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"content": "\u003cp>Let’s get this out of the way, first. Yes, \u003cem>Zack Snyder’s Justice League\u003c/em> is just over four hours long.\u003c/p>\n\u003cp>Four. Hours. Long.\u003c/p>\n\u003cp>Yet, somehow, it feels like the right length for a film that has moved mountains—and \u003ca href=\"https://www.thewrap.com/justice-league-snyder-additional-shooting/\" target=\"_blank\" rel=\"noopener noreferrer\">reportedly spent around $70 million beyond its original, blockbuster budget\u003c/a>—to reinvent one of the biggest superhero movie bombs in recent memory.\u003c/p>\n\u003cp>And here’s the thing: It actually succeeds. In more ways than I ever expected.\u003c/p>\n\u003cp>By now, the backstory is a bit of superhero film legend. Director Zack Snyder fought a lot of second-guessing by the film studio while making \u003cem>Justice League\u003c/em>, an important movie in building out the universe of superhero characters from DC Comics. Perhaps the disappointing public response to Snyder’s take on Superman in 2013’s \u003cem>Man of Steel \u003c/em>and \u003cem>Batman v. Superman: Dawn of Justice\u003c/em> in 2016 had spooked the corporate suits at Warner Bros. Pictures.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When Snyder’s daughter died in early 2017, the director left \u003cem>Justice League\u003c/em>‘s production and let Joss Whedon, director of Marvel’s first two \u003cem>Avengers\u003c/em> movies, take over. Judging by Snyder’s version, Whedon must have completely retooled the film, creating a schizophrenic two-hour cut with loads of additional scenes which sometimes felt like two different movies playing at the same time.\u003c/p>\n\u003cp>With an avalanche of terrible reviews and a reported $300 million budget, the film lost many millions for Warner Bros. But passionate fans and some stars from the film kept hope alive—yes, there were billboards, social media campaigns and signs towed by airplanes—convincing Warner Media that releasing Snyder’s mega-version would bring a badly-needed superhero event to its corporate kin, streaming service HBO Max.\u003c/p>\n\u003cp>I may sound like the biggest of comic book/superhero story geeks, but it must be said: \u003cem>Zack Snyder’s Justice League\u003c/em> is a much better movie. Especially since there are some critics—and film fans—who would likely prefer a bullet in the head than to sit through four hours of CGI-augmented fist fights and flying sequences.\u003c/p>\n\u003cp>Understand, I’m usually quite cynical about director’s cuts and expanded versions of theatrical releases. As much as I love James Cameron’s \u003cem>Aliens\u003c/em> and the extra scenes he added in his director’s cut, the original theatrical release was a much leaner and focused story. After watching the new director’s cut of Francis Ford Coppola’s \u003cem>Godfather III\u003c/em>, I wondered why he even bothered—none of its narrative problems were cured by Coppola’s new take.\u003c/p>\n\u003cp>Most theatrical releases contain the movie’s best scenes, regardless of what else gets tossed in through a director’s cut. But not so with \u003cem>Zack Snyder’s Justice League\u003c/em>, which offers an entirely different narrative, different beginning, different ending and wider scope, to give a glimpse of the larger story he was driving towards all along. All this, married with the kind of dazzling visual sequences that once made Snyder the perfect custodian of the DC Extended Universe in film.\u003c/p>\n\u003cp>Gone is a lot of the hokey humor that Whedon seemed to insert to offset criticisms of Snyder’s relentlessly dark vision (Whedon’s name has also disappeared from this new film’s credits, suggesting they exorcised every bit of his material).\u003c/p>\n\u003cp>Superman and Cyborg don’t joke about getting knocked on their behinds at the film’s finish. Jason Momoa’s Aquaman and Batfleck—I mean, Ben Affleck’s Batman—don’t trade quips about how a son of Atlantis talks to fish. And, mercifully, a scene where Flash lands on Wonder Woman’s breasts after saving her from falling debris—an awkward bit of sexualization that star Gal Gadot \u003ca href=\"https://twitter.com/GraceRandolph/status/1278402984716705794?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">reportedly refused to film\u003c/a>, forcing Whedon to use a stunt double—has also been cut.\u003c/p>\n\u003cp>Snyder’s take is also an R-rated version. There is more blood and gore than typical big-budget superhero stories; Batman and other characters use the f-word and there is a scene where more than one hero actually murders a villain. Welcome to the Snyderverse.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vM-Bja2Gy04\u003c/p>\n\u003cp>It makes sense that a movie which exists because of the fans would work so hard to please them. So there are depictions of cool characters from the comics we haven’t yet seen on the big screen. Martian Manhunter and Deathstroke pop up, along with extended footage of supreme bad guy Darkseid and his lieutenants, like Granny Goodness.\u003c/p>\n\u003cp>Steppenwolf, the major villain of \u003cem>Justice League\u003c/em>, is given a deadlier, less human look, and his mission to prepare Earth for Darkseid’s conquest—inspired by comic book legend Jack Kirby’s \u003cem>New Gods\u003c/em> stories—is made more clear.\u003c/p>\n\u003cp>There are also expanded backstories on Ezra Miller’s Flash and Ray Fisher’s Cyborg; Fisher in particular gets to shine as we learn more about why Cyborg hates the father who used an alien machine to save his life after a horrific car accident, grafting unknown technology to his body.\u003c/p>\n\u003cp>And, of course, there’s a newly-filmed epilogue that leans toward the story of the \u003cem>Injustice\u003c/em> graphic novel series. There’s a few surprises for fans, so I won’t detail much here; but it helps clarify a head-scratching moment from \u003cem>Batman v. Superman\u003c/em> and includes a cameo from a character who remains a bit of a disappointment in the Snyder era of DC superhero films.\u003c/p>\n\u003cp>There are other problems here, too. This new \u003cem>Justice League\u003c/em> is still packed with a lot of computer-generated effects that make the action feel unreal. Aside from Gadot’s Wonder Woman and the Amazons at the film’s start, the female characters here are mostly mopey and have little purpose beyond supporting the men.\u003c/p>\n\u003cp>The essential story—a group of misfit heroes must get out of their own way to team up and defeat a world-threatening villain backed by another, badder villain—is also the story from Marvel’s first \u003cem>Avengers\u003c/em>‘ movie in 2012.\u003c/p>\n\u003cp>And it is four. Hours. Long. Frankly, this should have been a streaming project all along, given how much story Snyder wanted to cram into a theatrical feature. It’s tough to imagine audiences sitting in a theater for a movie this long, so you can’t help wondering what Snyder was thinking when he shot this much material in the first place.\u003c/p>\n\u003cp>Joss Whedon’s reputation has taken a hit since the original \u003cem>Justice League\u003c/em> was released, with Fisher in particular alleging that Whedon was abusive on set and oversaw story changes which reduced or eliminated the roles of non-white characters in the film. (Indeed, Black characters like Cyborg’s parents and Flash’s love interest Iris West reappear or get more screen time in \u003cem>Zack Snyder’s Justice League\u003c/em>).\u003c/p>\n\u003cp>Warner Bros. has denied Fisher’s allegations that executives there hindered an investigation into studio executives’ role in enabling Whedon. WarnerMedia \u003ca href=\"https://deadline.com/2020/12/ray-fisher-justice-league-probe-ends-remedial-action-warnermedia-joss-whedon-1234655411/\" target=\"_blank\" rel=\"noopener noreferrer\">announced in December\u003c/a> that its investigation had concluded and unspecified “remedial action” had been taken.\u003c/p>\n\u003cp>It’s tough not to see \u003cem>Zack Snyder’s Justice League\u003c/em> as a last-ditch attempt to rescue the film and its characters from the vortex of failure, toxic rumors and offscreen intrigue which seemed to surround the project for many years.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Along the way, it gives fans a tantalizing look at a world that could have been—the best iteration of Snyder’s vision for the DC universe in film, capitalizing on the kind of second chance which rarely comes around in Hollywood anymore.\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=Here+At+Long+%28Really+Long%29+Last%2C+%27Zack+Snyder%27s+Justice+League%27+Is+...+Not+Bad%3F&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>When Snyder’s daughter died in early 2017, the director left \u003cem>Justice League\u003c/em>‘s production and let Joss Whedon, director of Marvel’s first two \u003cem>Avengers\u003c/em> movies, take over. Judging by Snyder’s version, Whedon must have completely retooled the film, creating a schizophrenic two-hour cut with loads of additional scenes which sometimes felt like two different movies playing at the same time.\u003c/p>\n\u003cp>With an avalanche of terrible reviews and a reported $300 million budget, the film lost many millions for Warner Bros. But passionate fans and some stars from the film kept hope alive—yes, there were billboards, social media campaigns and signs towed by airplanes—convincing Warner Media that releasing Snyder’s mega-version would bring a badly-needed superhero event to its corporate kin, streaming service HBO Max.\u003c/p>\n\u003cp>I may sound like the biggest of comic book/superhero story geeks, but it must be said: \u003cem>Zack Snyder’s Justice League\u003c/em> is a much better movie. Especially since there are some critics—and film fans—who would likely prefer a bullet in the head than to sit through four hours of CGI-augmented fist fights and flying sequences.\u003c/p>\n\u003cp>Understand, I’m usually quite cynical about director’s cuts and expanded versions of theatrical releases. As much as I love James Cameron’s \u003cem>Aliens\u003c/em> and the extra scenes he added in his director’s cut, the original theatrical release was a much leaner and focused story. After watching the new director’s cut of Francis Ford Coppola’s \u003cem>Godfather III\u003c/em>, I wondered why he even bothered—none of its narrative problems were cured by Coppola’s new take.\u003c/p>\n\u003cp>Most theatrical releases contain the movie’s best scenes, regardless of what else gets tossed in through a director’s cut. But not so with \u003cem>Zack Snyder’s Justice League\u003c/em>, which offers an entirely different narrative, different beginning, different ending and wider scope, to give a glimpse of the larger story he was driving towards all along. All this, married with the kind of dazzling visual sequences that once made Snyder the perfect custodian of the DC Extended Universe in film.\u003c/p>\n\u003cp>Gone is a lot of the hokey humor that Whedon seemed to insert to offset criticisms of Snyder’s relentlessly dark vision (Whedon’s name has also disappeared from this new film’s credits, suggesting they exorcised every bit of his material).\u003c/p>\n\u003cp>Superman and Cyborg don’t joke about getting knocked on their behinds at the film’s finish. Jason Momoa’s Aquaman and Batfleck—I mean, Ben Affleck’s Batman—don’t trade quips about how a son of Atlantis talks to fish. And, mercifully, a scene where Flash lands on Wonder Woman’s breasts after saving her from falling debris—an awkward bit of sexualization that star Gal Gadot \u003ca href=\"https://twitter.com/GraceRandolph/status/1278402984716705794?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">reportedly refused to film\u003c/a>, forcing Whedon to use a stunt double—has also been cut.\u003c/p>\n\u003cp>Snyder’s take is also an R-rated version. There is more blood and gore than typical big-budget superhero stories; Batman and other characters use the f-word and there is a scene where more than one hero actually murders a villain. Welcome to the Snyderverse.\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/vM-Bja2Gy04'\n title='//www.youtube.com/embed/vM-Bja2Gy04'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It makes sense that a movie which exists because of the fans would work so hard to please them. So there are depictions of cool characters from the comics we haven’t yet seen on the big screen. Martian Manhunter and Deathstroke pop up, along with extended footage of supreme bad guy Darkseid and his lieutenants, like Granny Goodness.\u003c/p>\n\u003cp>Steppenwolf, the major villain of \u003cem>Justice League\u003c/em>, is given a deadlier, less human look, and his mission to prepare Earth for Darkseid’s conquest—inspired by comic book legend Jack Kirby’s \u003cem>New Gods\u003c/em> stories—is made more clear.\u003c/p>\n\u003cp>There are also expanded backstories on Ezra Miller’s Flash and Ray Fisher’s Cyborg; Fisher in particular gets to shine as we learn more about why Cyborg hates the father who used an alien machine to save his life after a horrific car accident, grafting unknown technology to his body.\u003c/p>\n\u003cp>And, of course, there’s a newly-filmed epilogue that leans toward the story of the \u003cem>Injustice\u003c/em> graphic novel series. There’s a few surprises for fans, so I won’t detail much here; but it helps clarify a head-scratching moment from \u003cem>Batman v. Superman\u003c/em> and includes a cameo from a character who remains a bit of a disappointment in the Snyder era of DC superhero films.\u003c/p>\n\u003cp>There are other problems here, too. This new \u003cem>Justice League\u003c/em> is still packed with a lot of computer-generated effects that make the action feel unreal. Aside from Gadot’s Wonder Woman and the Amazons at the film’s start, the female characters here are mostly mopey and have little purpose beyond supporting the men.\u003c/p>\n\u003cp>The essential story—a group of misfit heroes must get out of their own way to team up and defeat a world-threatening villain backed by another, badder villain—is also the story from Marvel’s first \u003cem>Avengers\u003c/em>‘ movie in 2012.\u003c/p>\n\u003cp>And it is four. Hours. Long. Frankly, this should have been a streaming project all along, given how much story Snyder wanted to cram into a theatrical feature. It’s tough to imagine audiences sitting in a theater for a movie this long, so you can’t help wondering what Snyder was thinking when he shot this much material in the first place.\u003c/p>\n\u003cp>Joss Whedon’s reputation has taken a hit since the original \u003cem>Justice League\u003c/em> was released, with Fisher in particular alleging that Whedon was abusive on set and oversaw story changes which reduced or eliminated the roles of non-white characters in the film. (Indeed, Black characters like Cyborg’s parents and Flash’s love interest Iris West reappear or get more screen time in \u003cem>Zack Snyder’s Justice League\u003c/em>).\u003c/p>\n\u003cp>Warner Bros. has denied Fisher’s allegations that executives there hindered an investigation into studio executives’ role in enabling Whedon. WarnerMedia \u003ca href=\"https://deadline.com/2020/12/ray-fisher-justice-league-probe-ends-remedial-action-warnermedia-joss-whedon-1234655411/\" target=\"_blank\" rel=\"noopener noreferrer\">announced in December\u003c/a> that its investigation had concluded and unspecified “remedial action” had been taken.\u003c/p>\n\u003cp>It’s tough not to see \u003cem>Zack Snyder’s Justice League\u003c/em> as a last-ditch attempt to rescue the film and its characters from the vortex of failure, toxic rumors and offscreen intrigue which seemed to surround the project for many years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Along the way, it gives fans a tantalizing look at a world that could have been—the best iteration of Snyder’s vision for the DC universe in film, capitalizing on the kind of second chance which rarely comes around in Hollywood anymore.\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=Here+At+Long+%28Really+Long%29+Last%2C+%27Zack+Snyder%27s+Justice+League%27+Is+...+Not+Bad%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Shooting Midnight Cowboy' Turns an Eye to a Dark, Problematic Masterpiece",
"headTitle": "‘Shooting Midnight Cowboy’ Turns an Eye to a Dark, Problematic Masterpiece | KQED",
"content": "\u003cp>More than 50 years after it was released, shocking moviegoers across the U.S., \u003cem>Midnight Cowboy \u003c/em>has endured as one of the most original and heartbreaking films in American history.\u003c/p>\n\u003cp>The John Schlesinger drama made Jon Voight a star and solidified Dustin Hoffman’s status as one of his generation’s greatest actors, and it became the first and only X-rated film to win the Academy Award for best picture.\u003c/p>\n\u003cp>Watching the film isn’t easy—and neither was making it, as Glenn Frankel reveals in his new book, \u003cem>Shooting Midnight Cowboy: Art, Sex, Loneliness, Liberation, and the Making of a Dark Classic\u003c/em>. It’s a fascinating look at the process that led to one of the 20th century’s most iconic works of art.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894189 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/cowboy_custom-f9fcf39d0be42160417e4ae3122c4fa16f68377a-800x1205.jpg\" alt=\"\" width=\"800\" height=\"1205\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/cowboy_custom-f9fcf39d0be42160417e4ae3122c4fa16f68377a-800x1205.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/cowboy_custom-f9fcf39d0be42160417e4ae3122c4fa16f68377a-1020x1536.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/cowboy_custom-f9fcf39d0be42160417e4ae3122c4fa16f68377a-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/cowboy_custom-f9fcf39d0be42160417e4ae3122c4fa16f68377a-768x1157.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/cowboy_custom-f9fcf39d0be42160417e4ae3122c4fa16f68377a-1360x2048.jpg 1360w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/cowboy_custom-f9fcf39d0be42160417e4ae3122c4fa16f68377a.jpg 1689w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Midnight Cowboy \u003c/em>had its genesis in the 1965 novel of the same name by James Leo Herlihy. The book wasn’t obvious fodder for a movie adaptation—the story of Joe Buck, a young Texas man who travels to New York in hopes of becoming a male escort, the novel featured “scenes of heterosexual and homosexual intercourse, sadomasochism, fellatio, gang rape, prostitution, and illegal drug use,” Frankel notes, and was “so bleak, troubling, and sexually raw that no ordinary film studio would go near it.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>United Artists, however, wasn’t an ordinary film studio, and Schlesinger, reeling from the commercial disappointment of his movie adaptation of Thomas Hardy’s \u003cem>Far From the Madding Crowd\u003c/em>, proved willing to embark on the “especially risky gamble” of turning it into a movie.\u003c/p>\n\u003cp>The film as we know it almost didn’t happen. Schlesinger and producer Jerome Hellman had difficulty finding a screenwriter who wanted to take the project on—Truman Capote turned them down, and Gore Vidal told them the novel was “trash” and that they should adapt his novel \u003cem>The City and the Pillar \u003c/em>instead, Frankel recounts. But Waldo Salt agreed to write the screenplay, and the producer and director turned to casting the movie.\u003c/p>\n\u003cp>That wasn’t easy, either. “Schlesinger didn’t want either Voight or Hoffman in his movie, and looked far and wide for alternatives,” Frankel writes. He eventually changed his mind, and started shooting the film, although that turned out to be a slog: “The one thing practically everyone involved remembers about the filming of \u003cem>Midnight Cowboy \u003c/em>is that the man in charge didn’t seem to enjoy it very much.”\u003c/p>\n\u003cp>The shoot itself was a bizarre one—the crew used “stolen shots” in the movie’s New York scenes, meaning the extras in the movie weren’t actually aware they were being filmed. The extras in the Texas shoot were aware, but they weren’t told what the movie was about, and many were incensed once they found out, Frankel writes.\u003c/p>\n\u003cp>The movie was a surprise hit upon its release despite some skeptical reviews from the likes of Roger Ebert and Pauline Kael. Nevertheless, it won Schlesinger an Oscar for directing, although Hoffman and Voight lost out to John Wayne, who praised the acting in \u003cem>Midnight Cowboy\u003c/em> while dismissing the film as a whole with a characteristically homophobic remark.\u003c/p>\n\u003cp>Histories of filmmaking can easily turn into inside baseball, interesting only to film students and the most dedicated cinéastes, but Frankel does a remarkable job telling the story of how the movie happened. He’s such a gifted storyteller that you don’t even have to be familiar with the film to find the book fascinating. (You really should see the movie, though, if your emotional state allows it.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vS2IdfBkkj0\u003c/p>\n\u003cp>Frankel provides ample context for the movie, painting a vivid picture of New York in the 1960s, when the city was down on its heels, with whole neighborhoods—including one used as a setting for the film—essentially being written off. He also points out how remarkable the film’s treatment of homosexuality was—although Voight’s and Hoffman’s characters are straight, Voight’s character has sex with men to earn money, a shocking plot point at the time. “[G]ay characters could appear openly on screen but only in situations that made clear their misery and depravity and that resulted in dire consequences for all involved,” he writes.