue. I don’t love that it’s always talked about, you see … This constant reminder is not so good, you know. I’m not so happy about it. So, do I want to sit at a screen and watch the violence and all the brutality? No. That’s why I haven’t seen it.\u003c/p>\u003c/blockquote>\n\u003cp>Turner’s husband, Erwin Bach, does not sugarcoat matters when talking about the effect these kinds of questions have had on his wife during their 33 years together. “When you talk to journalists over and over and over, for 20, or 30, or 40 years,” Bach says, “memories come back. She has, partly, dreams about it. They’re not pleasant. So I think these are the things that come back to her when she opens that book. It’s like when soldiers come back from the war.”\u003c/p>\n\u003cp>Ironically, Turner has to re-state her position on the matter at the start of \u003cem>TINA\u003c/em>. “It wasn’t a good life,” she says. “It was in some areas, but the goodness didn’t balance the bad. So it’s not wanting to be reminded. You want to just leave that in the past. I don’t like to pull out old clothes. It’s old memories. You want to just leave that in the past and be done with it.” [aside postid='arts_13892800']\u003c/p>\n\u003cp>\u003cem>TINA\u003c/em> is careful to give focus to the good that’s resulted from Turner’s lifetime spent reliving her trauma for the public. Fans are seen expressing gratitude for it. Playwright Katori Hall says of Turner’s life, “That story reached so many people who felt like they had to keep their secrets locked away, deep down.” And Turner’s friend Oprah Winfrey notes, “Nobody talked about sexual abuse, physical abuse, domestic abuse—abuse, period. Our generation is the generation that started to break the silence.”\u003c/p>\n\u003cp>There’s no doubt that the insights Turner offers here, via old interviews, do offer revelations about how people become trapped in domestic abuse situations. “I felt obligated to stay there and I was afraid,” Turner says of her marriage and early career. “I felt very loyal to Ike and I didn’t want to hurt him. Sometimes after he’d beat me up, I’d end up feeling sorry for him. I was 23 years old or something like that. Early 20s. I was brainwashed. I was afraid of him. And I cared what happened to him. I knew that if I left, there was no one to sing. So I was caught up on guilt and fear.”\u003c/p>\n\u003cp>And in the end, it’s impossible to leave \u003cem>TINA\u003c/em> without a sense of enthralled awe. That’s not just because of Tina Turner’s personal resilience, it’s because of the sheer power of her vocals, her dancing, her talent, her focus and her unerring self-belief.\u003c/p>\n\u003cp>But the movie is also an important reminder that, as a public, we must learn to honor the struggle of survivors without primarily defining them by it—especially if they’re asking over and over again to be allowed to move on. \u003cem>TINA\u003c/em> reminds us that being inspired by other people’s battles shouldn’t require those sources of inspiration to repeatedly re-live their darkest days. Doing so doesn’t just ask that they live in the past, it denies them the autonomy they have fought so hard to get back.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cem>‘TINA’ premieres on Saturday, March 27, on HBO. \u003ca href=\"https://www.hbo.com/documentaries/tina\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s plenty of disturbing content that stays with you long after watching \u003cem>\u003ca href=\"https://www.hbo.com/documentaries/tina\" target=\"_blank\" rel=\"noopener noreferrer\">TINA\u003c/a>\u003c/em>, HBO’s new documentary about Tina Turner’s life and career. There’s the searing descriptions of the violence inflicted on her by her first husband and collaborator, Ike Turner. There’s the eyewitness accounts of the abuse, including a particularly heartbreaking story from Tina’s late son, Craig. And there’s Tina’s own recounting of both her suicide attempt and ultimate escape, carrying only 34 cents and a Mobile gas card in her pocket. It all makes for extremely tough viewing.\u003c/p>\n\u003cp>But something unexpected in \u003cem>TINA\u003c/em> is, in some ways, even harder to tolerate. And it’s the sound of a woman being forced to repeatedly—and reluctantly—recount the worst things that have ever happened to her. It’s the sound of a woman being defined throughout the decades not by her own talents or worldwide fame, but rather by the monster she escaped before the most successful portion of her career had even begun.\u003c/p>\n\u003cp>There is, of course, joy in the two-hour film. It’s in stunning live performances, TV appearances, and the sweet relationship Turner has with her current husband, Erwin Bach. It’s also present in the inspiration Tina Turner has provided to other survivors of domestic violence throughout the decades. But \u003cem>TINA\u003c/em> ultimately leaves the viewer with a serious moral conundrum. Are we willing to sacrifice the emotional and mental well-being of our musical icons for the sake of our own comfort and—even more uncomfortably—entertainment?\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/w9IkVtLvflU'\n title='//www.youtube.com/embed/w9IkVtLvflU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The story of how the press and public has demanded Turner endlessly revisit her past weaves throughout \u003cem>TINA\u003c/em>. We hear clips from her very first interview about Ike’s abuse, for a story originally printed in the Dec. 7, 1981 edition of \u003cem>People\u003c/em> magazine. “I was living a life of death,” she told then-music editor, Carl Arrington. “I didn’t exist. But I survived it. And when I walked out, I walked. And I didn’t look back.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Arrington’s understatement is writ large throughout the rest of the film, as we see Turner tolerate—and politely answer—question after (often inane) question about her ex-husband. She often laughs when his name comes up, but the interviews are transparently, consistently painful for her. Her grace and patience under fire is thoroughly impressive.\u003c/p>\n\u003cp>\u003cem>TINA\u003c/em> explains that Turner’s tell-all book, \u003ca href=\"https://www.goodreads.com/book/show/568429.I_Tina\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>I, Tina\u003c/em>\u003c/a> (co-written by Kurt Loder) came about as part of the ongoing effort to preempt questions about Ike. As her success exploded after the 1984 album \u003cem>Private Dancer\u003c/em>, Turner was besieged once more with queries about her abuser. “They’d bring up the same old stuff, over and over in every interview,” Turner’s manager Roger Davies recalls in the film. “We couldn’t stop it.”\u003c/p>\n\u003cp>Turner remembers, “Out of all the success I was having, why are they talking about Ike and Tina? I said to Roger, ‘I’m beginning to get really very depressed.’ And he said, ‘Well the only thing you can do is write a book.’ … I wasn’t interested in telling that ridiculously embarrassing story of my life. But I felt that’s one way I could get the journalists off my back.”\u003c/p>\n\u003cp>\u003cem>I, Tina\u003c/em> was an instant worldwide best seller. But it did the opposite of end the chatter. Nowhere is this more obvious in \u003cem>TINA\u003c/em> than during a clip from a 1993 Venice Film Festival press conference for \u003ca href=\"https://www.imdb.com/title/tt0108551/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>What’s Love Got to Do With It?\u003c/em>\u003c/a>—the biopic based on the book.\u003c/p>\n\u003cp>After a journalist asks Turner what she thinks of the movie, she replies that she hasn’t yet seen it. When subsequently asked, “Why not?” Turner visibly stiffens, awkwardly fiddles with her microphone, and replies:\u003c/p>\n\u003cblockquote>\u003cp>I am not so thrilled thinking about the past and how I lived my life. The story was actually written so I would no longer have to discuss the issue. I don’t love that it’s always talked about, you see … This constant reminder is not so good, you know. I’m not so happy about it. So, do I want to sit at a screen and watch the violence and all the brutality? No. That’s why I haven’t seen it.\u003c/p>\u003c/blockquote>\n\u003cp>Turner’s husband, Erwin Bach, does not sugarcoat matters when talking about the effect these kinds of questions have had on his wife during their 33 years together. “When you talk to journalists over and over and over, for 20, or 30, or 40 years,” Bach says, “memories come back. She has, partly, dreams about it. They’re not pleasant. So I think these are the things that come back to her when she opens that book. It’s like when soldiers come back from the war.”\u003c/p>\n\u003cp>Ironically, Turner has to re-state her position on the matter at the start of \u003cem>TINA\u003c/em>. “It wasn’t a good life,” she says. “It was in some areas, but the goodness didn’t balance the bad. So it’s not wanting to be reminded. You want to just leave that in the past. I don’t like to pull out old clothes. It’s old memories. You want to just leave that in the past and be done with it.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>TINA\u003c/em> is careful to give focus to the good that’s resulted from Turner’s lifetime spent reliving her trauma for the public. Fans are seen expressing gratitude for it. Playwright Katori Hall says of Turner’s life, “That story reached so many people who felt like they had to keep their secrets locked away, deep down.” And Turner’s friend Oprah Winfrey notes, “Nobody talked about sexual abuse, physical abuse, domestic abuse—abuse, period. Our generation is the generation that started to break the silence.”\u003c/p>\n\u003cp>There’s no doubt that the insights Turner offers here, via old interviews, do offer revelations about how people become trapped in domestic abuse situations. “I felt obligated to stay there and I was afraid,” Turner says of her marriage and early career. “I felt very loyal to Ike and I didn’t want to hurt him. Sometimes after he’d beat me up, I’d end up feeling sorry for him. I was 23 years old or something like that. Early 20s. I was brainwashed. I was afraid of him. And I cared what happened to him. I knew that if I left, there was no one to sing. So I was caught up on guilt and fear.”\u003c/p>\n\u003cp>And in the end, it’s impossible to leave \u003cem>TINA\u003c/em> without a sense of enthralled awe. That’s not just because of Tina Turner’s personal resilience, it’s because of the sheer power of her vocals, her dancing, her talent, her focus and her unerring self-belief.\u003c/p>\n\u003cp>But the movie is also an important reminder that, as a public, we must learn to honor the struggle of survivors without primarily defining them by it—especially if they’re asking over and over again to be allowed to move on. \u003cem>TINA\u003c/em> reminds us that being inspired by other people’s battles shouldn’t require those sources of inspiration to repeatedly re-live their darkest days. Doing so doesn’t just ask that they live in the past, it denies them the autonomy they have fought so hard to get back.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'Soul' Creators on Passion, Purpose and Realizing You're 'Enough'",
"headTitle": "‘Soul’ Creators on Passion, Purpose and Realizing You’re ‘Enough’ | KQED",