\u003c/p>\n\u003cp>Still, Frankel points out in his excellent analysis of the film, it was hardly unproblematic. “The movie at times emits a noxious homophobia” and “is not kind to women,” he argues. One of the movie’s most difficult scenes to watch depicts a gang rape; Jennifer Salt, who played the victim, says the shooting of the scene traumatized her.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That Frankel is willing to point out that the movie is flawed is part of what makes the book so essential—\u003cem>Shooting Midnight Cowboy \u003c/em>is a history, not a paean, and he asks viewers to reconsider what the movie meant, not just to American culture, but to the cast and crew who made it. Frankel’s book is a must-read for anyone interested in cinematic history, and an enthralling look at Schlesinger’s “dark, difficult masterpiece and the deeply gifted and flawed men and women who made it.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Shooting+Midnight+Cowboy%27+Turns+An+Eye+To+A+Dark%2C+Problematic+Masterpiece&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>More than 50 years after it was released, shocking moviegoers across the U.S., \u003cem>Midnight Cowboy \u003c/em>has endured as one of the most original and heartbreaking films in American history.\u003c/p>\n\u003cp>The John Schlesinger drama made Jon Voight a star and solidified Dustin Hoffman’s status as one of his generation’s greatest actors, and it became the first and only X-rated film to win the Academy Award for best picture.\u003c/p>\n\u003cp>Watching the film isn’t easy—and neither was making it, as Glenn Frankel reveals in his new book, \u003cem>Shooting Midnight Cowboy: Art, Sex, Loneliness, Liberation, and the Making of a Dark Classic\u003c/em>. It’s a fascinating look at the process that led to one of the 20th century’s most iconic works of art.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894189 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/cowboy_custom-f9fcf39d0be42160417e4ae3122c4fa16f68377a-800x1205.jpg\" alt=\"\" width=\"800\" height=\"1205\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/cowboy_custom-f9fcf39d0be42160417e4ae3122c4fa16f68377a-800x1205.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/cowboy_custom-f9fcf39d0be42160417e4ae3122c4fa16f68377a-1020x1536.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/cowboy_custom-f9fcf39d0be42160417e4ae3122c4fa16f68377a-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/cowboy_custom-f9fcf39d0be42160417e4ae3122c4fa16f68377a-768x1157.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/cowboy_custom-f9fcf39d0be42160417e4ae3122c4fa16f68377a-1360x2048.jpg 1360w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/cowboy_custom-f9fcf39d0be42160417e4ae3122c4fa16f68377a.jpg 1689w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Midnight Cowboy \u003c/em>had its genesis in the 1965 novel of the same name by James Leo Herlihy. The book wasn’t obvious fodder for a movie adaptation—the story of Joe Buck, a young Texas man who travels to New York in hopes of becoming a male escort, the novel featured “scenes of heterosexual and homosexual intercourse, sadomasochism, fellatio, gang rape, prostitution, and illegal drug use,” Frankel notes, and was “so bleak, troubling, and sexually raw that no ordinary film studio would go near it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>United Artists, however, wasn’t an ordinary film studio, and Schlesinger, reeling from the commercial disappointment of his movie adaptation of Thomas Hardy’s \u003cem>Far From the Madding Crowd\u003c/em>, proved willing to embark on the “especially risky gamble” of turning it into a movie.\u003c/p>\n\u003cp>The film as we know it almost didn’t happen. Schlesinger and producer Jerome Hellman had difficulty finding a screenwriter who wanted to take the project on—Truman Capote turned them down, and Gore Vidal told them the novel was “trash” and that they should adapt his novel \u003cem>The City and the Pillar \u003c/em>instead, Frankel recounts. But Waldo Salt agreed to write the screenplay, and the producer and director turned to casting the movie.\u003c/p>\n\u003cp>That wasn’t easy, either. “Schlesinger didn’t want either Voight or Hoffman in his movie, and looked far and wide for alternatives,” Frankel writes. He eventually changed his mind, and started shooting the film, although that turned out to be a slog: “The one thing practically everyone involved remembers about the filming of \u003cem>Midnight Cowboy \u003c/em>is that the man in charge didn’t seem to enjoy it very much.”\u003c/p>\n\u003cp>The shoot itself was a bizarre one—the crew used “stolen shots” in the movie’s New York scenes, meaning the extras in the movie weren’t actually aware they were being filmed. The extras in the Texas shoot were aware, but they weren’t told what the movie was about, and many were incensed once they found out, Frankel writes.\u003c/p>\n\u003cp>The movie was a surprise hit upon its release despite some skeptical reviews from the likes of Roger Ebert and Pauline Kael. Nevertheless, it won Schlesinger an Oscar for directing, although Hoffman and Voight lost out to John Wayne, who praised the acting in \u003cem>Midnight Cowboy\u003c/em> while dismissing the film as a whole with a characteristically homophobic remark.\u003c/p>\n\u003cp>Histories of filmmaking can easily turn into inside baseball, interesting only to film students and the most dedicated cinéastes, but Frankel does a remarkable job telling the story of how the movie happened. He’s such a gifted storyteller that you don’t even have to be familiar with the film to find the book fascinating. (You really should see the movie, though, if your emotional state allows it.)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/vS2IdfBkkj0'\n title='//www.youtube.com/embed/vS2IdfBkkj0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Frankel provides ample context for the movie, painting a vivid picture of New York in the 1960s, when the city was down on its heels, with whole neighborhoods—including one used as a setting for the film—essentially being written off. He also points out how remarkable the film’s treatment of homosexuality was—although Voight’s and Hoffman’s characters are straight, Voight’s character has sex with men to earn money, a shocking plot point at the time. “[G]ay characters could appear openly on screen but only in situations that made clear their misery and depravity and that resulted in dire consequences for all involved,” he writes.\u003c/p>\n\u003cp>Still, Frankel points out in his excellent analysis of the film, it was hardly unproblematic. “The movie at times emits a noxious homophobia” and “is not kind to women,” he argues. One of the movie’s most difficult scenes to watch depicts a gang rape; Jennifer Salt, who played the victim, says the shooting of the scene traumatized her.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That Frankel is willing to point out that the movie is flawed is part of what makes the book so essential—\u003cem>Shooting Midnight Cowboy \u003c/em>is a history, not a paean, and he asks viewers to reconsider what the movie meant, not just to American culture, but to the cast and crew who made it. Frankel’s book is a must-read for anyone interested in cinematic history, and an enthralling look at Schlesinger’s “dark, difficult masterpiece and the deeply gifted and flawed men and women who made it.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Shooting+Midnight+Cowboy%27+Turns+An+Eye+To+A+Dark%2C+Problematic+Masterpiece&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Bay Area Artists on Challenges, Unexpected Victories in the Pandemic",
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"content": "\u003cp>A year ago, on the verge of shelter in place, country singer/songwriter Rosanne Cash offered an encouraging reminder to the world’s artists, writers, musicians and other creatives: that “\u003ca href=\"https://twitter.com/rosannecash/status/1238700345548627969\" target=\"_blank\" rel=\"noopener noreferrer\">when Shakespeare was quarantined because of the plague, he wrote \u003ci>King Lear\u003c/i>\u003c/a>.”\u003c/p>\n\u003cp>Looking back now, things didn’t work out quite so well for most artists in today’s pandemic. With jobs lost, income evaporated and safety nets thinner than ever, the Bay Area’s arts sector was lucky to simply hang on (let alone write a 350-page tragedy).\u003c/p>\n\u003cp>One year into shelter in place, we asked Bay Area artists how the pandemic has affected their creative practice. Several themes emerged: loss of work, loss of inspiration, pivoting to streaming, tackling side hustles and mental health challenges. At the same time, some were able to take advantage of the new pace of life and continued to create.\u003c/p>\n\u003cp>Hear from them below—and if you’re an artist who wants to join the conversation, \u003ca href=\"#typeform\">let us know here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13894049\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/4_5_Writer_Vida_3.15.jpg.jpeg\" alt=\"A man writes in a notebook\" width=\"800\" height=\"640\" class=\"size-full wp-image-13894049\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/4_5_Writer_Vida_3.15.jpg.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/4_5_Writer_Vida_3.15.jpg-160x128.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/4_5_Writer_Vida_3.15.jpg-768x614.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Illustration by Vida Kuang)\u003c/figcaption>\u003c/figure>\n\u003ch2>Losing Inspiration to Create\u003c/h2>\n\u003cp>\u003cem>For many artists we talked to, the dearth of outside stimulus and the gloppy elasticity of time has meant a severe loss of inspiration. Add in guilty feelings from being unproductive, and creative struggles were very, very common.—Gabe Meline\u003c/em> \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://chrisblackdance.wixsite.com/dance/about\" rel=\"noopener noreferrer\" target=\"_blank\">Chris Black\u003c/a>, San Francisco choreographer\u003c/strong>\u003c/p>\n\u003cp>“You know, dance is such a social endeavor. Especially how I’ve made work over the years, it’s just usually very collaborative. And the isolation and the space and combination kind of just made it harder and harder to bother, honestly, or to focus on it, or feel like I was getting anything out of it. … I think the Trump years were kind of hard on me in that department as well, at times. Just with the juggernaut of all of it, my creativity definitely went up and down a lot, even before this. It’s just been harder and harder to focus.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s interesting, before the pandemic, I had this sort of studio practice that was very geared towards still imagery and video. And even that outlet (livestreaming or Zoom), I’ve just not been interested in. There’s something about the idea of making something only for the screen, when I can’t do the other thing that I like so much to do—which is be in a room with people, whether it’s other dancers and/or audience—and it’s just not in the least bit appealing. It’s been really hard for me to watch things, too. I’ve got friends and colleagues who’ve done things online, and even when I want to be supportive, it’s been hard to make myself attend some of those events because it’s kind of heartbreaking.”[aside postID='arts_13893812']\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.tanya-rey.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Tanya Rey\u003c/a>, Oakland writer and author\u003c/strong>\u003c/p>\n\u003cp>“I just feel like somehow maybe things just take longer right now. I don’t know about you, but I’m really tired. And it seems like things just seem to take longer than I think they’re going to take, and eat up my day in this way that I just don’t anticipate. And so I can’t necessarily like make time for it, because there is no schedule, you know?\u003c/p>\n\u003cp>“On a day-to-day basis, I’m constantly frustrated that I’m not writing enough … and the harder I am on myself as an artist, that doesn’t breed good grounds for productivity, and it doesn’t breed the best creative self that I know that I can access. So I know that in order to actually make something worthwhile and to enjoy that process, I can’t be too hard on myself. It’s only going to take me twice as long.\u003c/p>\n\u003cp>“So it’s been really challenging. I think that we are experiencing a collective grief. And within that grief, there’s our own personal grieving. I know I’ve lost people, and certain relationships have been strained by this time and distance, and all of that compounds itself. And so I have certainly have had days where I just want to be on the couch or in bed.” \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://traceyrolandelli.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Tracey Rolandelli\u003c/a>, Oakland painter and artist now staying with and helping family in Santa Rosa\u003c/strong>\u003c/p>\n\u003cp>“As an artist who was having two solo shows a year, it has affected me financially. Even my online sales have suffered. It has also affected me creatively, because I haven’t been able to attend live life drawing sessions, which I did weekly. That also was a community near and dear to my social life. A tightknit group that meets at an artist’s house every Tuesday night.\u003c/p>\n\u003cp>“Because I’m high-risk (autoimmune disease related), I also have been affected by not feeling as comfortable going out to sketch in public. To be honest, while my area might not be as bad as other parts of the country with conspiracy-theorist anti-maskers, I’m nervous enough now around other people, due to my risk, if I became sick.”\u003c/p>\n\u003cfigure id=\"attachment_13894050\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/800x600_Singer_Vida_3.15.jpg.jpeg\" alt=\"A woman sings into a microphone\" width=\"800\" height=\"600\" class=\"size-full wp-image-13894050\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/800x600_Singer_Vida_3.15.jpg.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/800x600_Singer_Vida_3.15.jpg-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/800x600_Singer_Vida_3.15.jpg-768x576.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Illustration by Vida Kuang)\u003c/figcaption>\u003c/figure>\n\u003ch2>A Surprisingly Productive Time\u003c/h2>\n\u003cp>\u003ci>While many artists found their creative energies tapped out this year, for some, the new speed of life—one without concerts, tours, commutes and everyday distractions—allowed them to give more space to their practices, and let their work grow in unexpected ways. With little control over anything else in 2020, these artists relished the opportunity to reflect more deeply on their art—and their work flourished as a result.—Sarah Hotchkiss\u003c/i>\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://www.ekishola.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Eki’Shola\u003c/a>, Santa Rosa musician, physician and founder of \u003ci>UNMUTE\u003c/i> magazine\u003c/b>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4161882285/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>“I released the album [\u003ci>Essential\u003c/i>], and the challenge is, ‘Okay I have this album, now what? How do I get it out there?’ … But for better or worse, we’re all plugged in more now. So I just went on a virtual tour. And the beauty of it was that I was able to play for audiences in Japan and the UK and across the country all from my music studio. That was wonderful. 2020 was actually probably one of the more prolific years for me in terms of the opportunities. \u003c/p>\n\u003cp>“It forced me to think outside the box a bit more. If I were to have toured it would have been to music venues. But this time, I was able to really meld the three things I’ve always wanted to do, which is music, mindfulness and wellness. … I ended up being able to do performance, share my story, teach a mindfulness tool and talk about health—all in one hour. And I did that for health care organizations, for colleges, for all different kinds of groups.”\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://www.janiceleelazaro.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Janice Lee Lazaro\u003c/a>, San Leandro singer/songwriter\u003c/b>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/916356599&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>“Now that I no longer have to commute and am spending more time at home, I’ve been dedicating my extra time to writing music and releasing my original songs. With that being said, it has been a great experience to finally be able to devote more time to music, making me feel happier, productive and fulfilled. \u003c/p>\n\u003cp>“The biggest challenge has been learning how to pivot fully remote. I learned to adapt, however, it was a bit of an adjustment to rely on wifi to keep up with Zoom communications with folks. Maintaining relationships has been a huge shift for me to adjust to.” \u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://www.loreneanderson.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Lorene Anderson\u003c/a>, Oakland visual artist\u003c/b>\u003c/p>\n\u003cp>“I had been scheduled for a \u003ca href=\"http://kimperialfineart.com/lorene-anderson-cusp-february-22-march-31-2021/\" rel=\"noopener noreferrer\" target=\"_blank\">solo show\u003c/a> that was supposed to open last fall. So I was working really hard, but when the shutdown happened, everything kind of came to a screeching halt. … After a few days, I decided I wanted to keep the thread of my regular studio practice. I go five days a week, and I was lucky that it was still accessible—I have friends whose buildings were locked.\u003c/p>\n\u003cfigure id=\"attachment_13894040\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Lorene_Anderson-untitled_24-18x24-1.jpeg\" alt=\"\" width=\"1200\" height=\"891\" class=\"size-full wp-image-13894040\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Lorene_Anderson-untitled_24-18x24-1.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Lorene_Anderson-untitled_24-18x24-1-800x594.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Lorene_Anderson-untitled_24-18x24-1-1020x757.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Lorene_Anderson-untitled_24-18x24-1-160x119.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Lorene_Anderson-untitled_24-18x24-1-768x570.jpeg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lorene Anderson, ‘Cleaving Grain,’ 2020; acrylic on panel, 18 x 24 inches. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I felt really compelled to look over the past 30 years of my old work. I don’t know if it’s that feeling of mortality and ‘What’s going to happen to all of us?’ but elements of old work have started creeping into my current work. … Sometimes I feel like I’m just hurtling through my life and studio practice, and to stop and make thoughtful decisions and reflections was something I hadn’t done in a long time, if ever. …\u003c/p>\n\u003cp>“I can be very self-deprecating and doubtful about stuff and maybe not so brave and I think [the pandemic] has made me get rid of that BS, and I feel braver, in a way, about my own work.”\u003c/p>\n\u003cfigure id=\"attachment_13894048\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/4_5_Painter_Vida_3.15.jpg.jpeg\" alt=\"A painter sizes up her subject\" width=\"800\" height=\"600\" class=\"size-full wp-image-13894048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/4_5_Painter_Vida_3.15.jpg.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/4_5_Painter_Vida_3.15.jpg-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/4_5_Painter_Vida_3.15.jpg-768x576.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Illustration by Vida Kuang)\u003c/figcaption>\u003c/figure>\n\u003ch2>Year of the Pivot\u003c/h2>\n\u003cp>\u003cem>Although it hasn’t been easy by any means, some artists have used their time in the pandemic to successfully change gears. Out of necessity, musicians, writers and other performers have learned new skills and become full-on media production houses, filming, editing, recording and organizing online collaborators from their communities and even all over the world. The road has been bumpy, but these evolutions have opened new avenues and expanded their creative practices.–Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.sahbakia.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sahba Aminikia\u003c/a>, San Francisco classical musician, composer and founder of the Flying Carpet Festival\u003c/strong>\u003c/p>\n\u003cp>“2020 has been one of the busiest years for me. I worked on seven different projects, but each of them ended up being becoming basically a \u003ca href=\"https://www.sahbakia.com/videos\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube or Facebook video\u003c/a>.\u003c/p>\n\u003cp>https://youtu.be/W2WxvoK3LJw\u003c/p>\n\u003cp>“In the context of my festival \u003ca href=\"https://www.flyingcarpetfestival.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Flying Carpet\u003c/a>, we work with 5,000, 6,000 children [in Turkey] every year. And this year, we’ve been able to reach out to maybe 200 children through online means, which brings a lot of issues because they’re in an area where data is expensive. … This year, we are planning on creating a home edition of this online Carpet Festival and reaching out to embassies and organizations for the funds to create a magical box that we can send to children in that region. And each box would include 10 to 12 modules created by different artists.\u003c/p>\n\u003cp>“One of the things I learned is that my work has always been in the line of human human rights work.