"content": "\u003cp>The Oscar-nominated movie \u003cem>Soul \u003c/em>tackles passion, purpose and the meaning of life—topics that aren’t usually addressed in animated films.\u003c/p>\n\u003cp>The movie centers on Joe, a middle school band teacher who feels unfulfilled because his ambition is to be a full-time jazz musician. On the day he lands the biggest gig of his career, Joe nearly dies—but then gets the chance to return to his body if he can figure out the purpose of his life.\u003c/p>\n\u003cp>Pete Docter, who co-wrote and co-directed the film with Kemp Powers, says the film was inspired by the emotional turbulence he experienced after writing and directing \u003ca href=\"https://www.npr.org/2015/06/18/414701069/from-the-inside-out-a-lively-look-inside-a-young-mind\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Inside Out\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>“Having … so much success in [that] film, I found myself wondering: Why don’t I feel like my life is all wrapped up and solved in a nice bow? Why didn’t it fix everything?” Docter says.\u003c/p>\n\u003cp>\u003cem>Soul \u003c/em>has generated success of its own. The film won the Golden Globe award for best animated picture, and is nominated for three Academy Awards. But Powers, who’s also up for an Oscar for his adapted screenplay for \u003ca href=\"https://www.npr.org/2021/01/14/956750160/one-night-in-miami-humanizes-four-icons\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>One Night in Miami\u003c/em>\u003c/a>\u003cem>,\u003c/em> says \u003cem>Soul \u003c/em>is actually meant to challenge conventional notions of success and failure.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We were trying to help not just Joe, but the entire audience, understand that it’s not about winners or losers and that everyone’s life has value,” Powers says. “That was really a powerful driving force from the very beginning.”\u003c/p>\n\u003cp>Docter says the film’s message is that life has meaning that goes beyond personal ambition.\u003c/p>\n\u003cp>“The movie’s aim is really to say that we’re already enough,” he says. “We all can walk out of the door and enjoy life without needing to accomplish or prove anything. And that’s really freeing.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xOsLIiBStEs\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On Pixar approaching Powers to work on the film\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Powers: \u003c/strong>It is pretty funny, because obviously when I got the call from my agent that Pixar was interested, they were looking for a writer to help them with a project … the first thing my brain said was, “Hmm, I’m guessing the story must have Black people in it.” I know that that can sound cynical, but look, that’s just the reality of this business, this industry. … It wasn’t very long ago—and when I say not very long ago, I’m talking just, like, three or four years ago—where it was very possible, if you happened to be white, to create and tell a story about anything you wanted to. And no one would so much as push you to even consult with people from that community, let alone invite them in and be partners.\u003c/p>\n\u003cp>So while it’s easy to kind of take the cynical road, I saw it more as a really interesting opportunity, because when I flew up to Pixar and I sat down and I saw the nuggets of what would become \u003cem>Soul\u003c/em>, I really fell in love with the story that Pete was trying to tell. And it was a story that felt like it was about me, and it was a story that really wasn’t about race. That was one of the things that really, really excited me about this. … I tell people, yes, \u003cem>Soul \u003c/em>is a film [where] the majority of the characters are Black, but it’s not a “Black” film. We’re trying to tell this universal story through the specific prism of a Black man. And I think that was a really bold choice that I was relishing an opportunity to try to execute.\u003c/p>\n\u003cp>\u003cstrong>On Powers’ feedback to an early reel of \u003c/strong>\u003cstrong>\u003cem>Soul \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Powers: \u003c/strong>In the early reels, [Joe] seemed like the least interesting person in the film. … Part of it was, I think, because there had been such extreme caution and such a fear of doing things that might offend someone or upset someone, that instead there really hadn’t been much done [on the character]. I didn’t know anything about the guy. I didn’t really know anything about his family. It seemed like Joe was just a very, very lonely man who didn’t know anyone and had no friends. And so that just meant that his life had to be filled in. And, of course, it’s just the nature of being at Pixar, it doesn’t matter whether you’re a director or a designer or an artist, you use your life as fuel. So it was very easy for me [to] say, “Oh, he’s supposed to be a 45-year-old Black man from New York. What a coincidence! That’s what I am!” [And then] to start filling in a lot of those gaps with my own personal experiences.\u003c/p>\n\u003cp>\u003cstrong>On researching depictions and beliefs about the soul for the film \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Docter:\u003c/strong> I talked to priests and rabbis and experts in Islam, Hinduism, as many of the main religions as we could find, to just see how these different traditions look at the soul and the afterlife and the world beyond our bodily forms. What we found was that most of them have a lot to say about what happens after we die—but very few talk about what happened before. So that meant we were kind of free to make stuff up, which is my favorite place to be. …\u003c/p>\n\u003cp>If you ask, “What is the soul?” most of them talk about the soul being ethereal, vaporous, non-physical, invisible. We wanted to hint at all that in our design—not only of the souls themselves, but the world they inhabit. And actually, interestingly, the first draft of the film … was a version entirely set in the “Great Before” [a fantastical place where new souls exist before they go to Earth]. There is no Earth-based stuff. It was all about observing life just through these memories and these visualizations of the world, trying to talk this other soul into going [to Earth]. But the more we developed it, the more we realized, if we’re going to talk about what makes life worth living, we’ve got to go interact with it. We got to get our hands dirty—smell, taste, touch, all those things that a soul can’t do.\u003c/p>\n\u003cfigure id=\"attachment_13894435\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894435\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/32d0442fa55f23b529689343251e8fe4_4096x1715_be16ee6c-c9f8220bc2594b69a341328a976810116e3d5213-800x599.jpe\" alt=\"Joe's soul (right) is paired with 22, a lost soul voiced by Tina Fey.\" width=\"800\" height=\"599\">\u003cfigcaption class=\"wp-caption-text\">Joe’s soul (right) is paired with 22, a lost soul voiced by Tina Fey. \u003ccite>(Disney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On depicting “lost souls” in the film \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Powers:\u003c/strong> Something that we discussed when making this film was that at different points in our lives and careers, we’ve all been … “lost souls,” based on our definition of it. Because when you find something you enjoy and you’re passionate about and you actually are pretty good at it, it is so easy to take the extra step of hiding behind that thing and using it to not deal with so many other elements of life. That’s why it was so important that when we introduced the idea of the lost soul—that someone could be lost—but then they could be found. … I’ve definitely found myself, based on our own definition of it, [as] a bit of a lost soul, someone who—to avoid facing all different elements of life—just [loses] myself in my work.\u003c/p>\n\u003cp>\u003cstrong>On screening \u003c/strong>\u003cstrong>\u003cem>Soul\u003c/em>\u003c/strong>\u003cstrong> for kids\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Docter:\u003c/strong> On \u003cem>Soul\u003c/em>, we got started to get worried, like, is this too much? Are kids going to be able to track this? So we brought in an audience full of kids. It was probably the second scariest screening, because they’re quiet. Kids are quiet. They don’t laugh a lot. So you’re like, “Oh, we’re dying! We’re dying!” But we found over the years, like especially the first time they watch something, they’re typically just sucking it all up and taking it in. … But afterwards we ask them questions like, “Did you understand this?” And what seems to happen again [and] again is the parents will say, “This film was too complicated for kids. This is not appropriate for kids.” And then the kid sitting right next to them will sit and explain the entire movie better than I could. They get everything. They’re very smart.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Heidi Saman and Seth Kelley produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey\u003c/em> \u003cem>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=%27Soul%27+Creators+On+Passion%2C+Purpose+And+Realizing+You%27re+%27Enough%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Oscar-nominated movie \u003cem>Soul \u003c/em>tackles passion, purpose and the meaning of life—topics that aren’t usually addressed in animated films.\u003c/p>\n\u003cp>The movie centers on Joe, a middle school band teacher who feels unfulfilled because his ambition is to be a full-time jazz musician. On the day he lands the biggest gig of his career, Joe nearly dies—but then gets the chance to return to his body if he can figure out the purpose of his life.\u003c/p>\n\u003cp>Pete Docter, who co-wrote and co-directed the film with Kemp Powers, says the film was inspired by the emotional turbulence he experienced after writing and directing \u003ca href=\"https://www.npr.org/2015/06/18/414701069/from-the-inside-out-a-lively-look-inside-a-young-mind\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Inside Out\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>“Having … so much success in [that] film, I found myself wondering: Why don’t I feel like my life is all wrapped up and solved in a nice bow? Why didn’t it fix everything?” Docter says.\u003c/p>\n\u003cp>\u003cem>Soul \u003c/em>has generated success of its own. The film won the Golden Globe award for best animated picture, and is nominated for three Academy Awards. But Powers, who’s also up for an Oscar for his adapted screenplay for \u003ca href=\"https://www.npr.org/2021/01/14/956750160/one-night-in-miami-humanizes-four-icons\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>One Night in Miami\u003c/em>\u003c/a>\u003cem>,\u003c/em> says \u003cem>Soul \u003c/em>is actually meant to challenge conventional notions of success and failure.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We were trying to help not just Joe, but the entire audience, understand that it’s not about winners or losers and that everyone’s life has value,” Powers says. “That was really a powerful driving force from the very beginning.”\u003c/p>\n\u003cp>Docter says the film’s message is that life has meaning that goes beyond personal ambition.\u003c/p>\n\u003cp>“The movie’s aim is really to say that we’re already enough,” he says. “We all can walk out of the door and enjoy life without needing to accomplish or prove anything. And that’s really freeing.”