[aside postid='arts_13860293']\u003c/p>\n\u003cp>“I think artists have an essential job in unifying the nation and unifying the people in a real sense, instead of just unifying your own allies or people who think like you. I think it’s the time for artists to reach out to rural areas, to areas where entertainment exists—maybe even good lifestyle exists, privileged lifestyle—but culture does not exist. And it’s a very good time to separate culture from entertainment because culture definitely has an educational aspect to it.”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.autumnallee.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Autumn Allee\u003c/a>, Oakland opera singer, voice coach and creative producer of Exquisite Corpse Projects\u003c/strong>\u003c/p>\n\u003cp>“I had been considering doing a production company for a while, even before the pandemic. The concept was bringing together of artists from completely different mediums to create theater, which is my medium. And so I have a friend who’s a ceramicist. I have a friend who’s a playwright, a friend who is a classical music composer, that kind of thing. Completely different mindsets, completely different artists, bringing them together and create something completely unique.\u003c/p>\n\u003cp>https://www.instagram.com/p/CEMYnPlBr3N/\u003c/p>\n\u003cp>“Once the pandemic happened, I had a couple of goals for what I wanted for the project. I didn’t want to waste artists’ time and I wanted to pay them something. So I came up with an idea to create these short one-minute videos. And each artist watched and responded to another artist’s video, so it creates this chain of videos, each by a different artist taking something from the previous video and transforming it through their own lens and through their own medium, et cetera. Then we presented it and we we got funds through donations, essentially. And then we were able to pay our artists a stipend for the work that they did.”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://bronwynemery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bronwyn Emery\u003c/a>, Alameda writer, writing and creativity coach\u003c/strong>\u003c/p>\n\u003cp>“My personal creative process has taken a backseat because my practice has expanded to meet the needs of people who can’t get together anymore. And writing in particular is an isolated, isolating experience. You write by yourself. But a lot of people need accountability; they thrive in a group setting that has gives them inspiration and motivation. The shelter in place, the pandemic and the existential dread of the past few years has impacted creativity, so coming together in groups has been more important and has had a greater impact. So I spend a lot more time establishing online write-alongs and places to share what you’ve written that day, places to share what you’ve been working on and polishing for a month or two. Places where people can get together and talk about the writing process, different workshops. It’s really kind of taken over. Now I’m at the point where I need to coach myself on where do I find my place to be creative?”\u003c/p>\n\u003cp>\u003ca id=\"typeform\">\u003c/a>\u003c/p>\n\u003cdiv class=\"typeform-widget\" data-url=\"https://form.typeform.com/to/dQxuwlO4?typeform-medium=embed-snippet\" style=\"width: 100%; height: 500px;\">\u003c/div>\n\u003cp> \u003cscript> (function() { var qs,js,q,s,d=document, gi=d.getElementById, ce=d.createElement, gt=d.getElementsByTagName, id=\"typef_orm\", b=\"https://embed.typeform.com/\"; if(!gi.call(d,id)) { js=ce.call(d,\"script\"); js.id=id; js.src=b+\"embed.js\"; q=gt.call(d,\"script\")[0]; q.parentNode.insertBefore(js,q) } })() \u003c/script>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"headline": "Bay Area Artists on Challenges, Unexpected Victories in the Pandemic",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A year ago, on the verge of shelter in place, country singer/songwriter Rosanne Cash offered an encouraging reminder to the world’s artists, writers, musicians and other creatives: that “\u003ca href=\"https://twitter.com/rosannecash/status/1238700345548627969\" target=\"_blank\" rel=\"noopener noreferrer\">when Shakespeare was quarantined because of the plague, he wrote \u003ci>King Lear\u003c/i>\u003c/a>.”\u003c/p>\n\u003cp>Looking back now, things didn’t work out quite so well for most artists in today’s pandemic. With jobs lost, income evaporated and safety nets thinner than ever, the Bay Area’s arts sector was lucky to simply hang on (let alone write a 350-page tragedy).\u003c/p>\n\u003cp>One year into shelter in place, we asked Bay Area artists how the pandemic has affected their creative practice. Several themes emerged: loss of work, loss of inspiration, pivoting to streaming, tackling side hustles and mental health challenges. At the same time, some were able to take advantage of the new pace of life and continued to create.\u003c/p>\n\u003cp>Hear from them below—and if you’re an artist who wants to join the conversation, \u003ca href=\"#typeform\">let us know here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13894049\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/4_5_Writer_Vida_3.15.jpg.jpeg\" alt=\"A man writes in a notebook\" width=\"800\" height=\"640\" class=\"size-full wp-image-13894049\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/4_5_Writer_Vida_3.15.jpg.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/4_5_Writer_Vida_3.15.jpg-160x128.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/4_5_Writer_Vida_3.15.jpg-768x614.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Illustration by Vida Kuang)\u003c/figcaption>\u003c/figure>\n\u003ch2>Losing Inspiration to Create\u003c/h2>\n\u003cp>\u003cem>For many artists we talked to, the dearth of outside stimulus and the gloppy elasticity of time has meant a severe loss of inspiration. Add in guilty feelings from being unproductive, and creative struggles were very, very common.—Gabe Meline\u003c/em> \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://chrisblackdance.wixsite.com/dance/about\" rel=\"noopener noreferrer\" target=\"_blank\">Chris Black\u003c/a>, San Francisco choreographer\u003c/strong>\u003c/p>\n\u003cp>“You know, dance is such a social endeavor. Especially how I’ve made work over the years, it’s just usually very collaborative. And the isolation and the space and combination kind of just made it harder and harder to bother, honestly, or to focus on it, or feel like I was getting anything out of it. … I think the Trump years were kind of hard on me in that department as well, at times. Just with the juggernaut of all of it, my creativity definitely went up and down a lot, even before this. It’s just been harder and harder to focus.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s interesting, before the pandemic, I had this sort of studio practice that was very geared towards still imagery and video. And even that outlet (livestreaming or Zoom), I’ve just not been interested in. There’s something about the idea of making something only for the screen, when I can’t do the other thing that I like so much to do—which is be in a room with people, whether it’s other dancers and/or audience—and it’s just not in the least bit appealing. It’s been really hard for me to watch things, too. I’ve got friends and colleagues who’ve done things online, and even when I want to be supportive, it’s been hard to make myself attend some of those events because it’s kind of heartbreaking.”\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.tanya-rey.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Tanya Rey\u003c/a>, Oakland writer and author\u003c/strong>\u003c/p>\n\u003cp>“I just feel like somehow maybe things just take longer right now. I don’t know about you, but I’m really tired. And it seems like things just seem to take longer than I think they’re going to take, and eat up my day in this way that I just don’t anticipate. And so I can’t necessarily like make time for it, because there is no schedule, you know?\u003c/p>\n\u003cp>“On a day-to-day basis, I’m constantly frustrated that I’m not writing enough … and the harder I am on myself as an artist, that doesn’t breed good grounds for productivity, and it doesn’t breed the best creative self that I know that I can access. So I know that in order to actually make something worthwhile and to enjoy that process, I can’t be too hard on myself. It’s only going to take me twice as long.\u003c/p>\n\u003cp>“So it’s been really challenging. I think that we are experiencing a collective grief. And within that grief, there’s our own personal grieving. I know I’ve lost people, and certain relationships have been strained by this time and distance, and all of that compounds itself. And so I have certainly have had days where I just want to be on the couch or in bed.” \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://traceyrolandelli.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Tracey Rolandelli\u003c/a>, Oakland painter and artist now staying with and helping family in Santa Rosa\u003c/strong>\u003c/p>\n\u003cp>“As an artist who was having two solo shows a year, it has affected me financially. Even my online sales have suffered. It has also affected me creatively, because I haven’t been able to attend live life drawing sessions, which I did weekly. That also was a community near and dear to my social life. A tightknit group that meets at an artist’s house every Tuesday night.\u003c/p>\n\u003cp>“Because I’m high-risk (autoimmune disease related), I also have been affected by not feeling as comfortable going out to sketch in public. To be honest, while my area might not be as bad as other parts of the country with conspiracy-theorist anti-maskers, I’m nervous enough now around other people, due to my risk, if I became sick.”\u003c/p>\n\u003cfigure id=\"attachment_13894050\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/800x600_Singer_Vida_3.15.jpg.jpeg\" alt=\"A woman sings into a microphone\" width=\"800\" height=\"600\" class=\"size-full wp-image-13894050\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/800x600_Singer_Vida_3.15.jpg.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/800x600_Singer_Vida_3.15.jpg-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/800x600_Singer_Vida_3.15.jpg-768x576.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Illustration by Vida Kuang)\u003c/figcaption>\u003c/figure>\n\u003ch2>A Surprisingly Productive Time\u003c/h2>\n\u003cp>\u003ci>While many artists found their creative energies tapped out this year, for some, the new speed of life—one without concerts, tours, commutes and everyday distractions—allowed them to give more space to their practices, and let their work grow in unexpected ways. With little control over anything else in 2020, these artists relished the opportunity to reflect more deeply on their art—and their work flourished as a result.—Sarah Hotchkiss\u003c/i>\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://www.ekishola.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Eki’Shola\u003c/a>, Santa Rosa musician, physician and founder of \u003ci>UNMUTE\u003c/i> magazine\u003c/b>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4161882285/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>“I released the album [\u003ci>Essential\u003c/i>], and the challenge is, ‘Okay I have this album, now what? How do I get it out there?’ … But for better or worse, we’re all plugged in more now. So I just went on a virtual tour. And the beauty of it was that I was able to play for audiences in Japan and the UK and across the country all from my music studio. That was wonderful. 2020 was actually probably one of the more prolific years for me in terms of the opportunities. \u003c/p>\n\u003cp>“It forced me to think outside the box a bit more. If I were to have toured it would have been to music venues. But this time, I was able to really meld the three things I’ve always wanted to do, which is music, mindfulness and wellness. … I ended up being able to do performance, share my story, teach a mindfulness tool and talk about health—all in one hour. And I did that for health care organizations, for colleges, for all different kinds of groups.”\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://www.janiceleelazaro.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Janice Lee Lazaro\u003c/a>, San Leandro singer/songwriter\u003c/b>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/916356599&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>“Now that I no longer have to commute and am spending more time at home, I’ve been dedicating my extra time to writing music and releasing my original songs. With that being said, it has been a great experience to finally be able to devote more time to music, making me feel happier, productive and fulfilled. \u003c/p>\n\u003cp>“The biggest challenge has been learning how to pivot fully remote. I learned to adapt, however, it was a bit of an adjustment to rely on wifi to keep up with Zoom communications with folks. Maintaining relationships has been a huge shift for me to adjust to.” \u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://www.loreneanderson.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Lorene Anderson\u003c/a>, Oakland visual artist\u003c/b>\u003c/p>\n\u003cp>“I had been scheduled for a \u003ca href=\"http://kimperialfineart.com/lorene-anderson-cusp-february-22-march-31-2021/\" rel=\"noopener noreferrer\" target=\"_blank\">solo show\u003c/a> that was supposed to open last fall. So I was working really hard, but when the shutdown happened, everything kind of came to a screeching halt. … After a few days, I decided I wanted to keep the thread of my regular studio practice. I go five days a week, and I was lucky that it was still accessible—I have friends whose buildings were locked.\u003c/p>\n\u003cfigure id=\"attachment_13894040\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Lorene_Anderson-untitled_24-18x24-1.jpeg\" alt=\"\" width=\"1200\" height=\"891\" class=\"size-full wp-image-13894040\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Lorene_Anderson-untitled_24-18x24-1.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Lorene_Anderson-untitled_24-18x24-1-800x594.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Lorene_Anderson-untitled_24-18x24-1-1020x757.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Lorene_Anderson-untitled_24-18x24-1-160x119.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Lorene_Anderson-untitled_24-18x24-1-768x570.jpeg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lorene Anderson, ‘Cleaving Grain,’ 2020; acrylic on panel, 18 x 24 inches. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I felt really compelled to look over the past 30 years of my old work. I don’t know if it’s that feeling of mortality and ‘What’s going to happen to all of us?’ but elements of old work have started creeping into my current work. … Sometimes I feel like I’m just hurtling through my life and studio practice, and to stop and make thoughtful decisions and reflections was something I hadn’t done in a long time, if ever. …\u003c/p>\n\u003cp>“I can be very self-deprecating and doubtful about stuff and maybe not so brave and I think [the pandemic] has made me get rid of that BS, and I feel braver, in a way, about my own work.”\u003c/p>\n\u003cfigure id=\"attachment_13894048\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/4_5_Painter_Vida_3.15.jpg.jpeg\" alt=\"A painter sizes up her subject\" width=\"800\" height=\"600\" class=\"size-full wp-image-13894048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/4_5_Painter_Vida_3.15.jpg.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/4_5_Painter_Vida_3.15.jpg-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/4_5_Painter_Vida_3.15.jpg-768x576.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Illustration by Vida Kuang)\u003c/figcaption>\u003c/figure>\n\u003ch2>Year of the Pivot\u003c/h2>\n\u003cp>\u003cem>Although it hasn’t been easy by any means, some artists have used their time in the pandemic to successfully change gears. Out of necessity, musicians, writers and other performers have learned new skills and become full-on media production houses, filming, editing, recording and organizing online collaborators from their communities and even all over the world. The road has been bumpy, but these evolutions have opened new avenues and expanded their creative practices.–Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.sahbakia.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sahba Aminikia\u003c/a>, San Francisco classical musician, composer and founder of the Flying Carpet Festival\u003c/strong>\u003c/p>\n\u003cp>“2020 has been one of the busiest years for me. I worked on seven different projects, but each of them ended up being becoming basically a \u003ca href=\"https://www.sahbakia.com/videos\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube or Facebook video\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/W2WxvoK3LJw'\n title='//www.youtube.com/embed/W2WxvoK3LJw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“In the context of my festival \u003ca href=\"https://www.flyingcarpetfestival.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Flying Carpet\u003c/a>, we work with 5,000, 6,000 children [in Turkey] every year. And this year, we’ve been able to reach out to maybe 200 children through online means, which brings a lot of issues because they’re in an area where data is expensive. … This year, we are planning on creating a home edition of this online Carpet Festival and reaching out to embassies and organizations for the funds to create a magical box that we can send to children in that region. And each box would include 10 to 12 modules created by different artists.\u003c/p>\n\u003cp>“One of the things I learned is that my work has always been in the line of human human rights work.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think artists have an essential job in unifying the nation and unifying the people in a real sense, instead of just unifying your own allies or people who think like you. I think it’s the time for artists to reach out to rural areas, to areas where entertainment exists—maybe even good lifestyle exists, privileged lifestyle—but culture does not exist. And it’s a very good time to separate culture from entertainment because culture definitely has an educational aspect to it.”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.autumnallee.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Autumn Allee\u003c/a>, Oakland opera singer, voice coach and creative producer of Exquisite Corpse Projects\u003c/strong>\u003c/p>\n\u003cp>“I had been considering doing a production company for a while, even before the pandemic. The concept was bringing together of artists from completely different mediums to create theater, which is my medium. And so I have a friend who’s a ceramicist. I have a friend who’s a playwright, a friend who is a classical music composer, that kind of thing. Completely different mindsets, completely different artists, bringing them together and create something completely unique.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Once the pandemic happened, I had a couple of goals for what I wanted for the project. I didn’t want to waste artists’ time and I wanted to pay them something. So I came up with an idea to create these short one-minute videos. And each artist watched and responded to another artist’s video, so it creates this chain of videos, each by a different artist taking something from the previous video and transforming it through their own lens and through their own medium, et cetera. Then we presented it and we we got funds through donations, essentially. And then we were able to pay our artists a stipend for the work that they did.”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://bronwynemery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bronwyn Emery\u003c/a>, Alameda writer, writing and creativity coach\u003c/strong>\u003c/p>\n\u003cp>“My personal creative process has taken a backseat because my practice has expanded to meet the needs of people who can’t get together anymore. And writing in particular is an isolated, isolating experience. You write by yourself. But a lot of people need accountability; they thrive in a group setting that has gives them inspiration and motivation. The shelter in place, the pandemic and the existential dread of the past few years has impacted creativity, so coming together in groups has been more important and has had a greater impact. So I spend a lot more time establishing online write-alongs and places to share what you’ve written that day, places to share what you’ve been working on and polishing for a month or two. Places where people can get together and talk about the writing process, different workshops. It’s really kind of taken over. Now I’m at the point where I need to coach myself on where do I find my place to be creative?”\u003c/p>\n\u003cp>\u003ca id=\"typeform\">\u003c/a>\u003c/p>\n\u003cdiv class=\"typeform-widget\" data-url=\"https://form.typeform.com/to/dQxuwlO4?typeform-medium=embed-snippet\" style=\"width: 100%; height: 500px;\">\u003c/div>\n\u003cp> \u003cscript> (function() { var qs,js,q,s,d=document, gi=d.getElementById, ce=d.createElement, gt=d.getElementsByTagName, id=\"typef_orm\", b=\"https://embed.typeform.com/\"; if(!gi.call(d,id)) { js=ce.call(d,\"script\"); js.id=id; js.src=b+\"embed.js\"; q=gt.call(d,\"script\")[0]; q.parentNode.insertBefore(js,q) } })() \u003c/script>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Now Playing! Acting Madly, Behaving Badly",
"headTitle": "Now Playing! Acting Madly, Behaving Badly | KQED",