\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/xOsLIiBStEs'\n title='//www.youtube.com/embed/xOsLIiBStEs'\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 Pixar approaching Powers to work on the film\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Powers: \u003c/strong>It is pretty funny, because obviously when I got the call from my agent that Pixar was interested, they were looking for a writer to help them with a project … the first thing my brain said was, “Hmm, I’m guessing the story must have Black people in it.” I know that that can sound cynical, but look, that’s just the reality of this business, this industry. … It wasn’t very long ago—and when I say not very long ago, I’m talking just, like, three or four years ago—where it was very possible, if you happened to be white, to create and tell a story about anything you wanted to. And no one would so much as push you to even consult with people from that community, let alone invite them in and be partners.\u003c/p>\n\u003cp>So while it’s easy to kind of take the cynical road, I saw it more as a really interesting opportunity, because when I flew up to Pixar and I sat down and I saw the nuggets of what would become \u003cem>Soul\u003c/em>, I really fell in love with the story that Pete was trying to tell. And it was a story that felt like it was about me, and it was a story that really wasn’t about race. That was one of the things that really, really excited me about this. … I tell people, yes, \u003cem>Soul \u003c/em>is a film [where] the majority of the characters are Black, but it’s not a “Black” film. We’re trying to tell this universal story through the specific prism of a Black man. And I think that was a really bold choice that I was relishing an opportunity to try to execute.\u003c/p>\n\u003cp>\u003cstrong>On Powers’ feedback to an early reel of \u003c/strong>\u003cstrong>\u003cem>Soul \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Powers: \u003c/strong>In the early reels, [Joe] seemed like the least interesting person in the film. … Part of it was, I think, because there had been such extreme caution and such a fear of doing things that might offend someone or upset someone, that instead there really hadn’t been much done [on the character]. I didn’t know anything about the guy. I didn’t really know anything about his family. It seemed like Joe was just a very, very lonely man who didn’t know anyone and had no friends. And so that just meant that his life had to be filled in. And, of course, it’s just the nature of being at Pixar, it doesn’t matter whether you’re a director or a designer or an artist, you use your life as fuel. So it was very easy for me [to] say, “Oh, he’s supposed to be a 45-year-old Black man from New York. What a coincidence! That’s what I am!” [And then] to start filling in a lot of those gaps with my own personal experiences.\u003c/p>\n\u003cp>\u003cstrong>On researching depictions and beliefs about the soul for the film \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Docter:\u003c/strong> I talked to priests and rabbis and experts in Islam, Hinduism, as many of the main religions as we could find, to just see how these different traditions look at the soul and the afterlife and the world beyond our bodily forms. What we found was that most of them have a lot to say about what happens after we die—but very few talk about what happened before. So that meant we were kind of free to make stuff up, which is my favorite place to be. …\u003c/p>\n\u003cp>If you ask, “What is the soul?” most of them talk about the soul being ethereal, vaporous, non-physical, invisible. We wanted to hint at all that in our design—not only of the souls themselves, but the world they inhabit. And actually, interestingly, the first draft of the film … was a version entirely set in the “Great Before” [a fantastical place where new souls exist before they go to Earth]. There is no Earth-based stuff. It was all about observing life just through these memories and these visualizations of the world, trying to talk this other soul into going [to Earth]. But the more we developed it, the more we realized, if we’re going to talk about what makes life worth living, we’ve got to go interact with it. We got to get our hands dirty—smell, taste, touch, all those things that a soul can’t do.\u003c/p>\n\u003cfigure id=\"attachment_13894435\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894435\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/32d0442fa55f23b529689343251e8fe4_4096x1715_be16ee6c-c9f8220bc2594b69a341328a976810116e3d5213-800x599.jpe\" alt=\"Joe's soul (right) is paired with 22, a lost soul voiced by Tina Fey.\" width=\"800\" height=\"599\">\u003cfigcaption class=\"wp-caption-text\">Joe’s soul (right) is paired with 22, a lost soul voiced by Tina Fey. \u003ccite>(Disney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On depicting “lost souls” in the film \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Powers:\u003c/strong> Something that we discussed when making this film was that at different points in our lives and careers, we’ve all been … “lost souls,” based on our definition of it. Because when you find something you enjoy and you’re passionate about and you actually are pretty good at it, it is so easy to take the extra step of hiding behind that thing and using it to not deal with so many other elements of life. That’s why it was so important that when we introduced the idea of the lost soul—that someone could be lost—but then they could be found. … I’ve definitely found myself, based on our own definition of it, [as] a bit of a lost soul, someone who—to avoid facing all different elements of life—just [loses] myself in my work.\u003c/p>\n\u003cp>\u003cstrong>On screening \u003c/strong>\u003cstrong>\u003cem>Soul\u003c/em>\u003c/strong>\u003cstrong> for kids\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Docter:\u003c/strong> On \u003cem>Soul\u003c/em>, we got started to get worried, like, is this too much? Are kids going to be able to track this? So we brought in an audience full of kids. It was probably the second scariest screening, because they’re quiet. Kids are quiet. They don’t laugh a lot. So you’re like, “Oh, we’re dying! We’re dying!” But we found over the years, like especially the first time they watch something, they’re typically just sucking it all up and taking it in. … But afterwards we ask them questions like, “Did you understand this?” And what seems to happen again [and] again is the parents will say, “This film was too complicated for kids. This is not appropriate for kids.” And then the kid sitting right next to them will sit and explain the entire movie better than I could. They get everything. They’re very smart.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Now Playing! One of the Best Films We’ll See All Year",
"headTitle": "Now Playing! One of the Best Films We’ll See All Year | KQED",
"content": "\u003cp>Film festival season arrives in tandem with the baseball season this year, which is welcome news for those who like to watch. (And if we learned anything in the last year, it’s that everyone likes to watch. Up to a point, of course.)\u003c/p>\n\u003cp>You might be asking where the films are coming from to light up the lineups at Cinejoy, SFFILM and the smaller April festivals waiting in the wings. That is, how did any movies get made during last year’s lockdowns? Yes, shooting was shut down after the first quarter of 2020, but directors, editors, composers, sound designers and postproduction technicians had all the time they needed to snip, shape, tuck, tweak and polish their footage. Throw in the films that postponed their releases and the pipeline is quite full, indeed.\u003c/p>\n\u003cp>\u003ca href=\"https://www.creatics.org/cinejoy/about\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cstrong>Cinejoy\u003c/strong>\u003c/a>\u003cbr>\nMarch 20–30\u003cbr>\nVirtual\u003c/p>\n\u003cp>The South Bay’s long-running annual smorgasbord is billing itself as “Cinejoy featuring the Artists & Films of Cinequest.” But the recipe is the same, namely a slew of independently made films by people you’ve never heard of—including a raft of world premieres—mixed with a slate of premieres and Q&s featuring stars like Gabriel Byrne (festival opener \u003cem>Death of a Ladies’ Man\u003c/em>), Julie Delpy (\u003cem>My Zoe\u003c/em>), Alec Baldwin (\u003cem>Crown Vic\u003c/em>), Rosario Dawson (\u003cem>This Is Not a War Story\u003c/em>), and Maverick Spirit Award recipients Sam Neill (\u003cem>Rams\u003c/em>) and Eddie Izzard (\u003cem>Six Minutes to Midnight\u003c/em>).\u003c/p>\n\u003cp>https://vimeo.com/524498477\u003c/p>\n\u003cp>One of the more jaw-dropping debuts you’ll ever see, \u003cem>I’m an Electric Lampshade\u003c/em>, begins as an intriguing though conventional verité portrait of newly retired, happily married, 60-year-old accountant Doug McCorkle as he embarks on a song-and-dance career. Before you know it, we’re transported to a queer-positive Manila performing arts class where McCorkle’s transformation begins in earnest and the movie steps into the fabulous dreamland of music videos.\u003c/p>\n\u003cp>Harlem, NYC-based director and co-writer John Clayton Doyle was born in Oakland and raised in the East Bay burbs, and he successfully meshes middle-class stability and drag flamboyance into a lush fantasia. McCorkle delightedly takes his EDM clubland fantasy to the limit in the lavish Mexico City finale, applying a Leonard Cohen-ish spoken-word approach to sexualized lyrics. \u003c/p>\n\u003cp>By its triumphant end, \u003cem>I’m an Electric Lampshade\u003c/em> has long since abandoned documentary realism and leaves us wondering, not unhappily, where McCorkle’s footlight dream ends and Doyle’s tale-weaving begins.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If \u003cem>I’m an Electric Lampshade\u003c/em> is best enjoyed with your dozen most uninhibited friends (or at a packed Castro Theater later this year, hopefully), Alex Liu and Leonardo Neri’s wonderful \u003cem>A Sexplanation\u003c/em> lends itself to a more intimate party. Intended as a conversation starter about sex and sexuality—even, or especially, for adults who’ve gotten this far with their shame, judgements, fears and myths intact—\u003cem>A Sexplanation\u003c/em> is an irreverent, informative and disarming road trip from Dolores Park to the Kinsey Institute (in Indiana) to Pornhub HQ to Saratoga High.\u003c/p>\n\u003cp>Liu, a South Bay native and broadcast/online health reporter whose credits include KQED, is our charming guide and, more importantly, our surrogate. His “donation” to a Rutgers University study of pleasure and the brain makes for an especially vulnerable sequence, but his uncomfortable, revealing and inspiring conversations with his parents go even further. How 2021 is it that our best catalyst for coming clean about our sexual confusions and desires is a gay Asian American man in his mid-30s?\u003c/p>\n\u003cp>\u003cem>A Sexplanation\u003c/em> deserves to be disseminated as widely as possible, although it’s too explicit for a TV broadcast (even in California or New York) and a tad too informal for a theatrical release (though it is kind of an ideal date movie). Classrooms and the web are its natural home, with word of mouth (insert pun here) essential. As Alex Liu would say, come as you are.