"content": "\u003cp>Theaters have reopened in and around San Francisco, which is cause for celebration as a benchmark in our battle with the virus. I’ll raise a small glass, as I’m not quite ready to partake in group activities indoors. Another toast is in order this week to the thrill of brilliant acting, Euro-style, with career highlights of Max Von Sydow, Mads Mikkelsen and Sir Anthony Hopkins.\u003c/p>\n\u003cp>\u003cstrong>Max Von Sydow: The Best Stradivarius\u003c/strong>\u003cbr>\nThrough Apr. 30\u003cbr>\n\u003ca href=\"https://bampfa.org/watch-from-home/max-von-sydow-best-stradivarius\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a>, \u003ca href=\"https://rafaelfilm.cafilm.org/max-von-sydow/\" rel=\"noopener noreferrer\" target=\"_blank\">Rafael@Home\u003c/a>\u003c/p>\n\u003cp>Movie history sparkles with long-running director-actor relationships: Josef von Sternberg and Marlene Dietrich, Jean Renoir and Jean Gabin, Akira Kurosawa and Toshiro Mifune, John Ford and John Wayne, Federico Fellini and Marcello Mastroianni, Martin Scorsese and Robert De Niro and, of course, Ingmar Bergman and Max Von Sydow. A year after the great Swedish actor’s death at 90, a mini-retrospective dazzles us with a couple Scandinavian landmarks and four of his extraordinary collaborations with Bergman, spanning \u003cem>The Seventh Seal\u003c/em> (1957) to \u003cem>The Passion of Anna\u003c/em> (1969).\u003c/p>\n\u003cp>Von Sydow’s air of taciturn, winking mystery was well-suited to Bergman’s fascination with the mask of public behavior and the intimacy of private life. The actor’s sinewy strength and sex appeal, meanwhile, amplified his director’s theme of passion, its pleasures and its price. One of cinema’s great walkers, Von Sydow could move—depending on the characer—like an athlete, a prince, a predator, or a protector.\u003c/p>\n\u003cp>In \u003cem>The Magician\u003c/em> (1958), a gorgeous, razor-sharp tale of a 19th century illusionist compelled to give a house performance for arrogant authorities, Von Sydow haunts the screen with barely a spoken line. As the titular artist-slash-charlatan whose audience taunts and envies him, resenting the trickster even as they crave being fooled, Von Sydow simultaneously conveys respect for his craft and disgust for the spectators. It is a delicious performance by an immortal actor in a timeless film.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/xlwAgvn1e5E\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Another Round\u003c/strong>\u003c/em>\u003cbr>\nNow streaming\u003cbr>\n\u003ca href=\"https://samuelgoldwynfilms.vhx.tv/products/another-round-cinemasf\" rel=\"noopener noreferrer\" target=\"_blank\">Cinema SF\u003c/a> (Balboa, Vogue; online)\u003c/p>\n\u003cp>The most acclaimed European film of 2020, Thomas Vinterberg’s boozy tragicomedy has been streaming hereabouts for a couple months. I’m late to the party and a couple drinks behind, but I’ve arrived before \u003cem>Another Round\u003c/em> scores an Oscar nomination for International Feature Film on Monday and St. Patrick’s Day sends people streaming and screaming into parklets on Wednesday. A couple of hours spent with Mads Mikkelsen and company before the erstwhile holiday may dissuade a few wise souls from the humiliation and fallout of public drunkenness.\u003c/p>\n\u003cp>Four fortysomething friends, intrigued by some wag’s theory that the optimal blood alcohol level is somewhat higher than zero, embark on a scientific experiment which entails drinking from dawn to dusk. All are high school teachers, a couple (including Mikkelsen’s character) have families, but most crucially they’re at that numb stage where routine and responsibility have drowned potential and promise.\u003c/p>\n\u003cp>We’re in Cassavetes territory, although John and his pals Ben Gazzara and Peter Falk never made middle age look especially fun. Mikkelsen and his castmates—abetted by the freedom of Sturla Brandth Grøvlen’s handheld camerawork—embody the seductive allure of letting go. For a while, that is, until tippling breakthroughs topple into breakdowns.\u003c/p>\n\u003cp>Mikkelsen is adept at playing an Everyman, which in itself is a stellar feat for a movie star. Even rarer, he can fit into an ensemble piece without throwing off the balance or demanding the spotlight. If we can’t take our eyes off him, even when he’s sharing the screen, it’s because it’s so much fun watching the pleasure he takes in acting.\u003c/p>\n\u003cfigure id=\"attachment_13894033\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/1.-Olivia-Colman-as-Anne-Anthony-Hopkins-as-Anthony-in-THE-FATHER.-Photo-by-Sean-Gleason.-Courtesy-of-Sony-Pictures-Classics_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13894033\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/1.-Olivia-Colman-as-Anne-Anthony-Hopkins-as-Anthony-in-THE-FATHER.-Photo-by-Sean-Gleason.-Courtesy-of-Sony-Pictures-Classics_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/1.-Olivia-Colman-as-Anne-Anthony-Hopkins-as-Anthony-in-THE-FATHER.-Photo-by-Sean-Gleason.-Courtesy-of-Sony-Pictures-Classics_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/1.-Olivia-Colman-as-Anne-Anthony-Hopkins-as-Anthony-in-THE-FATHER.-Photo-by-Sean-Gleason.-Courtesy-of-Sony-Pictures-Classics_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/1.-Olivia-Colman-as-Anne-Anthony-Hopkins-as-Anthony-in-THE-FATHER.-Photo-by-Sean-Gleason.-Courtesy-of-Sony-Pictures-Classics_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/1.-Olivia-Colman-as-Anne-Anthony-Hopkins-as-Anthony-in-THE-FATHER.-Photo-by-Sean-Gleason.-Courtesy-of-Sony-Pictures-Classics_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Olivia Colman and Anthony Hopkins in ‘The Father,’ 2020. \u003ccite>(Photo by Sam Gleason; courtesy Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>The Father\u003c/strong>\u003c/em>\u003cbr>\nNow playing\u003cbr>\n\u003ca href=\"https://www.landmarktheatres.com/san-francisco/embarcadero-center-cinema\" rel=\"noopener noreferrer\" target=\"_blank\">Embarcadero Center Cinema\u003c/a> (in person!)\u003c/p>\n\u003cp>Sir Anthony Hopkins, like so many lions of British stage and screen before him, has a gift for commanding our attention regardless of the material, the setting or who’s opposite him. The beauty of his Oscar-nominated portrayal in \u003cem>The Father\u003c/em>, as an aging figure of forceful personality, power and intellect named Anthony, is its complete avoidance of tics and tricks. As his memory fades and plays tricks on him, Anthony’s impulse is to maintain control through a kind of mannered performance. Sir Anthony’s brilliance is showing the frightened, angry man behind the façade.\u003c/p>\n\u003cp>Florian Zeller’s screen adaptation doesn’t open up his acclaimed play beyond the confines of well-appointed flats, but it hardly needs to when it has Hopkins and Olivia Colman (as Anthony’s devoted yet conflicted daughter) carrying the ball (with the pinpoint support of Mark Gattis, Imogen Poots and Rufus Sewell). That said, Zeller smartly employs cinematic techniques like jump cuts and off-camera sound to punch home the time-shifting nature of Anthony’s declining mental faculties (as opposed to a linear worsening of his memory)—which, unusually, provide the plot twists, turns and revelations.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Father\u003c/em> is a focused and fraught work that doesn’t turn the emotional taps in the same way as other films in the burgeoning “elders at a crossroads” genre. It’s not about loss and grief, but the battle and the wounds. Hopkins and Colman do not compromise a whit in what is an unflinching, unexpectedly sharp-elbowed film.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Theaters have reopened in and around San Francisco, which is cause for celebration as a benchmark in our battle with the virus. I’ll raise a small glass, as I’m not quite ready to partake in group activities indoors. Another toast is in order this week to the thrill of brilliant acting, Euro-style, with career highlights of Max Von Sydow, Mads Mikkelsen and Sir Anthony Hopkins.\u003c/p>\n\u003cp>\u003cstrong>Max Von Sydow: The Best Stradivarius\u003c/strong>\u003cbr>\nThrough Apr. 30\u003cbr>\n\u003ca href=\"https://bampfa.org/watch-from-home/max-von-sydow-best-stradivarius\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a>, \u003ca href=\"https://rafaelfilm.cafilm.org/max-von-sydow/\" rel=\"noopener noreferrer\" target=\"_blank\">Rafael@Home\u003c/a>\u003c/p>\n\u003cp>Movie history sparkles with long-running director-actor relationships: Josef von Sternberg and Marlene Dietrich, Jean Renoir and Jean Gabin, Akira Kurosawa and Toshiro Mifune, John Ford and John Wayne, Federico Fellini and Marcello Mastroianni, Martin Scorsese and Robert De Niro and, of course, Ingmar Bergman and Max Von Sydow. A year after the great Swedish actor’s death at 90, a mini-retrospective dazzles us with a couple Scandinavian landmarks and four of his extraordinary collaborations with Bergman, spanning \u003cem>The Seventh Seal\u003c/em> (1957) to \u003cem>The Passion of Anna\u003c/em> (1969).\u003c/p>\n\u003cp>Von Sydow’s air of taciturn, winking mystery was well-suited to Bergman’s fascination with the mask of public behavior and the intimacy of private life. The actor’s sinewy strength and sex appeal, meanwhile, amplified his director’s theme of passion, its pleasures and its price. One of cinema’s great walkers, Von Sydow could move—depending on the characer—like an athlete, a prince, a predator, or a protector.\u003c/p>\n\u003cp>In \u003cem>The Magician\u003c/em> (1958), a gorgeous, razor-sharp tale of a 19th century illusionist compelled to give a house performance for arrogant authorities, Von Sydow haunts the screen with barely a spoken line. As the titular artist-slash-charlatan whose audience taunts and envies him, resenting the trickster even as they crave being fooled, Von Sydow simultaneously conveys respect for his craft and disgust for the spectators. It is a delicious performance by an immortal actor in a timeless film.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/xlwAgvn1e5E'\n title='//www.youtube.com/embed/xlwAgvn1e5E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>\u003cstrong>Another Round\u003c/strong>\u003c/em>\u003cbr>\nNow streaming\u003cbr>\n\u003ca href=\"https://samuelgoldwynfilms.vhx.tv/products/another-round-cinemasf\" rel=\"noopener noreferrer\" target=\"_blank\">Cinema SF\u003c/a> (Balboa, Vogue; online)\u003c/p>\n\u003cp>The most acclaimed European film of 2020, Thomas Vinterberg’s boozy tragicomedy has been streaming hereabouts for a couple months. I’m late to the party and a couple drinks behind, but I’ve arrived before \u003cem>Another Round\u003c/em> scores an Oscar nomination for International Feature Film on Monday and St. Patrick’s Day sends people streaming and screaming into parklets on Wednesday. A couple of hours spent with Mads Mikkelsen and company before the erstwhile holiday may dissuade a few wise souls from the humiliation and fallout of public drunkenness.\u003c/p>\n\u003cp>Four fortysomething friends, intrigued by some wag’s theory that the optimal blood alcohol level is somewhat higher than zero, embark on a scientific experiment which entails drinking from dawn to dusk. All are high school teachers, a couple (including Mikkelsen’s character) have families, but most crucially they’re at that numb stage where routine and responsibility have drowned potential and promise.\u003c/p>\n\u003cp>We’re in Cassavetes territory, although John and his pals Ben Gazzara and Peter Falk never made middle age look especially fun. Mikkelsen and his castmates—abetted by the freedom of Sturla Brandth Grøvlen’s handheld camerawork—embody the seductive allure of letting go. For a while, that is, until tippling breakthroughs topple into breakdowns.\u003c/p>\n\u003cp>Mikkelsen is adept at playing an Everyman, which in itself is a stellar feat for a movie star. Even rarer, he can fit into an ensemble piece without throwing off the balance or demanding the spotlight. If we can’t take our eyes off him, even when he’s sharing the screen, it’s because it’s so much fun watching the pleasure he takes in acting.\u003c/p>\n\u003cfigure id=\"attachment_13894033\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/1.-Olivia-Colman-as-Anne-Anthony-Hopkins-as-Anthony-in-THE-FATHER.-Photo-by-Sean-Gleason.-Courtesy-of-Sony-Pictures-Classics_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13894033\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/1.-Olivia-Colman-as-Anne-Anthony-Hopkins-as-Anthony-in-THE-FATHER.-Photo-by-Sean-Gleason.-Courtesy-of-Sony-Pictures-Classics_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/1.-Olivia-Colman-as-Anne-Anthony-Hopkins-as-Anthony-in-THE-FATHER.-Photo-by-Sean-Gleason.-Courtesy-of-Sony-Pictures-Classics_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/1.-Olivia-Colman-as-Anne-Anthony-Hopkins-as-Anthony-in-THE-FATHER.-Photo-by-Sean-Gleason.-Courtesy-of-Sony-Pictures-Classics_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/1.-Olivia-Colman-as-Anne-Anthony-Hopkins-as-Anthony-in-THE-FATHER.-Photo-by-Sean-Gleason.-Courtesy-of-Sony-Pictures-Classics_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/1.-Olivia-Colman-as-Anne-Anthony-Hopkins-as-Anthony-in-THE-FATHER.-Photo-by-Sean-Gleason.-Courtesy-of-Sony-Pictures-Classics_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Olivia Colman and Anthony Hopkins in ‘The Father,’ 2020. \u003ccite>(Photo by Sam Gleason; courtesy Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>The Father\u003c/strong>\u003c/em>\u003cbr>\nNow playing\u003cbr>\n\u003ca href=\"https://www.landmarktheatres.com/san-francisco/embarcadero-center-cinema\" rel=\"noopener noreferrer\" target=\"_blank\">Embarcadero Center Cinema\u003c/a> (in person!)\u003c/p>\n\u003cp>Sir Anthony Hopkins, like so many lions of British stage and screen before him, has a gift for commanding our attention regardless of the material, the setting or who’s opposite him. The beauty of his Oscar-nominated portrayal in \u003cem>The Father\u003c/em>, as an aging figure of forceful personality, power and intellect named Anthony, is its complete avoidance of tics and tricks. As his memory fades and plays tricks on him, Anthony’s impulse is to maintain control through a kind of mannered performance. Sir Anthony’s brilliance is showing the frightened, angry man behind the façade.\u003c/p>\n\u003cp>Florian Zeller’s screen adaptation doesn’t open up his acclaimed play beyond the confines of well-appointed flats, but it hardly needs to when it has Hopkins and Olivia Colman (as Anthony’s devoted yet conflicted daughter) carrying the ball (with the pinpoint support of Mark Gattis, Imogen Poots and Rufus Sewell). That said, Zeller smartly employs cinematic techniques like jump cuts and off-camera sound to punch home the time-shifting nature of Anthony’s declining mental faculties (as opposed to a linear worsening of his memory)—which, unusually, provide the plot twists, turns and revelations.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Father\u003c/em> is a focused and fraught work that doesn’t turn the emotional taps in the same way as other films in the burgeoning “elders at a crossroads” genre. It’s not about loss and grief, but the battle and the wounds. Hopkins and Colman do not compromise a whit in what is an unflinching, unexpectedly sharp-elbowed film.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Mank’ Leads Oscar Nominations in a Year When it's Easy to Judge For Yourself",
"headTitle": "‘Mank’ Leads Oscar Nominations in a Year When it’s Easy to Judge For Yourself | KQED",
"content": "\u003cp>Hollywood loves a movie about Hollywood, so it’s no real surprise that the Oscar nominations on Monday morning were led by \u003cem>Mank\u003c/em>, director David Fincher’s story about the writing of \u003cem>Citizen Kane\u003c/em>. It landed 10 nominations: best picture, actor (Gary Oldman), supporting actress (Amanda Seyfried), directing, cinematography, costume design, makeup, sound, production design and score.\u003c/p>\n\u003cp>Including \u003cem>Mank\u003c/em>, there are a total of eight best picture contenders: \u003cem>The Trial of the Chicago 7\u003c/em>, \u003cem>Minari\u003c/em>, \u003cem>The Father\u003c/em>, \u003cem>Judas and the Black Messiah\u003c/em>, \u003cem>Nomadland\u003c/em> and \u003cem>Sound of Metal\u003c/em>, all of which had six nominations total; and \u003cem>Promising Young Woman\u003c/em>, which had five. (See the full \u003ca href=\"https://www.oscars.org/oscars/ceremonies/2021\" target=\"_blank\" rel=\"noopener noreferrer\">nominations list for the 93rd Academy Awards here\u003c/a>.) [aside postid='arts_13890020']\u003c/p>\n\u003cp>And among the top films, there are certainly firsts. It’s the first year two women—Chloé Zhao for \u003cem>Nomadland\u003c/em> and Emerald Fennell for \u003cem>Promising Young Woman\u003c/em>—have been nominated for best director, and Zhao is the first woman of color nominated and the first woman to have four nominations in one year. (Her other nominations are for writing, editing and producing the film.) Steven Yeun in \u003cem>Minari\u003c/em> is the first Asian American actor, and Riz Ahmed the first actor of Pakistani heritage, to be nominated as leads.\u003c/p>\n\u003cp>Many expect the lead actor Oscar to be awarded posthumously to Chadwick Boseman, who died in August, for his final film role in \u003cem>Ma Rainey’s Black Bottom\u003c/em>; Viola Davis was also nominated for her work in that film. Rounding out the best actor category is Anthony Hopkins, who plays a man dealing with the onset of dementia in the unusually structured film \u003cem>The Father\u003c/em>. (Note: Daniel Kaluuya and LaKeith Stanfield were both nominated for \u003cem>Judas and the Black Messiah\u003c/em>, in the supporting actor category.)\u003c/p>\n\u003cp>In the lead actress race, Davis will face Andra Day in \u003cem>The United States vs. Billie Holiday\u003c/em>, Frances McDormand in \u003cem>Nomadland\u003c/em>, Vanessa Kirby in \u003cem>Pieces of a Woman\u003c/em>, and Carey Mulligan in \u003cem>Promising Young Woman\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Other nominations are certainly more conventional, such as the recognition of the somewhat dutiful \u003cem>The Trial of the Chicago 7\u003c/em>, written and directed by Aaron Sorkin, for which Sacha Baron Cohen was nominated for his portrayal of Abbie Hoffman. (Great men, check. Historical figures, check. Courtroom drama, check.) Glenn Close was nominated for her heavily disguised work in the poorly reviewed \u003cem>Hillbilly Elegy\u003c/em>, which perhaps tellingly got its only other nomination for makeup.\u003c/p>\n\u003cp>As happens every year, this crop of nominees has a lot of delights: The strong showing for \u003cem>Minari\u003c/em>—including nominations for lead actor Steven Yeun, supporting actress Yuh-jung Youn, and director Lee Isaac Chung—follows its disappointing and somewhat baffling move to the foreign language film category at the Golden Globes. (It is an American-made and American-set film.) The academy doesn’t often recognize a purely, truly comedic performance—especially an extravagantly silly one—in the acting categories, but Maria Bakalova grabbed a nomination for \u003cem>Borat Subsequent Moviefilm\u003c/em>. And it’s lovely to see a nomination for \u003cem>Wolfwalkers\u003c/em>, an animated feature that’s nothing like the style of Pixar or Disney, and which sits over on Apple TV+, just waiting to be watched. [aside postid='arts_13893976']\u003c/p>\n\u003cp>But as always, there are nominations that were expected or hoped for that didn’t come through, probably none more noted this year than Delroy Lindo, who was absent for his work in Spike Lee’s \u003cem>Da 5 Bloods\u003c/em>. Regina King, who made her feature directing debut with \u003cem>One Night In Miami\u003c/em>, wasn’t nominated, and the film missed out on best picture, although Leslie Odom Jr. was nominated as a supporting actor for playing Sam Cooke.\u003c/p>\n\u003cp>Another first that’s likely to set the tone for the awards is directly related to the pandemic that shut down theaters in many places for much of 2020: It’s the first year most of the best picture nominees, and most of the other major nominees as well, have been widely available to watch at home for at least some period of time prior to the nominations. The one exception in the best picture category is \u003cem>The Father\u003c/em>, starring nominee Anthony Hopkins, which won’t hit streaming until March 26—which is still well before the ceremony on April 25. It’s possible that by Oscar night, a lot more people than ever before will have seen all (or nearly all) of the nominees, at least in the feature categories.\u003c/p>\n\u003cp>Whether these nods please you or not, you’re probably in a better position to have strong opinions than you’ve been in past years. How pleased you’ll be with the outcomes remains to be seen.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2021 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "Thanks to streaming services, if you want to pick your own favorites, this is the year to do it.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hollywood loves a movie about Hollywood, so it’s no real surprise that the Oscar nominations on Monday morning were led by \u003cem>Mank\u003c/em>, director David Fincher’s story about the writing of \u003cem>Citizen Kane\u003c/em>. It landed 10 nominations: best picture, actor (Gary Oldman), supporting actress (Amanda Seyfried), directing, cinematography, costume design, makeup, sound, production design and score.\u003c/p>\n\u003cp>Including \u003cem>Mank\u003c/em>, there are a total of eight best picture contenders: \u003cem>The Trial of the Chicago 7\u003c/em>, \u003cem>Minari\u003c/em>, \u003cem>The Father\u003c/em>, \u003cem>Judas and the Black Messiah\u003c/em>, \u003cem>Nomadland\u003c/em> and \u003cem>Sound of Metal\u003c/em>, all of which had six nominations total; and \u003cem>Promising Young Woman\u003c/em>, which had five. (See the full \u003ca href=\"https://www.oscars.org/oscars/ceremonies/2021\" target=\"_blank\" rel=\"noopener noreferrer\">nominations list for the 93rd Academy Awards here\u003c/a>.) \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And among the top films, there are certainly firsts. It’s the first year two women—Chloé Zhao for \u003cem>Nomadland\u003c/em> and Emerald Fennell for \u003cem>Promising Young Woman\u003c/em>—have been nominated for best director, and Zhao is the first woman of color nominated and the first woman to have four nominations in one year. (Her other nominations are for writing, editing and producing the film.) Steven Yeun in \u003cem>Minari\u003c/em> is the first Asian American actor, and Riz Ahmed the first actor of Pakistani heritage, to be nominated as leads.\u003c/p>\n\u003cp>Many expect the lead actor Oscar to be awarded posthumously to Chadwick Boseman, who died in August, for his final film role in \u003cem>Ma Rainey’s Black Bottom\u003c/em>; Viola Davis was also nominated for her work in that film. Rounding out the best actor category is Anthony Hopkins, who plays a man dealing with the onset of dementia in the unusually structured film \u003cem>The Father\u003c/em>. (Note: Daniel Kaluuya and LaKeith Stanfield were both nominated for \u003cem>Judas and the Black Messiah\u003c/em>, in the supporting actor category.)\u003c/p>\n\u003cp>In the lead actress race, Davis will face Andra Day in \u003cem>The United States vs. Billie Holiday\u003c/em>, Frances McDormand in \u003cem>Nomadland\u003c/em>, Vanessa Kirby in \u003cem>Pieces of a Woman\u003c/em>, and Carey Mulligan in \u003cem>Promising Young Woman\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Other nominations are certainly more conventional, such as the recognition of the somewhat dutiful \u003cem>The Trial of the Chicago 7\u003c/em>, written and directed by Aaron Sorkin, for which Sacha Baron Cohen was nominated for his portrayal of Abbie Hoffman. (Great men, check. Historical figures, check. Courtroom drama, check.) Glenn Close was nominated for her heavily disguised work in the poorly reviewed \u003cem>Hillbilly Elegy\u003c/em>, which perhaps tellingly got its only other nomination for makeup.\u003c/p>\n\u003cp>As happens every year, this crop of nominees has a lot of delights: The strong showing for \u003cem>Minari\u003c/em>—including nominations for lead actor Steven Yeun, supporting actress Yuh-jung Youn, and director Lee Isaac Chung—follows its disappointing and somewhat baffling move to the foreign language film category at the Golden Globes. (It is an American-made and American-set film.) The academy doesn’t often recognize a purely, truly comedic performance—especially an extravagantly silly one—in the acting categories, but Maria Bakalova grabbed a nomination for \u003cem>Borat Subsequent Moviefilm\u003c/em>. And it’s lovely to see a nomination for \u003cem>Wolfwalkers\u003c/em>, an animated feature that’s nothing like the style of Pixar or Disney, and which sits over on Apple TV+, just waiting to be watched. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But as always, there are nominations that were expected or hoped for that didn’t come through, probably none more noted this year than Delroy Lindo, who was absent for his work in Spike Lee’s \u003cem>Da 5 Bloods\u003c/em>. Regina King, who made her feature directing debut with \u003cem>One Night In Miami\u003c/em>, wasn’t nominated, and the film missed out on best picture, although Leslie Odom Jr. was nominated as a supporting actor for playing Sam Cooke.\u003c/p>\n\u003cp>Another first that’s likely to set the tone for the awards is directly related to the pandemic that shut down theaters in many places for much of 2020: It’s the first year most of the best picture nominees, and most of the other major nominees as well, have been widely available to watch at home for at least some period of time prior to the nominations. The one exception in the best picture category is \u003cem>The Father\u003c/em>, starring nominee Anthony Hopkins, which won’t hit streaming until March 26—which is still well before the ceremony on April 25. It’s possible that by Oscar night, a lot more people than ever before will have seen all (or nearly all) of the nominees, at least in the feature categories.\u003c/p>\n\u003cp>Whether these nods please you or not, you’re probably in a better position to have strong opinions than you’ve been in past years. How pleased you’ll be with the outcomes remains to be seen.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2021 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Instead of continually bemoaning that the pandemic is denying me access to physical spaces and the stuff they hold (books, art, films, etc.), I’m trying to think of this period of intangibility as one of research for future consumption. The list of “things to read and see” is growing, but this only makes me more excited for the day when I can start checking things off. The latest (heavily underlined) addition, thanks to the Berkeley Art Museum and Pacific Film Archive’s \u003ci>Out of the Vault\u003c/i> online series, is the life and work of painter and experimental filmmaker \u003ca href=\"https://bampfa.org/event/sara-kathryn-arledge-films-and-art\" rel=\"noopener noreferrer\" target=\"_blank\">Sara Kathryn Arledge\u003c/a>. \u003c/p>\n\u003cp>\u003ci>Out of the Vault\u003c/i> highlights works in the museum’s collection and, as a result, the importance of archival care. Its current offering, a streaming package of six short videos—digitized versions of Arledge’s mesmerizing work, along with an introduction by film curator Kathy Geritz and biographical presentation by Terry Cannon—is one of the most persuasive cases for preserving strange and precarious artwork that I’ve ever heard.\u003c/p>\n\u003cp>BAMPFA holds Arledge’s films, transparencies and papers thanks to Cannon, who met the artist in 1976 when he was director of Pasadena FilmForum, and who passed away in August 2020. Arledge was in her mid-60s when they met, and while Cannon was thrilled to present her experimental films to new audiences, she was busy with another medium at the time: tiny paintings made on glass slide transparencies to which she melted fragments of colored lighting gels, manipulating the surfaces with toothpicks, Q-tips, napkins and pens.\u003c/p>\n\u003cfigure id=\"attachment_13893947\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Portrait_Sara-Kathryn-Arledge_001-800x650.jpg\" alt=\"\" width=\"800\" height=\"650\" class=\"size-medium wp-image-13893947\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Portrait_Sara-Kathryn-Arledge_001-800x650.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Portrait_Sara-Kathryn-Arledge_001-1020x828.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Portrait_Sara-Kathryn-Arledge_001-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Portrait_Sara-Kathryn-Arledge_001-768x624.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Portrait_Sara-Kathryn-Arledge_001-1536x1247.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Portrait_Sara-Kathryn-Arledge_001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sara Kathryn Arledge. \u003ccite>(Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cannon describes these small paintings, which Arledge would enlarge by projecting light through them, as having a three-dimensional “undulating sparkle effect” impossible to fully capture in reproduction. And here’s where BAMPFA’s presentation of Arledge’s work whets the palate. One video is a silent slideshow of too many of Arledge’s transparencies to count, the other a “stable” film she made to document her fragile black-and-white transparency work, \u003ci>Interior Garden II\u003c/i> (1978). Both induce the feeling of staring up at a night sky and trying to identify constellations; both filled me with an urge to learn as much as I could about Arledge’s enigmatic work. \u003c/p>\n\u003cp>I won’t spoil the nail-biter of a story Cannon tells of how he came to be in charge of Arledge’s oeuvre. She died in a Santa Cruz care facility in 1998 after living with dementia for many years. Her life story spans the state, with stints in Pasadena and the Bay Area (enjoying the local experimental film community and teaching at California College of Arts and Crafts). And her films still hold power, as evidenced by the ethereal dance-filled piece \u003ci>Introspections\u003c/i> (1941–47) and the slyly cryptic \u003ci>What is a Man?\u003c/i> (1958).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If, after watching all of the above, you feel as I did (hungry for more), you’ll be happy to know the rental of BAMPFA’s streaming package includes access to a live event on Sunday, March 14 at 5pm PST: a celebration and reading of \u003ci>\u003ca href=\"https://www.armoryarts.org/schedule/2021/arledge-book/\" rel=\"noopener noreferrer\" target=\"_blank\">Serene for the Moment\u003c/a>\u003c/i>, a new book published by Pasadena’s Armory Center for the Arts, and the first extended monograph on Arledge’s work. The event will include an illustrated presentation by the Armory’s Director of Exhibition Programs/Chief Curator Irene Georgia Tsatsos and a reading from Arledge’s memoir by filmmaker Kerry Laitala.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Sara Kathryn Arledge’s Films and Art’ is streaming on BAMPFA through April 11. \u003ca href=\"https://bampfa.org/event/sara-kathryn-arledge-films-and-art\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Instead of continually bemoaning that the pandemic is denying me access to physical spaces and the stuff they hold (books, art, films, etc.), I’m trying to think of this period of intangibility as one of research for future consumption. The list of “things to read and see” is growing, but this only makes me more excited for the day when I can start checking things off. The latest (heavily underlined) addition, thanks to the Berkeley Art Museum and Pacific Film Archive’s \u003ci>Out of the Vault\u003c/i> online series, is the life and work of painter and experimental filmmaker \u003ca href=\"https://bampfa.org/event/sara-kathryn-arledge-films-and-art\" rel=\"noopener noreferrer\" target=\"_blank\">Sara Kathryn Arledge\u003c/a>. \u003c/p>\n\u003cp>\u003ci>Out of the Vault\u003c/i> highlights works in the museum’s collection and, as a result, the importance of archival care. Its current offering, a streaming package of six short videos—digitized versions of Arledge’s mesmerizing work, along with an introduction by film curator Kathy Geritz and biographical presentation by Terry Cannon—is one of the most persuasive cases for preserving strange and precarious artwork that I’ve ever heard.\u003c/p>\n\u003cp>BAMPFA holds Arledge’s films, transparencies and papers thanks to Cannon, who met the artist in 1976 when he was director of Pasadena FilmForum, and who passed away in August 2020. Arledge was in her mid-60s when they met, and while Cannon was thrilled to present her experimental films to new audiences, she was busy with another medium at the time: tiny paintings made on glass slide transparencies to which she melted fragments of colored lighting gels, manipulating the surfaces with toothpicks, Q-tips, napkins and pens.\u003c/p>\n\u003cfigure id=\"attachment_13893947\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Portrait_Sara-Kathryn-Arledge_001-800x650.jpg\" alt=\"\" width=\"800\" height=\"650\" class=\"size-medium wp-image-13893947\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Portrait_Sara-Kathryn-Arledge_001-800x650.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Portrait_Sara-Kathryn-Arledge_001-1020x828.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Portrait_Sara-Kathryn-Arledge_001-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Portrait_Sara-Kathryn-Arledge_001-768x624.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Portrait_Sara-Kathryn-Arledge_001-1536x1247.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Portrait_Sara-Kathryn-Arledge_001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sara Kathryn Arledge. \u003ccite>(Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cannon describes these small paintings, which Arledge would enlarge by projecting light through them, as having a three-dimensional “undulating sparkle effect” impossible to fully capture in reproduction. And here’s where BAMPFA’s presentation of Arledge’s work whets the palate. One video is a silent slideshow of too many of Arledge’s transparencies to count, the other a “stable” film she made to document her fragile black-and-white transparency work, \u003ci>Interior Garden II\u003c/i> (1978). Both induce the feeling of staring up at a night sky and trying to identify constellations; both filled me with an urge to learn as much as I could about Arledge’s enigmatic work. \u003c/p>\n\u003cp>I won’t spoil the nail-biter of a story Cannon tells of how he came to be in charge of Arledge’s oeuvre. She died in a Santa Cruz care facility in 1998 after living with dementia for many years. Her life story spans the state, with stints in Pasadena and the Bay Area (enjoying the local experimental film community and teaching at California College of Arts and Crafts). And her films still hold power, as evidenced by the ethereal dance-filled piece \u003ci>Introspections\u003c/i> (1941–47) and the slyly cryptic \u003ci>What is a Man?\u003c/i> (1958).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If, after watching all of the above, you feel as I did (hungry for more), you’ll be happy to know the rental of BAMPFA’s streaming package includes access to a live event on Sunday, March 14 at 5pm PST: a celebration and reading of \u003ci>\u003ca href=\"https://www.armoryarts.org/schedule/2021/arledge-book/\" rel=\"noopener noreferrer\" target=\"_blank\">Serene for the Moment\u003c/a>\u003c/i>, a new book published by Pasadena’s Armory Center for the Arts, and the first extended monograph on Arledge’s work. The event will include an illustrated presentation by the Armory’s Director of Exhibition Programs/Chief Curator Irene Georgia Tsatsos and a reading from Arledge’s memoir by filmmaker Kerry Laitala.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Sara Kathryn Arledge’s Films and Art’ is streaming on BAMPFA through April 11. \u003ca href=\"https://bampfa.org/event/sara-kathryn-arledge-films-and-art\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Reel Talk: Jon and Alba on the 'Heartbeat' of Film",
"headTitle": "Reel Talk: Jon and Alba on the ‘Heartbeat’ of Film | KQED",
"content": "\u003cp>\u003cem>\u003cstrong>Over a span of 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=KQINC4172072923&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>San Francisco State graduates \u003ca href=\"https://www.instagram.com/albogold/\" target=\"_blank\" rel=\"noopener noreferrer\">Alba Roland Mejia\u003c/a> and \u003ca href=\"https://www.instagram.com/jonharrisonsb/\" target=\"_blank\" rel=\"noopener noreferrer\">Jon Warfield Harrison\u003c/a> are in the early stages of their careers as filmmakers, but their work is already being supported by the likes of \u003ca href=\"https://www.instagram.com/j0in_the_m0vement_c0aliti0n/\" target=\"_blank\" rel=\"noopener noreferrer\">Join The Movement Coalition\u003c/a>, \u003ca href=\"https://www.instagram.com/oaklandish/\" target=\"_blank\" rel=\"noopener noreferrer\">Oaklandish,\u003c/a> Marshawn Lynch’s \u003ca href=\"https://www.instagram.com/beastmodestore/\" target=\"_blank\" rel=\"noopener noreferrer\">Beastmode\u003c/a>, and \u003ca href=\"https://www.instagram.com/p/CLXSVvPHyNL/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">Kodak\u003c/a>.\u003c/p>\n\u003cp>Alba and Jon have released a handful of short films which are artistic, a bit experimental and occasionally include a dash of science fiction.\u003c/p>\n\u003cp>https://vimeo.com/449524937\u003c/p>\n\u003cp>Their first collaboration,\u003ca href=\"https://www.myownmeccafilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem> My Own Mecca\u003c/em>\u003c/a>, looks at a day in the life of a young man at a crossroads, learning to navigate relationships, rent and the world around him. Their most recent work, \u003ca href=\"https://vimeo.com/509851626\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Blackness is Everything\u003c/em>\u003c/a>, is an experimental film that features the faces and talents of some pretty well-known Bay Area-based Black artists. The short film, made possible with the support of \u003ca href=\"https://www.baycat.org/\" target=\"_blank\" rel=\"noopener noreferrer\">BAYCAT\u003c/a>, debuted in February and made for a quality visual experience in the middle of Black History Month.\u003c/p>\n\u003cp>https://vimeo.com/509851626\u003c/p>\n\u003cp>But behind the scenes is the real story: Alba and Jon have come together to create a working relationship that’s balanced and productive, and evidently this workflow rubs off on the people around them.\u003c/p>\n\u003cp>In this episode, we discuss how the filmmakers work together to build suspense in their stories, pray to film gods that their scenes are captured correctly and collaborate with the community to create cinema.\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Alba Roland Mejia and Jon Warfield Harrison.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: What was the first piece that you two collaborated on?\u003c/em>\u003c/p>\n\u003cp>Jon: We did My Own Mecca together…\u003c/p>\n\u003cp>Alba: Basically it’s a day in the life of a young Black man in the Bay Area… how he understands who he is in his reality. It’s about the microaggressions that we don’t really talk about too much. It’s about the issues that we have within our household or within our friendships. And being in situations in which we’re supposed to feel safe and we don’t.\u003c/p>\n\u003cp>\u003cem>Pen: How do you make those moments so big and intense? Like, I’m nervous and squeamish watching ’em. How did you do that?\u003c/em>\u003c/p>\n\u003cp>Alba: [The two characters] have this tendency to battle for dominance. And there’s these subtle digs that they do with each other in order to determine who is in control of the conversation, even though they’re both friends and they both genuinely love each other.\u003c/p>\n\u003cp>Jon: If you’re just talking to somebody or in a tense situation… It’s hard to maintain that eye contact because you feel that intensity. And I feel like through the film, we’re able to really capture those moments of the glare that they have towards each other. But through the editing, we’re able to let it sit there for a few seconds and you really absorb that intensity.\u003c/p>\n\u003cp>\u003cem>Pen: Jon, why did you feel pulled to shoot on film?\u003c/em>\u003c/p>\n\u003cp>Jon: Just the fact that celluloid is like a physical thing you can hold in your hand… when it’s in the camera, it’s physically capturing that light onto it. So it’s truly there in that moment with you and it’s never going to be the same. So it’s almost like a living organism with you capturing this story and like ingraining in it physically in this earth. Through the years, it’s been getting better and better for darker skin tones as well.\u003c/p>\n\u003cp>Alba: He said it was like a living organism… I hadn’t experienced it before. When the camera is on and rolling, you can hear it breathing as if it was like a heartbeat right next to your face.\u003c/p>\n\u003cp>\u003cem>Pen: How does it feel to have a tag team partner as a director and a cinematographer… do you feel like your wide receiver and quarterback? Are you coach and offensive coordinator?\u003c/em>\u003c/p>\n\u003cp>Alba: I wouldn’t even say it’s like a quarterback and a receiver, I would say it’s like a tag team wrestling match. We both got a common goal and we take turns and we know each other’s strengths.\u003c/p>\n\u003cp>Alba: For example, this most recent project that we’re working on, \u003cem>Blackness is Everything\u003c/em>, there was something that I kind of just threw at them, like, oh, I want to shoot slow motion on film in black and white. And he did the research to make sure that he knew before coming to set how many stops the lighting needs to be to be in slow motion and in black and white, because all these things matter, all these little details matter. Something I didn’t realize. I just know what I wanted it to feel like. And John knows how to make it happen.\u003c/p>\n\u003cp>\u003cem>Pen: Was there a moment that stands out to you like that just extremely fun, chaotic thing that happened on either of the sets that you worked on together?\u003c/em>\u003c/p>\n\u003cp>Alba: Our first day of shooting My Own Mecca, we had about 30 folks and we’re in West Oakland. It’s a big group of people. So naturally, the whole community, one by one, would come out to us… stop the whole production, ask what we’re doing, introduce themselves, tell us about their life. I love that. It did stop production quite a bit, but I loved how interested and open and receptive they were to us.\u003c/p>\n\u003cp>Jon: Some of those people who came up, they ended up staying in the background of the film. And I remember I was just sitting back there, hands on my hips, watching everything. And it was just beautiful to see, like a collaboration between like 25 different humans, and then all these people in the background we didn’t even really know, just coming together to make a movie in Oakland.\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 a span of 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=KQINC4172072923&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>San Francisco State graduates \u003ca href=\"https://www.instagram.com/albogold/\" target=\"_blank\" rel=\"noopener noreferrer\">Alba Roland Mejia\u003c/a> and \u003ca href=\"https://www.instagram.com/jonharrisonsb/\" target=\"_blank\" rel=\"noopener noreferrer\">Jon Warfield Harrison\u003c/a> are in the early stages of their careers as filmmakers, but their work is already being supported by the likes of \u003ca href=\"https://www.instagram.com/j0in_the_m0vement_c0aliti0n/\" target=\"_blank\" rel=\"noopener noreferrer\">Join The Movement Coalition\u003c/a>, \u003ca href=\"https://www.instagram.com/oaklandish/\" target=\"_blank\" rel=\"noopener noreferrer\">Oaklandish,\u003c/a> Marshawn Lynch’s \u003ca href=\"https://www.instagram.com/beastmodestore/\" target=\"_blank\" rel=\"noopener noreferrer\">Beastmode\u003c/a>, and \u003ca href=\"https://www.instagram.com/p/CLXSVvPHyNL/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">Kodak\u003c/a>.