\u003c/p>\n\u003cfigure id=\"attachment_13894257\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/QuoVadis_crowd_1200.jpg\" alt=\"\" width=\"1200\" height=\"649\" class=\"size-full wp-image-13894257\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/QuoVadis_crowd_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/QuoVadis_crowd_1200-800x433.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/QuoVadis_crowd_1200-1020x552.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/QuoVadis_crowd_1200-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/QuoVadis_crowd_1200-768x415.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Quo Vadis, Aida?’ \u003ccite>(Super LTD)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Quo Vadis, Aida?\u003c/strong>\u003c/em>\u003cbr>\nNow playing\u003cbr>\n\u003ca href=\"https://www.landmarktheatres.com/san-francisco\" rel=\"noopener noreferrer\" target=\"_blank\">Embarcadero Center Cinema\u003c/a>, \u003ca href=\"https://rafaelfilm.cafilm.org\" rel=\"noopener noreferrer\" target=\"_blank\">Smith Rafael Film Center\u003c/a> and \u003ca href=\"https://superltd.com/films/quo-vadis-aida\" rel=\"noopener noreferrer\" target=\"_blank\">VOD\u003c/a>\u003c/p>\n\u003cp>I generally avoid first-quarter pronouncements, but it’s not too soon to declare Jasmila Žbanić’s \u003cem>Quo Vadis, Aida?\u003c/em> one of the best films we’ll see all year. A taut dramatization of the events immediately preceding the 1995 massacre at Srebrenica that unfolds like a cascading nightmare in broad daylight, this Oscar nominee in the International Feature category masterfully strikes the tricky balance between personal travails and epic suffering.\u003c/p>\n\u003cp>Žbanić centers her narrative on Aida Selmanagić (a powerhouse performance by Jasna Đuričić), a Bosnian Muslim teacher working as a translator for the (Dutch) UN peacekeepers during the Bosnian War. In the opening scene, as the officer in charge of the UN force assures the mayor that air strikes against the Bosnian Serbs are scheduled for the following morning, Aida is coolly professional.\u003c/p>\n\u003cp>But the bombing doesn’t take place, and the UN fails at every subsequent turn, from refusing to allow more than a few hundred fleeing refugees access to the safety of the UN base, to the Dutch colonel’s misguided efforts to pacify the bullying Serbian Gen. Mladić, to the unseen higher-ups who are unavailable to take a call at a pivotal juncture. \u003c/p>\n\u003cp>As the Serbian Army advances through the UN-declared safe zone right up to the gates of the base, Aida’s focus shifts from serving as an intermediary between the Dutch soldiers and her people to saving her husband and sons from impending catastrophe. Violence is never far away in \u003cem>Quo Vadis, Aida?\u003c/em>, and its impact is undiluted by taking place off-screen. The upshot is that we’re never given a grisly excuse to look away, and thus are enlisted as witnesses.\u003c/p>\n\u003cp>We are ineffectual witnesses, of course, though Žbanić is careful not to indict us for complicity. But anyone with a trace of conscience or compassion will feel the blow anyway. We can and do lament the West’s failure to act in 1995, and yet there are current injustices, in other places, where raising our voices could make a difference.\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Film festival season arrives in tandem with the baseball season this year, which is welcome news for those who like to watch. (And if we learned anything in the last year, it’s that everyone likes to watch. Up to a point, of course.)\u003c/p>\n\u003cp>You might be asking where the films are coming from to light up the lineups at Cinejoy, SFFILM and the smaller April festivals waiting in the wings. That is, how did any movies get made during last year’s lockdowns? Yes, shooting was shut down after the first quarter of 2020, but directors, editors, composers, sound designers and postproduction technicians had all the time they needed to snip, shape, tuck, tweak and polish their footage. Throw in the films that postponed their releases and the pipeline is quite full, indeed.\u003c/p>\n\u003cp>\u003ca href=\"https://www.creatics.org/cinejoy/about\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cstrong>Cinejoy\u003c/strong>\u003c/a>\u003cbr>\nMarch 20–30\u003cbr>\nVirtual\u003c/p>\n\u003cp>The South Bay’s long-running annual smorgasbord is billing itself as “Cinejoy featuring the Artists & Films of Cinequest.” But the recipe is the same, namely a slew of independently made films by people you’ve never heard of—including a raft of world premieres—mixed with a slate of premieres and Q&s featuring stars like Gabriel Byrne (festival opener \u003cem>Death of a Ladies’ Man\u003c/em>), Julie Delpy (\u003cem>My Zoe\u003c/em>), Alec Baldwin (\u003cem>Crown Vic\u003c/em>), Rosario Dawson (\u003cem>This Is Not a War Story\u003c/em>), and Maverick Spirit Award recipients Sam Neill (\u003cem>Rams\u003c/em>) and Eddie Izzard (\u003cem>Six Minutes to Midnight\u003c/em>).\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the more jaw-dropping debuts you’ll ever see, \u003cem>I’m an Electric Lampshade\u003c/em>, begins as an intriguing though conventional verité portrait of newly retired, happily married, 60-year-old accountant Doug McCorkle as he embarks on a song-and-dance career. Before you know it, we’re transported to a queer-positive Manila performing arts class where McCorkle’s transformation begins in earnest and the movie steps into the fabulous dreamland of music videos.