\u003c/p>\n\u003cp>Alba and Jon have released a handful of short films which are artistic, a bit experimental and occasionally include a dash of science fiction.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>But behind the scenes is the real story: Alba and Jon have come together to create a working relationship that’s balanced and productive, and evidently this workflow rubs off on the people around them.\u003c/p>\n\u003cp>In this episode, we discuss how the filmmakers work together to build suspense in their stories, pray to film gods that their scenes are captured correctly and collaborate with the community to create cinema.\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Alba Roland Mejia and Jon Warfield Harrison.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: What was the first piece that you two collaborated on?\u003c/em>\u003c/p>\n\u003cp>Jon: We did My Own Mecca together…\u003c/p>\n\u003cp>Alba: Basically it’s a day in the life of a young Black man in the Bay Area… how he understands who he is in his reality. It’s about the microaggressions that we don’t really talk about too much. It’s about the issues that we have within our household or within our friendships. And being in situations in which we’re supposed to feel safe and we don’t.\u003c/p>\n\u003cp>\u003cem>Pen: How do you make those moments so big and intense? Like, I’m nervous and squeamish watching ’em. How did you do that?\u003c/em>\u003c/p>\n\u003cp>Alba: [The two characters] have this tendency to battle for dominance. And there’s these subtle digs that they do with each other in order to determine who is in control of the conversation, even though they’re both friends and they both genuinely love each other.\u003c/p>\n\u003cp>Jon: If you’re just talking to somebody or in a tense situation… It’s hard to maintain that eye contact because you feel that intensity. And I feel like through the film, we’re able to really capture those moments of the glare that they have towards each other. But through the editing, we’re able to let it sit there for a few seconds and you really absorb that intensity.\u003c/p>\n\u003cp>\u003cem>Pen: Jon, why did you feel pulled to shoot on film?\u003c/em>\u003c/p>\n\u003cp>Jon: Just the fact that celluloid is like a physical thing you can hold in your hand… when it’s in the camera, it’s physically capturing that light onto it. So it’s truly there in that moment with you and it’s never going to be the same. So it’s almost like a living organism with you capturing this story and like ingraining in it physically in this earth. Through the years, it’s been getting better and better for darker skin tones as well.\u003c/p>\n\u003cp>Alba: He said it was like a living organism… I hadn’t experienced it before. When the camera is on and rolling, you can hear it breathing as if it was like a heartbeat right next to your face.\u003c/p>\n\u003cp>\u003cem>Pen: How does it feel to have a tag team partner as a director and a cinematographer… do you feel like your wide receiver and quarterback? Are you coach and offensive coordinator?\u003c/em>\u003c/p>\n\u003cp>Alba: I wouldn’t even say it’s like a quarterback and a receiver, I would say it’s like a tag team wrestling match. We both got a common goal and we take turns and we know each other’s strengths.\u003c/p>\n\u003cp>Alba: For example, this most recent project that we’re working on, \u003cem>Blackness is Everything\u003c/em>, there was something that I kind of just threw at them, like, oh, I want to shoot slow motion on film in black and white. And he did the research to make sure that he knew before coming to set how many stops the lighting needs to be to be in slow motion and in black and white, because all these things matter, all these little details matter. Something I didn’t realize. I just know what I wanted it to feel like. And John knows how to make it happen.\u003c/p>\n\u003cp>\u003cem>Pen: Was there a moment that stands out to you like that just extremely fun, chaotic thing that happened on either of the sets that you worked on together?\u003c/em>\u003c/p>\n\u003cp>Alba: Our first day of shooting My Own Mecca, we had about 30 folks and we’re in West Oakland. It’s a big group of people. So naturally, the whole community, one by one, would come out to us… stop the whole production, ask what we’re doing, introduce themselves, tell us about their life. I love that. It did stop production quite a bit, but I loved how interested and open and receptive they were to us.\u003c/p>\n\u003cp>Jon: Some of those people who came up, they ended up staying in the background of the film. And I remember I was just sitting back there, hands on my hips, watching everything. And it was just beautiful to see, like a collaboration between like 25 different humans, and then all these people in the background we didn’t even really know, just coming together to make a movie in Oakland.\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": "'Raya and the Last Dragon' is Not Entirely New, But it's Refreshing Nonetheless",
"headTitle": "‘Raya and the Last Dragon’ is Not Entirely New, But it’s Refreshing Nonetheless | KQED",
"content": "\u003cp>\u003cem>Raya and the Last Dragon\u003c/em> is a lovely, moving surprise. Its big selling point is that it’s the first Disney animated film to feature Southeast Asian characters, but like so many movies that break ground in terms of representation, it tells a story that’s actually woven from reassuringly familiar parts. I didn’t mind that in the slightest.\u003c/p>\n\u003cp>The movie, directed by the Disney veteran Don Hall and the animation newcomer Carlos López Estrada, brings us into a fantasy world that’s been beautifully visualized and populated with engaging characters, and it builds to an emotional climax that I’m still thinking about days later.\u003c/p>\n\u003cp>The story is a little complicated, as these stories tend to be. It takes place in Kumandra, an enchanted realm inspired by various Southeast Asian cultures and divided into five kingdoms named after a dragon’s body parts: Heart, Fang, Spine, Talon and Tail.\u003c/p>\n\u003cp>Before they became extinct centuries ago, dragons once roamed the land and served as friendly guardians to humanity. Their magic lives on in a jewel called the Dragon Gem, which is kept in a cave in Heart, but the other four kingdoms covet its mighty powers. One day, all five factions come together and try to reach a peace agreement, but tensions erupt, a fight breaks out and the Gem shatters into five pieces that are scattered across Kumandra. This opens the doorway to an ancient enemy called the Druun, a terrible plague that turns people to stone.\u003c/p>\n\u003cp>Naturally, a hero must rise and save the day. Her name is Raya, and she’s a young warrior princess from Heart, voiced by the excellent Kelly Marie Tran from \u003ca href=\"https://www.npr.org/2017/12/12/569085092/rollicking-star-wars-the-last-jedi-finds-nuance-in-the-force\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Star Wars: The Last Jedi\u003c/em>\u003c/a>. Raya manages to escape the Druun, though her father, her \u003cem>ba\u003c/em>, who’s the leader of Heart, isn’t so lucky. Now Raya must recover the pieces of the Dragon Gem, reverse the damage and banish the Druun for good.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1VIZ89FEjYI\u003c/p>\n\u003cp>This isn’t the first time we’ve seen a brave young character embark on a quest for magical baubles, and \u003cem>Raya and the Last Dragon\u003c/em> is rooted in traditional fantasy lore, with \u003cem>The Lord of the Rings\u003c/em> and \u003cem>Game of Thrones\u003c/em> being just the most obvious influences. The movie’s intense scenes of swordplay and hand-to-hand combat give it a tougher, more grown-up feel than most Disney animated fantasies—my own young daughter had to cover her eyes a few times. Like some other recent Disney princesses, including \u003ca href=\"https://www.npr.org/2016/11/23/503039259/disneys-moana-needs-no-prince-just-the-land-and-sea\" target=\"_blank\" rel=\"noopener noreferrer\">Moana \u003c/a>and \u003ca href=\"https://www.npr.org/2019/11/20/779284364/frozen-ii-lets-it-go-darker\" target=\"_blank\" rel=\"noopener noreferrer\">Elsa\u003c/a>, Raya has a bold, adventurous streak and isn’t all that interested in romance. Unlike them, she doesn’t even have time to sing a song.\u003c/p>\n\u003cp>That said, the movie still has plenty of lightness and humor. The screenwriters, Qui Nguyen and Adele Lim, have provided the usual Disney array of cute critters and lively supporting characters. None of them is more colorful than Sisu, a friendly water dragon who is magically resurrected during Raya’s journey. She’s the last of her kind, and she has a crucial role to play in the story. She’s voiced delightfully by \u003ca href=\"https://www.npr.org/2018/08/17/639670914/crazy-rich-asians-star-awkwafina-has-always-aggressively-been-myself\" target=\"_blank\" rel=\"noopener noreferrer\">Awkwafina\u003c/a>, doing one of her signature chatterbox comedy routines and selling every one of Sisu’s anachronistic wisecracks.\u003c/p>\n\u003cp>Raya and Sisu’s journey takes them to all five kingdoms of Kumandra, all of which are so vivid and transporting I found myself wishing they really existed—or that I could have at least seen them on a proper movie screen. There’s the town of Talon, which is built at the edge of a river, and the desert wasteland of Tail, where Raya and Sisu must enter a cave of obstacles straight out of an Indiana Jones adventure.\u003c/p>\n\u003cp>As the two of them search for more Dragon Gem pieces, they of course pick up a few friends along the way. There’s a street-smart boy who cooks a mean shrimp congee and a toddler pickpocket whom I found more creepy than cute. But the movie’s most intriguing character is Namaari, a rival princess from Fang who’s voiced by Gemma Chan. (As a side note, Chan and Awkwafina both appeared in \u003ca href=\"https://www.npr.org/sections/codeswitch/2018/08/15/638775885/in-crazy-rich-asians-jon-chu-directs-all-asian-cast\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Crazy Rich Asians\u003c/em>\u003c/a>, which, like this movie, was co-written by Lim.) Namaari and Raya used to be friends until the fight over the Dragon Gem ripped them apart. Now they’re bitter enemies, and their emotional dynamic is fierce and complicated in ways that relationships are rarely allowed to be in children’s animated films, especially between women.\u003c/p>\n\u003cp>By contrast, Sisu is all feel-good vibes; she’s a dragon, after all, with little understanding of how treacherous humans can be. She doesn’t get why Raya and Namaari distrust each other so, why they can’t just set their differences aside and defeat the Druun together. It’s Sisu’s sincerity and purity of heart that makes the story’s finale so unexpectedly stirring, especially now. Our fates are closely bound together, it reminds us, as it builds a case for forgiveness, reconciliation and mutual sacrifice.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The emotional power of \u003cem>Raya and the Last Dragon\u003c/em> sneaks up on you. Its lessons aren’t new, exactly, but it makes you feel like you’re learning them for the first time.\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=%27Raya+And+The+Last+Dragon%27+Is+Not+Entirely+New%2C+But+It%27s+Refreshing+Nonetheless&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Raya and the Last Dragon\u003c/em> is a lovely, moving surprise. Its big selling point is that it’s the first Disney animated film to feature Southeast Asian characters, but like so many movies that break ground in terms of representation, it tells a story that’s actually woven from reassuringly familiar parts. I didn’t mind that in the slightest.\u003c/p>\n\u003cp>The movie, directed by the Disney veteran Don Hall and the animation newcomer Carlos López Estrada, brings us into a fantasy world that’s been beautifully visualized and populated with engaging characters, and it builds to an emotional climax that I’m still thinking about days later.\u003c/p>\n\u003cp>The story is a little complicated, as these stories tend to be. It takes place in Kumandra, an enchanted realm inspired by various Southeast Asian cultures and divided into five kingdoms named after a dragon’s body parts: Heart, Fang, Spine, Talon and Tail.\u003c/p>\n\u003cp>Before they became extinct centuries ago, dragons once roamed the land and served as friendly guardians to humanity. Their magic lives on in a jewel called the Dragon Gem, which is kept in a cave in Heart, but the other four kingdoms covet its mighty powers. One day, all five factions come together and try to reach a peace agreement, but tensions erupt, a fight breaks out and the Gem shatters into five pieces that are scattered across Kumandra. This opens the doorway to an ancient enemy called the Druun, a terrible plague that turns people to stone.\u003c/p>\n\u003cp>Naturally, a hero must rise and save the day. Her name is Raya, and she’s a young warrior princess from Heart, voiced by the excellent Kelly Marie Tran from \u003ca href=\"https://www.npr.org/2017/12/12/569085092/rollicking-star-wars-the-last-jedi-finds-nuance-in-the-force\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Star Wars: The Last Jedi\u003c/em>\u003c/a>. Raya manages to escape the Druun, though her father, her \u003cem>ba\u003c/em>, who’s the leader of Heart, isn’t so lucky. Now Raya must recover the pieces of the Dragon Gem, reverse the damage and banish the Druun for good.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/1VIZ89FEjYI'\n title='//www.youtube.com/embed/1VIZ89FEjYI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This isn’t the first time we’ve seen a brave young character embark on a quest for magical baubles, and \u003cem>Raya and the Last Dragon\u003c/em> is rooted in traditional fantasy lore, with \u003cem>The Lord of the Rings\u003c/em> and \u003cem>Game of Thrones\u003c/em> being just the most obvious influences. The movie’s intense scenes of swordplay and hand-to-hand combat give it a tougher, more grown-up feel than most Disney animated fantasies—my own young daughter had to cover her eyes a few times. Like some other recent Disney princesses, including \u003ca href=\"https://www.npr.org/2016/11/23/503039259/disneys-moana-needs-no-prince-just-the-land-and-sea\" target=\"_blank\" rel=\"noopener noreferrer\">Moana \u003c/a>and \u003ca href=\"https://www.npr.org/2019/11/20/779284364/frozen-ii-lets-it-go-darker\" target=\"_blank\" rel=\"noopener noreferrer\">Elsa\u003c/a>, Raya has a bold, adventurous streak and isn’t all that interested in romance. Unlike them, she doesn’t even have time to sing a song.\u003c/p>\n\u003cp>That said, the movie still has plenty of lightness and humor. The screenwriters, Qui Nguyen and Adele Lim, have provided the usual Disney array of cute critters and lively supporting characters. None of them is more colorful than Sisu, a friendly water dragon who is magically resurrected during Raya’s journey. She’s the last of her kind, and she has a crucial role to play in the story. She’s voiced delightfully by \u003ca href=\"https://www.npr.org/2018/08/17/639670914/crazy-rich-asians-star-awkwafina-has-always-aggressively-been-myself\" target=\"_blank\" rel=\"noopener noreferrer\">Awkwafina\u003c/a>, doing one of her signature chatterbox comedy routines and selling every one of Sisu’s anachronistic wisecracks.\u003c/p>\n\u003cp>Raya and Sisu’s journey takes them to all five kingdoms of Kumandra, all of which are so vivid and transporting I found myself wishing they really existed—or that I could have at least seen them on a proper movie screen. There’s the town of Talon, which is built at the edge of a river, and the desert wasteland of Tail, where Raya and Sisu must enter a cave of obstacles straight out of an Indiana Jones adventure.\u003c/p>\n\u003cp>As the two of them search for more Dragon Gem pieces, they of course pick up a few friends along the way. There’s a street-smart boy who cooks a mean shrimp congee and a toddler pickpocket whom I found more creepy than cute. But the movie’s most intriguing character is Namaari, a rival princess from Fang who’s voiced by Gemma Chan. (As a side note, Chan and Awkwafina both appeared in \u003ca href=\"https://www.npr.org/sections/codeswitch/2018/08/15/638775885/in-crazy-rich-asians-jon-chu-directs-all-asian-cast\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Crazy Rich Asians\u003c/em>\u003c/a>, which, like this movie, was co-written by Lim.) Namaari and Raya used to be friends until the fight over the Dragon Gem ripped them apart. Now they’re bitter enemies, and their emotional dynamic is fierce and complicated in ways that relationships are rarely allowed to be in children’s animated films, especially between women.\u003c/p>\n\u003cp>By contrast, Sisu is all feel-good vibes; she’s a dragon, after all, with little understanding of how treacherous humans can be. She doesn’t get why Raya and Namaari distrust each other so, why they can’t just set their differences aside and defeat the Druun together. It’s Sisu’s sincerity and purity of heart that makes the story’s finale so unexpectedly stirring, especially now. Our fates are closely bound together, it reminds us, as it builds a case for forgiveness, reconciliation and mutual sacrifice.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The emotional power of \u003cem>Raya and the Last Dragon\u003c/em> sneaks up on you. Its lessons aren’t new, exactly, but it makes you feel like you’re learning them for the first time.\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=%27Raya+And+The+Last+Dragon%27+Is+Not+Entirely+New%2C+But+It%27s+Refreshing+Nonetheless&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>\u003cem>Over the next 4 weeks, \u003ca href=\"https://www.kqed.org/arts/13893541/reel-talk-filmmaking-in-the-bay-area-rightnowish\">Rightnowish is looking at filmmaking in the Bay Area right now\u003c/a>.\u003c/em>\u003c/strong>\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=KQINC5796405705&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://www.mayamcueva.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Maya Cueva\u003c/a> makes documentary films that cover the heavy topics: immigration, reproductive justice and xenophobia.\u003c/p>\n\u003cp>Cueva says her journey into professional storytelling began after covering current events at Youth Radio (now \u003ca href=\"https://yr.media/\" target=\"_blank\" rel=\"noopener noreferrer\">YR Media\u003c/a>) as a teen. While attending Ithaca College in New York, she began work on her first film, \u003ca href=\"http://www.theproviderfilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Provider\u003c/em>\u003c/a>, which follows Dr. Shannon Carr as she performs abortions in Texas in the midst of a heated battle for reproductive rights.\u003c/p>\n\u003cp>That film led to another, \u003cem>\u003ca href=\"https://www.mayamcueva.com/#/gipfel/\" target=\"_blank\" rel=\"noopener noreferrer\">On The Divide\u003c/a>\u003c/em>, which looks at the last abortion clinic on the U.S./Mexico border; the film is currently in production. Between creating those films, she’s produced an animated film about her father’s immigration experience to the U.S. from Peru, \u003ca href=\"https://www.mayamcueva.com/#/schwane/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Only the Moon/ Solamente La Luna\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>And earlier this month Cueva debuted \u003ca href=\"https://www.futureoffilmisfemale.com/ale-libre\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ale Libre\u003c/em>\u003c/a>. This story follows reproductive rights organizer and undocumented activist \u003ca href=\"https://keepalefree.org/about\" target=\"_blank\" rel=\"noopener noreferrer\">Alejandra Pablos\u003c/a> in her fight against deportation. The film recently debuted at the Big Sky Doc Fest, and later this month will be showing at the San Diego Latino Film Festival, Salem Film Festival and the Thin Line Fest.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZpNZm1jMjkg\u003c/p>\n\u003cp>\u003cstrong>\u003cbr>\nBelow are lightly edited excerpts of my conversation with Maya Cueva.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: What are you working on right now?\u003c/em>\u003c/p>\n\u003cp>Maya: I’m working on a feature documentary that I’ve been working on for six years, actually. It’s a film called, On The Divide. It’s following three people who are all Latinx, who are connected to the last abortion clinic on the U.S./Mexico border in McAllen,Texas.\u003c/p>\n\u003cp>\u003cem>Pen: Six years in the making, that’s a marathon. How do you stay focused on one topic for so long?\u003c/em>\u003c/p>\n\u003cp>Maya: What really keeps me focused is the idea that access is really, really dire. In a community like McAllen… for undocumented women trying to get access, it’s really hard because they have to travel through border checkpoints in order to get to the nearest clinic That’s 250 miles away from them. So if this clinic were to close, there would be virtually no access for for women or patients who are undocumented and are seeking abortion care.\u003c/p>\n\u003cp>\u003cem>Pen: You mentioned immigration and how that plays a role in covering abortion. But also you’ve done work specifically about immigration. Can you talk to me a little bit about the film, Ale Libre?