\u003c/p>\n\u003cp>Harlem, NYC-based director and co-writer John Clayton Doyle was born in Oakland and raised in the East Bay burbs, and he successfully meshes middle-class stability and drag flamboyance into a lush fantasia. McCorkle delightedly takes his EDM clubland fantasy to the limit in the lavish Mexico City finale, applying a Leonard Cohen-ish spoken-word approach to sexualized lyrics. \u003c/p>\n\u003cp>By its triumphant end, \u003cem>I’m an Electric Lampshade\u003c/em> has long since abandoned documentary realism and leaves us wondering, not unhappily, where McCorkle’s footlight dream ends and Doyle’s tale-weaving begins.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If \u003cem>I’m an Electric Lampshade\u003c/em> is best enjoyed with your dozen most uninhibited friends (or at a packed Castro Theater later this year, hopefully), Alex Liu and Leonardo Neri’s wonderful \u003cem>A Sexplanation\u003c/em> lends itself to a more intimate party. Intended as a conversation starter about sex and sexuality—even, or especially, for adults who’ve gotten this far with their shame, judgements, fears and myths intact—\u003cem>A Sexplanation\u003c/em> is an irreverent, informative and disarming road trip from Dolores Park to the Kinsey Institute (in Indiana) to Pornhub HQ to Saratoga High.\u003c/p>\n\u003cp>Liu, a South Bay native and broadcast/online health reporter whose credits include KQED, is our charming guide and, more importantly, our surrogate. His “donation” to a Rutgers University study of pleasure and the brain makes for an especially vulnerable sequence, but his uncomfortable, revealing and inspiring conversations with his parents go even further. How 2021 is it that our best catalyst for coming clean about our sexual confusions and desires is a gay Asian American man in his mid-30s?\u003c/p>\n\u003cp>\u003cem>A Sexplanation\u003c/em> deserves to be disseminated as widely as possible, although it’s too explicit for a TV broadcast (even in California or New York) and a tad too informal for a theatrical release (though it is kind of an ideal date movie). Classrooms and the web are its natural home, with word of mouth (insert pun here) essential. As Alex Liu would say, come as you are.\u003c/p>\n\u003cfigure id=\"attachment_13894257\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/QuoVadis_crowd_1200.jpg\" alt=\"\" width=\"1200\" height=\"649\" class=\"size-full wp-image-13894257\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/QuoVadis_crowd_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/QuoVadis_crowd_1200-800x433.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/QuoVadis_crowd_1200-1020x552.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/QuoVadis_crowd_1200-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/QuoVadis_crowd_1200-768x415.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Quo Vadis, Aida?’ \u003ccite>(Super LTD)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Quo Vadis, Aida?\u003c/strong>\u003c/em>\u003cbr>\nNow playing\u003cbr>\n\u003ca href=\"https://www.landmarktheatres.com/san-francisco\" rel=\"noopener noreferrer\" target=\"_blank\">Embarcadero Center Cinema\u003c/a>, \u003ca href=\"https://rafaelfilm.cafilm.org\" rel=\"noopener noreferrer\" target=\"_blank\">Smith Rafael Film Center\u003c/a> and \u003ca href=\"https://superltd.com/films/quo-vadis-aida\" rel=\"noopener noreferrer\" target=\"_blank\">VOD\u003c/a>\u003c/p>\n\u003cp>I generally avoid first-quarter pronouncements, but it’s not too soon to declare Jasmila Žbanić’s \u003cem>Quo Vadis, Aida?\u003c/em> one of the best films we’ll see all year. A taut dramatization of the events immediately preceding the 1995 massacre at Srebrenica that unfolds like a cascading nightmare in broad daylight, this Oscar nominee in the International Feature category masterfully strikes the tricky balance between personal travails and epic suffering.\u003c/p>\n\u003cp>Žbanić centers her narrative on Aida Selmanagić (a powerhouse performance by Jasna Đuričić), a Bosnian Muslim teacher working as a translator for the (Dutch) UN peacekeepers during the Bosnian War. In the opening scene, as the officer in charge of the UN force assures the mayor that air strikes against the Bosnian Serbs are scheduled for the following morning, Aida is coolly professional.\u003c/p>\n\u003cp>But the bombing doesn’t take place, and the UN fails at every subsequent turn, from refusing to allow more than a few hundred fleeing refugees access to the safety of the UN base, to the Dutch colonel’s misguided efforts to pacify the bullying Serbian Gen. Mladić, to the unseen higher-ups who are unavailable to take a call at a pivotal juncture. \u003c/p>\n\u003cp>As the Serbian Army advances through the UN-declared safe zone right up to the gates of the base, Aida’s focus shifts from serving as an intermediary between the Dutch soldiers and her people to saving her husband and sons from impending catastrophe. Violence is never far away in \u003cem>Quo Vadis, Aida?\u003c/em>, and its impact is undiluted by taking place off-screen. The upshot is that we’re never given a grisly excuse to look away, and thus are enlisted as witnesses.\u003c/p>\n\u003cp>We are ineffectual witnesses, of course, though Žbanić is careful not to indict us for complicity. But anyone with a trace of conscience or compassion will feel the blow anyway. We can and do lament the West’s failure to act in 1995, and yet there are current injustices, in other places, where raising our voices could make a difference.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"meta": {
"site": "radio",
"source": "WNYC"
},
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
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"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
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"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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