\u003c/em>\u003c/p>\n\u003cp>Maya: I actually came across Ale’s story when I came across a petition asking for her release from the ICE Detention Center. I kind of just started doing research on her and I came across all of her work as an organizer. She’s a reproductive rights organizer as well as an immigrants rights organizer. And I also found that she had a web series about brujeria and witchcraft and how that intersects with organizing. And I was just like, this person is really cool. And I just wanted to know more about her.\u003c/p>\n\u003cp>Maya: So I ended up doing a radio feature about her for a Latino USA. And it was following her whole life story, but also this petition to get her released. And fortunately, she was released in March 2018 from Eloy Detention Center. And then after her release, she actually hit me up and was like, ‘hey, look, I’m actually really thinking about getting my story out there in a documentary, do you know anyone who could potentially make one?’ And I was like, ‘I am a filmmaker and I would really love to share your story in that way.’ The film is really following her after her release and her fight for political asylum.\u003c/p>\n\u003cp>\u003cem>Pen: On that note, your approach to your work. Do you see it as an art? Do you see it as activism or do you see it as a documentation of life?\u003c/em>\u003c/p>\n\u003cp>Maya: I definitely see an intersection of all 3 of those things in the work that I do. I also do feel that there is an art behind pushing those stories forward. I have been around like-minded people my whole life, and I don’t necessarily think that that pushes causes forward.\u003c/p>\n\u003cp>Maya: So for me, in general, I like to approach filmmaking and storytelling in a way that turns issues on its head or makes you think twice about someone that I might be filming.\u003c/p>\n\u003cp>Maya: For Ale, specifically, what’s really interesting is that she is a reproductive rights organizer and an immigrant rights organizer but when she was 25, she got a DUI… We’ve all made mistakes, but has it landed us two years in jail or two years in prison or two years in a detention center, like for many of us no?\u003c/p>\n\u003cp>\u003cem>Pen: … With your father and even the other stories that you’ve grown to know, how do you walk that fine line of you’re the storyteller, so you’re the power holder, if you will. And at the same time, you try to empower this person, let them tell their story. How do you balance those two things of ‘I know what story needs to be told’ versus ‘I need to let them tell their story’?\u003c/em>\u003c/p>\n\u003cp>Maya: I think it’s really hard as filmmakers to think that we can be objective, completely. The balance is when I do approach the subjects, I’m initially asking them what are stories you feel like aren’t being shared? Or how do you feel like you’re being misrepresented? Because I cannot speak for you. I can get a camera and I can interview you and ask you certain questions but ultimately, your voice is the one that needs to come through and shine through.\u003c/p>\n\u003cp>Maya: I think an example is when I was first approaching the abortion clinic that I’m following in my feature, I asked the communications director ‘I feel like a lot of news media comes in here and they want to tell a certain story but what is the story you feel is missing?’ And she was like, ‘oh, no one’s ever asked me that before.’\u003c/p>\n\u003cp>Maya: I don’t ever want to come into a space — a community that maybe I identify with, but I’m not a part of — and think that I’m an expert.\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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"title": "Reel Talk: Maya Cueva's Films on Reproductive Rights and Immigration | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>\u003cem>Over the next 4 weeks, \u003ca href=\"https://www.kqed.org/arts/13893541/reel-talk-filmmaking-in-the-bay-area-rightnowish\">Rightnowish is looking at filmmaking in the Bay Area right now\u003c/a>.\u003c/em>\u003c/strong>\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=KQINC5796405705&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://www.mayamcueva.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Maya Cueva\u003c/a> makes documentary films that cover the heavy topics: immigration, reproductive justice and xenophobia.\u003c/p>\n\u003cp>Cueva says her journey into professional storytelling began after covering current events at Youth Radio (now \u003ca href=\"https://yr.media/\" target=\"_blank\" rel=\"noopener noreferrer\">YR Media\u003c/a>) as a teen. While attending Ithaca College in New York, she began work on her first film, \u003ca href=\"http://www.theproviderfilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Provider\u003c/em>\u003c/a>, which follows Dr. Shannon Carr as she performs abortions in Texas in the midst of a heated battle for reproductive rights.\u003c/p>\n\u003cp>That film led to another, \u003cem>\u003ca href=\"https://www.mayamcueva.com/#/gipfel/\" target=\"_blank\" rel=\"noopener noreferrer\">On The Divide\u003c/a>\u003c/em>, which looks at the last abortion clinic on the U.S./Mexico border; the film is currently in production. Between creating those films, she’s produced an animated film about her father’s immigration experience to the U.S. from Peru, \u003ca href=\"https://www.mayamcueva.com/#/schwane/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Only the Moon/ Solamente La Luna\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>And earlier this month Cueva debuted \u003ca href=\"https://www.futureoffilmisfemale.com/ale-libre\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ale Libre\u003c/em>\u003c/a>. This story follows reproductive rights organizer and undocumented activist \u003ca href=\"https://keepalefree.org/about\" target=\"_blank\" rel=\"noopener noreferrer\">Alejandra Pablos\u003c/a> in her fight against deportation. The film recently debuted at the Big Sky Doc Fest, and later this month will be showing at the San Diego Latino Film Festival, Salem Film Festival and the Thin Line Fest.\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/ZpNZm1jMjkg'\n title='//www.youtube.com/embed/ZpNZm1jMjkg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cbr>\nBelow are lightly edited excerpts of my conversation with Maya Cueva.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: What are you working on right now?\u003c/em>\u003c/p>\n\u003cp>Maya: I’m working on a feature documentary that I’ve been working on for six years, actually. It’s a film called, On The Divide. It’s following three people who are all Latinx, who are connected to the last abortion clinic on the U.S./Mexico border in McAllen,Texas.\u003c/p>\n\u003cp>\u003cem>Pen: Six years in the making, that’s a marathon. How do you stay focused on one topic for so long?\u003c/em>\u003c/p>\n\u003cp>Maya: What really keeps me focused is the idea that access is really, really dire. In a community like McAllen… for undocumented women trying to get access, it’s really hard because they have to travel through border checkpoints in order to get to the nearest clinic That’s 250 miles away from them. So if this clinic were to close, there would be virtually no access for for women or patients who are undocumented and are seeking abortion care.\u003c/p>\n\u003cp>\u003cem>Pen: You mentioned immigration and how that plays a role in covering abortion. But also you’ve done work specifically about immigration. Can you talk to me a little bit about the film, Ale Libre?\u003c/em>\u003c/p>\n\u003cp>Maya: I actually came across Ale’s story when I came across a petition asking for her release from the ICE Detention Center. I kind of just started doing research on her and I came across all of her work as an organizer. She’s a reproductive rights organizer as well as an immigrants rights organizer. And I also found that she had a web series about brujeria and witchcraft and how that intersects with organizing. And I was just like, this person is really cool. And I just wanted to know more about her.\u003c/p>\n\u003cp>Maya: So I ended up doing a radio feature about her for a Latino USA. And it was following her whole life story, but also this petition to get her released. And fortunately, she was released in March 2018 from Eloy Detention Center. And then after her release, she actually hit me up and was like, ‘hey, look, I’m actually really thinking about getting my story out there in a documentary, do you know anyone who could potentially make one?’ And I was like, ‘I am a filmmaker and I would really love to share your story in that way.’ The film is really following her after her release and her fight for political asylum.\u003c/p>\n\u003cp>\u003cem>Pen: On that note, your approach to your work. Do you see it as an art? Do you see it as activism or do you see it as a documentation of life?\u003c/em>\u003c/p>\n\u003cp>Maya: I definitely see an intersection of all 3 of those things in the work that I do. I also do feel that there is an art behind pushing those stories forward. I have been around like-minded people my whole life, and I don’t necessarily think that that pushes causes forward.\u003c/p>\n\u003cp>Maya: So for me, in general, I like to approach filmmaking and storytelling in a way that turns issues on its head or makes you think twice about someone that I might be filming.\u003c/p>\n\u003cp>Maya: For Ale, specifically, what’s really interesting is that she is a reproductive rights organizer and an immigrant rights organizer but when she was 25, she got a DUI… We’ve all made mistakes, but has it landed us two years in jail or two years in prison or two years in a detention center, like for many of us no?\u003c/p>\n\u003cp>\u003cem>Pen: … With your father and even the other stories that you’ve grown to know, how do you walk that fine line of you’re the storyteller, so you’re the power holder, if you will. And at the same time, you try to empower this person, let them tell their story. How do you balance those two things of ‘I know what story needs to be told’ versus ‘I need to let them tell their story’?\u003c/em>\u003c/p>\n\u003cp>Maya: I think it’s really hard as filmmakers to think that we can be objective, completely. The balance is when I do approach the subjects, I’m initially asking them what are stories you feel like aren’t being shared? Or how do you feel like you’re being misrepresented? Because I cannot speak for you. I can get a camera and I can interview you and ask you certain questions but ultimately, your voice is the one that needs to come through and shine through.\u003c/p>\n\u003cp>Maya: I think an example is when I was first approaching the abortion clinic that I’m following in my feature, I asked the communications director ‘I feel like a lot of news media comes in here and they want to tell a certain story but what is the story you feel is missing?’ And she was like, ‘oh, no one’s ever asked me that before.’\u003c/p>\n\u003cp>Maya: I don’t ever want to come into a space — a community that maybe I identify with, but I’m not a part of — and think that I’m an expert.\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Now Playing! People Have the Power",
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"content": "\u003cp>Nobody—not even bitcoin collectors and vaccine line-jumpers—can resist a good movie about the triumph of everyday people over injustice and corruption. The through-line of history, though, is that mass struggles inevitably confront massive setbacks. That’s not the Hollywood narrative, but it’s at the core of this week’s films.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Night of the Kings\u003c/strong>\u003c/em>\u003cbr>\nNow Playing\u003cbr>\n\u003ca href=\"https://www.roxie.com/night-of-the-kings/\" rel=\"noopener noreferrer\" target=\"_blank\">Roxie\u003c/a>\u003c/p>\n\u003cp>Philippe Lacote begins his spellbinding fable with the scenic aerial vista of a Jeep making its way through a verdant landscape to a large, imposing building. The young punk in handcuffs accompanied by armed soldiers can’t admire the view or appreciate the sweet air; he’s too anxious about his destination at the end of the rutted road.\u003c/p>\n\u003cp>The lad arrives at the dank Ivory Coast prison at an auspicious time, as the inmate who runs the place—subject to the arbitrary rule of the brutish authorities, of course—is nearing the end of his reign. He christens the newcomer Roman and appoints him storyteller for the evening, which the lad (played by Bakary Koné) prolongs to dawn via a procession of centuries-spanning chapters drawn from the seemingly disparate realms of folk tales and slum reality.\u003c/p>\n\u003cp>\u003cem>Night of the Kings\u003c/em> juxtaposes the visceral threats of prison life with the sensuous appeal of fantasy and escape, to mesmerizing effect. Lacote’s camera elegantly wends from chaos to order and back, funneling historical echoes into the present-day maelstrom. His artistry serves a political message that never overtakes Roman’s story or hijacks the film, but is ingrained in every frame.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>All of the representations of power on display in the prison—that is, in the society—are a mirage; we never see the powers that be that hold the real power. The struggle within the underclass is perpetually doomed, unless and until they stop fighting each other and focus on their common enemy.\u003c/p>\n\u003cfigure id=\"attachment_13893600\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Li_Lost-Course_003-800x450.jpg\" alt=\"A still from 'Lost Course.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13893600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Li_Lost-Course_003-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Li_Lost-Course_003-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Li_Lost-Course_003-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Li_Lost-Course_003-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Li_Lost-Course_003-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Li_Lost-Course_003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Lost Course.’ \u003ccite>(Icarus Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Lost Course\u003c/strong>\u003c/em>\u003cbr>\nOpens March 5\u003cbr>\n\u003ca href=\"https://bampfa.org/event/lost-course\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a>\u003c/p>\n\u003cp>In September of 2011, the villagers of Wukan in southern China angrily protested the sale of communal land for private gain by corrupt officials. Four demonstrators were arrested; one died in custody. The 9.21 incident, as it’s known, triggered even bigger protests and the political awakening of several activists.\u003c/p>\n\u003cp>Jill Li’s brave and intimate documentary, \u003cem>Lost Course\u003c/em>, follows those incipient leaders—and the cause of democracy itself—through the heady months and difficult years that followed. The three-hour film benefits from exceptional access and remarkable candor, providing a close-up perspective on grass-roots idealism and on-the-fly strategizing.\u003c/p>\n\u003cp>The protagonists take different paths as their initial goals are thwarted: One quits politics to open a tea shop and another disappears to the United States, though several run for reelection and continue their increasingly compromised campaigns for change. \u003cem>Lost Course\u003c/em>, consequently, becomes less of a study of democracy in China and more of a mosaic of public service, ambition, ego and ethics.\u003c/p>\n\u003cp>The title refers to the wrong turns, ill-advised decisions and poor directions that gradually led the leaders of the 9.21 Wukan movement off their altruistic path. But arguably the greatest error these moderate reformers made was trusting Xi Jinping (the President of the People’s Republic of China), as well as his predecessor, to acknowledge and comply with the will of the people. \u003c/p>\n\u003cp>\u003cem>Lost Course\u003c/em> concludes at the end of 2016 and was completed in 2019, by which time China’s approach to Hong Kong had clarified beyond doubt its attitude toward democracy. This is one documentary for which spoiler alerts are superfluous.\u003c/p>\n\u003cfigure id=\"attachment_13893599\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Helicopter_spraysAgentOrange_in_VN_NARA-800x455.jpg\" alt=\"A helicopter sprays agent orange in Vietnam in a scene from 'The People vs. Agent Orange.'\" width=\"800\" height=\"455\" class=\"size-medium wp-image-13893599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Helicopter_spraysAgentOrange_in_VN_NARA-800x455.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Helicopter_spraysAgentOrange_in_VN_NARA-1020x580.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Helicopter_spraysAgentOrange_in_VN_NARA-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Helicopter_spraysAgentOrange_in_VN_NARA-768x437.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Helicopter_spraysAgentOrange_in_VN_NARA-1536x874.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Helicopter_spraysAgentOrange_in_VN_NARA.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A helicopter sprays agent orange in Vietnam in a scene from ‘The People vs. Agent Orange.’ \u003ccite>(PBS/Independent Lens)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>The People vs. Agent Orange\u003c/strong>\u003c/em>\u003cbr>\nOpens March 5\u003cbr>\n\u003ca href=\"https://rafaelfilm.cafilm.org/people-vs-agent-orange/\" rel=\"noopener noreferrer\" target=\"_blank\">Smith Rafael\u003c/a>, \u003ca href=\"https://www.cinemasf.com/events-calendar/the-people-vs-agent-orange\" rel=\"noopener noreferrer\" target=\"_blank\">Cinema SF\u003c/a> (Balboa, Vogue)\u003c/p>\n\u003cp>It’s hard to argue with those who describe the virulently toxic herbicide that was Dow Chemical’s infamous contribution to the U.S. war on Vietnam (and its neighbors) in the late ’60s and ’70s as chemical warfare. Vietnam, you say? Isn’t that ancient history? How about all the kids with birth defects and all the miscarriages, in Vietnam and the U.S., spanning decades? \u003c/p>\n\u003cp>Veteran filmmakers Alan Adelson and Kate Taverna tackle the cold case files with a measured dispassion that, I must concede, is journalistically and historically responsible. But \u003cem>The People vs. Agent Orange\u003c/em> lacks an iota of the soul-piercing anger and fiery indignation necessary to launch viewers from their complacency. “Quietly infuriating” doesn’t do the trick, in this case.\u003c/p>\n\u003cp>The subjects of the film are two older women—not the most respected or heeded demographic in our culture, it must be said—who suffered enormous losses and are still fighting the U.S. government and the chemical manufacturers. Vietnam War survivor Tran To Nga has brought suit in a Paris court (where a verdict is expected this year), while Oregon environmental activist Carol Van Strum still holds out hope that the vast trove of documents she accrued through FOIA requests and other means will help bring someone to account.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The People vs. Agent Orange\u003c/em> will air on PBS this summer, although perhaps in a shorter cut. By then a French judge may have delivered justice, instead of yet another setback.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nobody—not even bitcoin collectors and vaccine line-jumpers—can resist a good movie about the triumph of everyday people over injustice and corruption. The through-line of history, though, is that mass struggles inevitably confront massive setbacks. That’s not the Hollywood narrative, but it’s at the core of this week’s films.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Night of the Kings\u003c/strong>\u003c/em>\u003cbr>\nNow Playing\u003cbr>\n\u003ca href=\"https://www.roxie.com/night-of-the-kings/\" rel=\"noopener noreferrer\" target=\"_blank\">Roxie\u003c/a>\u003c/p>\n\u003cp>Philippe Lacote begins his spellbinding fable with the scenic aerial vista of a Jeep making its way through a verdant landscape to a large, imposing building. The young punk in handcuffs accompanied by armed soldiers can’t admire the view or appreciate the sweet air; he’s too anxious about his destination at the end of the rutted road.\u003c/p>\n\u003cp>The lad arrives at the dank Ivory Coast prison at an auspicious time, as the inmate who runs the place—subject to the arbitrary rule of the brutish authorities, of course—is nearing the end of his reign. He christens the newcomer Roman and appoints him storyteller for the evening, which the lad (played by Bakary Koné) prolongs to dawn via a procession of centuries-spanning chapters drawn from the seemingly disparate realms of folk tales and slum reality.\u003c/p>\n\u003cp>\u003cem>Night of the Kings\u003c/em> juxtaposes the visceral threats of prison life with the sensuous appeal of fantasy and escape, to mesmerizing effect. Lacote’s camera elegantly wends from chaos to order and back, funneling historical echoes into the present-day maelstrom. His artistry serves a political message that never overtakes Roman’s story or hijacks the film, but is ingrained in every frame.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>All of the representations of power on display in the prison—that is, in the society—are a mirage; we never see the powers that be that hold the real power. The struggle within the underclass is perpetually doomed, unless and until they stop fighting each other and focus on their common enemy.\u003c/p>\n\u003cfigure id=\"attachment_13893600\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Li_Lost-Course_003-800x450.jpg\" alt=\"A still from 'Lost Course.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13893600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Li_Lost-Course_003-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Li_Lost-Course_003-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Li_Lost-Course_003-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Li_Lost-Course_003-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Li_Lost-Course_003-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Li_Lost-Course_003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Lost Course.’ \u003ccite>(Icarus Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Lost Course\u003c/strong>\u003c/em>\u003cbr>\nOpens March 5\u003cbr>\n\u003ca href=\"https://bampfa.org/event/lost-course\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a>\u003c/p>\n\u003cp>In September of 2011, the villagers of Wukan in southern China angrily protested the sale of communal land for private gain by corrupt officials. Four demonstrators were arrested; one died in custody. The 9.21 incident, as it’s known, triggered even bigger protests and the political awakening of several activists.\u003c/p>\n\u003cp>Jill Li’s brave and intimate documentary, \u003cem>Lost Course\u003c/em>, follows those incipient leaders—and the cause of democracy itself—through the heady months and difficult years that followed. The three-hour film benefits from exceptional access and remarkable candor, providing a close-up perspective on grass-roots idealism and on-the-fly strategizing.\u003c/p>\n\u003cp>The protagonists take different paths as their initial goals are thwarted: One quits politics to open a tea shop and another disappears to the United States, though several run for reelection and continue their increasingly compromised campaigns for change. \u003cem>Lost Course\u003c/em>, consequently, becomes less of a study of democracy in China and more of a mosaic of public service, ambition, ego and ethics.\u003c/p>\n\u003cp>The title refers to the wrong turns, ill-advised decisions and poor directions that gradually led the leaders of the 9.21 Wukan movement off their altruistic path. But arguably the greatest error these moderate reformers made was trusting Xi Jinping (the President of the People’s Republic of China), as well as his predecessor, to acknowledge and comply with the will of the people. \u003c/p>\n\u003cp>\u003cem>Lost Course\u003c/em> concludes at the end of 2016 and was completed in 2019, by which time China’s approach to Hong Kong had clarified beyond doubt its attitude toward democracy. This is one documentary for which spoiler alerts are superfluous.\u003c/p>\n\u003cfigure id=\"attachment_13893599\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Helicopter_spraysAgentOrange_in_VN_NARA-800x455.jpg\" alt=\"A helicopter sprays agent orange in Vietnam in a scene from 'The People vs. Agent Orange.'\" width=\"800\" height=\"455\" class=\"size-medium wp-image-13893599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Helicopter_spraysAgentOrange_in_VN_NARA-800x455.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Helicopter_spraysAgentOrange_in_VN_NARA-1020x580.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Helicopter_spraysAgentOrange_in_VN_NARA-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Helicopter_spraysAgentOrange_in_VN_NARA-768x437.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Helicopter_spraysAgentOrange_in_VN_NARA-1536x874.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Helicopter_spraysAgentOrange_in_VN_NARA.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A helicopter sprays agent orange in Vietnam in a scene from ‘The People vs. Agent Orange.’ \u003ccite>(PBS/Independent Lens)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>The People vs. Agent Orange\u003c/strong>\u003c/em>\u003cbr>\nOpens March 5\u003cbr>\n\u003ca href=\"https://rafaelfilm.cafilm.org/people-vs-agent-orange/\" rel=\"noopener noreferrer\" target=\"_blank\">Smith Rafael\u003c/a>, \u003ca href=\"https://www.cinemasf.com/events-calendar/the-people-vs-agent-orange\" rel=\"noopener noreferrer\" target=\"_blank\">Cinema SF\u003c/a> (Balboa, Vogue)\u003c/p>\n\u003cp>It’s hard to argue with those who describe the virulently toxic herbicide that was Dow Chemical’s infamous contribution to the U.S. war on Vietnam (and its neighbors) in the late ’60s and ’70s as chemical warfare. Vietnam, you say? Isn’t that ancient history? How about all the kids with birth defects and all the miscarriages, in Vietnam and the U.S., spanning decades? \u003c/p>\n\u003cp>Veteran filmmakers Alan Adelson and Kate Taverna tackle the cold case files with a measured dispassion that, I must concede, is journalistically and historically responsible. But \u003cem>The People vs. Agent Orange\u003c/em> lacks an iota of the soul-piercing anger and fiery indignation necessary to launch viewers from their complacency. “Quietly infuriating” doesn’t do the trick, in this case.\u003c/p>\n\u003cp>The subjects of the film are two older women—not the most respected or heeded demographic in our culture, it must be said—who suffered enormous losses and are still fighting the U.S. government and the chemical manufacturers. Vietnam War survivor Tran To Nga has brought suit in a Paris court (where a verdict is expected this year), while Oregon environmental activist Carol Van Strum still holds out hope that the vast trove of documents she accrued through FOIA requests and other means will help bring someone to account.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The People vs. Agent Orange\u003c/em> will air on PBS this summer, although perhaps in a shorter cut. By then a French judge may have delivered justice, instead of yet another setback.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Ava DuVernay's Early Hip-Hop Documentary 'This is the Life' Hits Streaming",
"headTitle": "Ava DuVernay’s Early Hip-Hop Documentary ‘This is the Life’ Hits Streaming | KQED",
"content": "\u003cp>At this point, Ava DuVernay is a household name, having directed such films as \u003cem>Selma\u003c/em>, \u003cem>13th\u003c/em> and \u003cem>A Wrinkle in Time\u003c/em>. So I was surprised to learn recently that I heard DuVernay’s voice long before I ever saw her movies. It was on a 1995 album called \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=X2n3sf9ZePY&list=PLADGP63QuBum58OBO9Pq3H-GiVBGcEpJq\" rel=\"noopener noreferrer\" target=\"_blank\">Project Blowed\u003c/a>\u003c/em>, when she appeared on a track called “Don’t Get it Twisted” with her hip-hop duo Figures of Speech.\u003c/p>\n\u003cp>Figures of Speech sprung from a fertile group of rappers and DJs that coalesced around the Good Life Cafe, a health food restaurant in Los Angeles that held weekly open mics attracting the city’s underground hip-hop talent. The songs, stories and synergy of the Good Life are at the center of one of DuVernay’s earliest documentaries, \u003cem>This Is The Life\u003c/em>, which has finally just hit Netflix. \u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/225235608\" width=\"640\" height=\"480\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The Good Life’s era spanned the 1990s, and its syncopated, jazzy and uber-lyrical music stood as a foil to popular street-oriented artists of the day like Dr. Dre and N.W.A. Hip-hop obsessives watching the film will find gold here—early footage of artists like Freestyle Fellowship, Jurassic 5 and C.V.E.; backyard parties; rappers breaking the cafe’s rule of no swearing on the mic; and fond, funny remembrances by those who were there.\u003c/p>\n\u003cp>But even a casual viewer of \u003cem>This is the Life\u003c/em> will get a sense of something bigger: namely, the way great art can grow and cross-pollinate in a tight-knit scene. The tiny cafe packed in men and women from an array of racial and religious backgrounds, and the ripple effect (on national groups like Outkast and Bone Thugs-n-Harmony) is an object lesson in the power of a diverse community working together.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As DuVernay herself says in the documentary: “The only equalizer was being dope.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This is the Life is \u003ca href=\"https://www.netflix.com/title/80151952\" rel=\"noopener noreferrer\" target=\"_blank\">streaming on Netflix now\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At this point, Ava DuVernay is a household name, having directed such films as \u003cem>Selma\u003c/em>, \u003cem>13th\u003c/em> and \u003cem>A Wrinkle in Time\u003c/em>. So I was surprised to learn recently that I heard DuVernay’s voice long before I ever saw her movies. It was on a 1995 album called \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=X2n3sf9ZePY&list=PLADGP63QuBum58OBO9Pq3H-GiVBGcEpJq\" rel=\"noopener noreferrer\" target=\"_blank\">Project Blowed\u003c/a>\u003c/em>, when she appeared on a track called “Don’t Get it Twisted” with her hip-hop duo Figures of Speech.\u003c/p>\n\u003cp>Figures of Speech sprung from a fertile group of rappers and DJs that coalesced around the Good Life Cafe, a health food restaurant in Los Angeles that held weekly open mics attracting the city’s underground hip-hop talent. The songs, stories and synergy of the Good Life are at the center of one of DuVernay’s earliest documentaries, \u003cem>This Is The Life\u003c/em>, which has finally just hit Netflix. \u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/225235608\" width=\"640\" height=\"480\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The Good Life’s era spanned the 1990s, and its syncopated, jazzy and uber-lyrical music stood as a foil to popular street-oriented artists of the day like Dr. Dre and N.W.A. Hip-hop obsessives watching the film will find gold here—early footage of artists like Freestyle Fellowship, Jurassic 5 and C.V.E.; backyard parties; rappers breaking the cafe’s rule of no swearing on the mic; and fond, funny remembrances by those who were there.\u003c/p>\n\u003cp>But even a casual viewer of \u003cem>This is the Life\u003c/em> will get a sense of something bigger: namely, the way great art can grow and cross-pollinate in a tight-knit scene. The tiny cafe packed in men and women from an array of racial and religious backgrounds, and the ripple effect (on national groups like Outkast and Bone Thugs-n-Harmony) is an object lesson in the power of a diverse community working together.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As DuVernay herself says in the documentary: “The only equalizer was being dope.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This is the Life is \u003ca href=\"https://www.netflix.com/title/80151952\" rel=\"noopener noreferrer\" target=\"_blank\">streaming on Netflix now\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Not Even Amy Poehler and Tina Fey Could Save This Year's Snoozy Golden Globes",
"headTitle": "Not Even Amy Poehler and Tina Fey Could Save This Year’s Snoozy Golden Globes | KQED",
"content": "\u003cp>In any given year, awards-season viewers are doing some combination of reveling in the booze-filled loosie-goosey nature of the Golden Globes while bemoaning the ostensible arbitrariness of many of its nominees and winners. Do \u003cem>you \u003c/em>recall the movie \u003cem>Salmon Fishing in the Yemen\u003c/em>? (Three nods in 2012, including best picture.) And really, \u003cem>The Kominsky Method \u003c/em>beat out shows like \u003cem>Barry \u003c/em>and \u003cem>The Good Place\u003c/em> for best TV drama in 2019? How?!\u003c/p>\n\u003cp>The mood going into this year’s Globes ceremony was different, however, and not just because the producers had Covid-related logistics to work out for a mostly virtual event. Just a few days earlier, the \u003cem>Los Angeles Times \u003c/em>published \u003ca href=\"https://www.latimes.com/entertainment-arts/business/story/2021-02-21/hfpa-golden-globes-2021-who-are-the-members\" target=\"_blank\" rel=\"noopener noreferrer\">two\u003c/a> \u003ca href=\"https://www.latimes.com/entertainment-arts/business/story/2021-02-21/hfpa-golden-globes-2021\" target=\"_blank\" rel=\"noopener noreferrer\">investigations\u003c/a> looking into the inner workings of the mysterious Hollywood Foreign Press Association, an organization of 87 “journalists” who vote on the awards. Those exposés unveiled a number of details which suggest the Globes are more frivolous (and corrupt) than even the most cynical among us may have considered. Among the reveals: a number of HFPA members were fabulously flown in to France and wined and dined for a set visit to \u003cem>Emily in Paris\u003c/em>, the wildly popular but critically reviled show which received three head-scratching nominations. Also, there are currently zero Black members in the HFPA.\u003c/p>\n\u003cp>On Sunday night, the ceremony addressed the diversity PR nightmare head-on, first via the opening banter between returning co-hosts Amy Poehler and Tina Fey, who were broadcast from the Beverly Hilton in Beverly Hills and the Rainbow Room in New York City, respectively. Sprinkled in between jokes about the differences between movies and television and an acknowledgement of the pandemic first responders in the audience, were cracks about the HFPA’s membership (“around 90 international—no Black—journalists,” a couple of whom “might be ghosts”) and a more serious admission that worthy Black performances and creators were overlooked this year.\u003c/p>\n\u003cp>And a bit later in the evening, three members of the HFPA emerged from obscurity to pledge that the organization felt bad about all the negative publicity and would commit to doing better about inclusion going forward. (There was no mention of whether or not all-expenses paid trips to fancy cities on a Hollywood studio’s dime was also being reconsidered.)\u003c/p>\n\u003cp>Once the awards-giving kicked off, it was often a bumpy ride. While presenters appeared in person in either New York or L.A., nominees attended remotely from their respective homes. The potential for technical chaos was realized almost immediately, when Daniel Kaluuya, who won the first award of the night for his role as Fred Hampton in \u003cem>Judas and the Black Messiah\u003c/em>, couldn’t be heard while giving his acceptance speech. After a few moments, presenter Laura Dern noted the difficulties and attempted to quickly wrap up and move to the next segment; luckily, Kaluuya was able to jump back in, this time with sound in check, and deliver typically charming remarks.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4FgS6q-xSoY\u003c/p>\n\u003cp>There were many more awkward sound-related issues, merely irritating and occasionally chaotic—was that acceptance speech where Catherine O’Hara, who took home an award for \u003cem>Schitt’s Creek\u003c/em>, kept being interrupted by her husband Bo Welch’s phone, a planned bit or a kerfluffle-turned-on-the-fly bit? I’m not sure, but whatever it was, it was a rare highlight in an otherwise dull night. The producers padded the run time with skits which, even in normal times, would feel forced—save for a perfectly weird skit involving Maya Rudolph and Kenan Thompson donning faux French accents, anything not directly related to the presentation of awards was superfluous.\u003c/p>\n\u003cp>The big winners of the night were a mixed bag of the surprising and predictable. \u003cem>Nomadland \u003c/em>won best motion picture, drama, and its director Chloe Zhao became the first Asian woman to win the best director award—and first woman since Barbra Streisand won for \u003cem>Yentl \u003c/em>nearly 40 years ago. Chadwick Boseman received a posthumous honor for \u003cem>Ma Rainey’s Black Bottom \u003c/em>in the best actor, drama category; his widow, Taylor Simone Ledward gave a stirring, heartbreaking speech on his behalf. Andra Day triumphed for her first feature starring role in \u003cem>The United States vs. Billie Holiday \u003c/em>in a stacked category that included Viola Davis and Frances McDormand.\u003c/p>\n\u003cp>While \u003cem>Emily In Paris \u003c/em>went home empty-handed—Netflix must be wondering, was that all-expenses paid set visit for all those HFPA members worth it after all?—crowd-pleaser \u003cem>The Queen’s Gambit\u003c/em> beat out Steve McQueen’s transformative\u003cem> Small Axe \u003c/em>for best limited series, drama. (Though John Boyega earned his first Globe win for his role in \u003cem>Red, White and Blue\u003c/em>, one of the films in \u003cem>Small Axe.\u003c/em>)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VG58uqZPWsU\u003c/p>\n\u003cp>The show was at its best when the veterans were involved. The 98-year-old Norman Lear was given the Carol Burnett Award for “outstanding contributions to television,” and, perhaps because it was coordinated ahead of time, the TV titan had by far the sharpest audio and visual set-up of all the remote celebrities. He kept his remarks short and sweet, proving yet again that he is a national treasure. Ditto Jane Fonda, who appeared in-person at the Rainbow Room to accept the other honorary award of the evening, the Cecil B. DeMille award. In one of the most riveting moments of the night, she gave a shout out to the recent works that inspired her, including \u003cem>Nomadland, Judas and the Black Messiah\u003c/em>, \u003cem>Minari\u003c/em> (which won after being controversially nominated in the Best Foreign Language category) and \u003cem>I May Destroy You\u003c/em> (which was notably shut out from any nominations despite its critical acclaim).\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Perhaps the one saving grace of this snooze fest was that it ended under three and a half hours. But considering how much time the producers had to execute a smooth and relatively painless event—and that they could have looked to last fall’s comparatively successful \u003ca href=\"https://www.npr.org/2020/09/21/915132850/the-emmys-pull-off-a-good-show-as-schitt-s-creek-and-watchmen-shine\" target=\"_blank\" rel=\"noopener noreferrer\">virtual Emmy Awards\u003c/a> for guidance—this year’s Golden Globes only further solidified the event’s irrelevance, for everyone to witness.\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=%27Nomadland%27+And+Chadwick+Boseman+Win+Big+During+A+Mostly+Snoozy+Golden+Globes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In any given year, awards-season viewers are doing some combination of reveling in the booze-filled loosie-goosey nature of the Golden Globes while bemoaning the ostensible arbitrariness of many of its nominees and winners. Do \u003cem>you \u003c/em>recall the movie \u003cem>Salmon Fishing in the Yemen\u003c/em>? (Three nods in 2012, including best picture.) And really, \u003cem>The Kominsky Method \u003c/em>beat out shows like \u003cem>Barry \u003c/em>and \u003cem>The Good Place\u003c/em> for best TV drama in 2019? How?!\u003c/p>\n\u003cp>The mood going into this year’s Globes ceremony was different, however, and not just because the producers had Covid-related logistics to work out for a mostly virtual event. Just a few days earlier, the \u003cem>Los Angeles Times \u003c/em>published \u003ca href=\"https://www.latimes.com/entertainment-arts/business/story/2021-02-21/hfpa-golden-globes-2021-who-are-the-members\" target=\"_blank\" rel=\"noopener noreferrer\">two\u003c/a> \u003ca href=\"https://www.latimes.com/entertainment-arts/business/story/2021-02-21/hfpa-golden-globes-2021\" target=\"_blank\" rel=\"noopener noreferrer\">investigations\u003c/a> looking into the inner workings of the mysterious Hollywood Foreign Press Association, an organization of 87 “journalists” who vote on the awards. Those exposés unveiled a number of details which suggest the Globes are more frivolous (and corrupt) than even the most cynical among us may have considered. Among the reveals: a number of HFPA members were fabulously flown in to France and wined and dined for a set visit to \u003cem>Emily in Paris\u003c/em>, the wildly popular but critically reviled show which received three head-scratching nominations. Also, there are currently zero Black members in the HFPA.\u003c/p>\n\u003cp>On Sunday night, the ceremony addressed the diversity PR nightmare head-on, first via the opening banter between returning co-hosts Amy Poehler and Tina Fey, who were broadcast from the Beverly Hilton in Beverly Hills and the Rainbow Room in New York City, respectively. Sprinkled in between jokes about the differences between movies and television and an acknowledgement of the pandemic first responders in the audience, were cracks about the HFPA’s membership (“around 90 international—no Black—journalists,” a couple of whom “might be ghosts”) and a more serious admission that worthy Black performances and creators were overlooked this year.\u003c/p>\n\u003cp>And a bit later in the evening, three members of the HFPA emerged from obscurity to pledge that the organization felt bad about all the negative publicity and would commit to doing better about inclusion going forward. (There was no mention of whether or not all-expenses paid trips to fancy cities on a Hollywood studio’s dime was also being reconsidered.)\u003c/p>\n\u003cp>Once the awards-giving kicked off, it was often a bumpy ride. While presenters appeared in person in either New York or L.A., nominees attended remotely from their respective homes. The potential for technical chaos was realized almost immediately, when Daniel Kaluuya, who won the first award of the night for his role as Fred Hampton in \u003cem>Judas and the Black Messiah\u003c/em>, couldn’t be heard while giving his acceptance speech. After a few moments, presenter Laura Dern noted the difficulties and attempted to quickly wrap up and move to the next segment; luckily, Kaluuya was able to jump back in, this time with sound in check, and deliver typically charming remarks.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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},
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
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