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"content": "\u003cp>\u003cstrong>1. Sometimes, there’s a reason things are done the way they are. \u003c/strong>Traditionally, Oscar night has ended with the announcement of the winner for best picture. This year, as the producers—including experienced risk-taker Steven Soderbergh—tried to mix it up a little in their train-station ceremony, they decided to change the order. They presented best picture to \u003cem>Nomadland\u003c/em>, then best actress to Frances McDormand, then best actor to Anthony Hopkins for \u003cem>The Father\u003c/em>. Hopkins wasn’t there, so presenter Joaquin Phoenix said the Academy accepted the award on his behalf, and because there was no host, that was pretty much it. Goodnight, everybody!\u003c/p>\n\u003cp>There were those who believed that this happened because there was a cynical calculation that the late Chadwick Boseman would win for \u003cem>Ma Rainey’s Black Bottom\u003c/em>, and that a speech—perhaps from his wife, Taylor Simone Ledward—would be a particularly emotional closing note for such a difficult and unusual year. If true, it was a highly cynical calculation, and if not, it showed a lack of foresight not to realize it might appear to be one. And whatever the intent, the result was that, instead of ending with a celebration on stage, as has happened with films like \u003cem>Moonlight \u003c/em>and \u003cem>Parasite \u003c/em>and other worthy winners, the entire three-plus-hour show ended with an award given to someone who wasn’t even there.\u003c/p>\n\u003cp>Experimentation? Sure. Innovation? Of course. Breaking the structure without thinking through how it might come off? That’s a dangerous approach.\u003c/p>\n\u003cp>\u003cstrong>2. Relaxed speeches are… well, they’re more relaxed. \u003c/strong>Without a live orchestra to play people off, some speeches stretched out in a way that, early on, seemed like it might mean the show would go on all night. Some were a bit meandering; some a bit undisciplined. But they were charming, too. And in some cases, that extra space allowed deeply emotional thoughts to be shared without fear of suddenly being interrupted, as when Thomas Vinterberg accepted the best international feature award for \u003cem>Another Round \u003c/em>and spoke movingly of the loss of his daughter in a car accident during production. It’s not just that Vinterberg got to speak, but that he got to speak without pressure and without the sense of a ticking clock. Whatever future Oscars ceremonies look like, it would be lovely to rethink the “speed through the list of names before you get cut off and don’t forget anyone important or powerful” format they often have.\u003c/p>\n\u003cp>\u003cstrong>3. Don’t be careless with In Memoriam. \u003c/strong>The In Memoriam segment is a production challenge: The audience tries to clap for certain people, the music has to feel appropriate, the visuals have to give at least a respectful amount of context for who each person was. Not so in 2021. Certainly, it was a year with a larger-than-average number of deaths, particularly among older people. But the answer to that would have been a longer segment. What they did instead was to cram the list into a segment that didn’t allow a lot of names to appear as much more than a flash on the screen—not even enough time for their names to be read. The math of dividing up a song, or parts of a song, to sync with a set of slides is not the art of it. That’s the beginning of it. The art of it is being careful not to accidentally disrespect the people you’re trying to honor.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>4. Play the clips. \u003c/strong>The producers discarded the feeling that the Oscars telecast often has that it’s a big, goofy, splashy, intermittently musical party. Instead, they staged a sort of a staid banquet like you might see at the end of a long fundraising campaign for a fancy museum, where everyone thanked everyone else for their hard work. So, instead of seeing clips of the particularly strong best actress field, we saw presenter (and last year’s winner) Renee Zellweger personally say how much she liked each of the performances. That kind of direct address can have its place, but clips—particularly in categories like short films and makeup—can really give people a sense of the work that’s being honored. It’s cute to have the presenter tell us that a short film director likes a particular snack, but walking away with no idea what any of a lot of the honored work even looks like seems like a failure.\u003c/p>\n\u003cp>\u003cstrong>5. Lots of firsts and nearly-firsts, but progress is so very slow. \u003c/strong>Chloé Zhao became the \u003ca href=\"https://www.npr.org/sections/live-updates-oscars-2021/2021/04/25/988816124/chloe-zhao-is-the-first-woman-of-color-to-win-oscar-for-best-director\" target=\"_blank\" rel=\"noopener noreferrer\">first woman of color\u003c/a>, and only the second woman, to win best director, for \u003cem>Nomadland\u003c/em>. The delightful Yuh-jung Youn, who flirted with Brad Pitt while accepting her award for \u003cem>Minari\u003c/em>, was the \u003ca href=\"https://www.npr.org/sections/live-updates-oscars-2021/2021/04/25/989638064/youn-yuh-jung-is-first-korean-to-win-oscar-for-best-supporting-actress\" target=\"_blank\" rel=\"noopener noreferrer\">first Korean and the second Asian\u003c/a> to win as best supporting actress. And Mia Neal and Jamika Wilson, who worked on \u003cem>Ma Rainey’s Black Bottom\u003c/em>, became the \u003ca href=\"https://www.npr.org/sections/live-updates-oscars-2021/2021/04/25/990364577/ma-rainey-hairstylists-are-1st-black-women-to-win-makeup-hairstyling-oscar\" target=\"_blank\" rel=\"noopener noreferrer\">first Black women\u003c/a> to win in the category of makeup and hairstyling. But to celebrate because an entire second woman won best director? It’s a difficult ask. These things take time. A lot of time.\u003c/p>\n\u003cp>\u003cstrong>6. The big trailers are dropping.\u003c/strong> As this Oscars season ends, the next one is already ramping up. Trailers for \u003cem>In The Heights\u003c/em> and Steven Spielberg’s production of \u003cem>West Side Story \u003c/em>had prominent placement during the telecast. Both are expected to get awards attention in the next cycle. Hollywood may have spent this year figuring out how to do without theaters, but it’s eager to get audiences back into them as soon as possible.\u003c/p>\n\u003cp>\u003cstrong>7. Nobody ever really solved the COVID problem with awards shows. \u003c/strong>All the awards shows were a little different this season. In some ways, the Grammys had it easiest because, as a show centered on musical performances, they were able to capitalize on the quick progress people have made in learning to record musical performances that work perfectly well on television, even without a typical awards-auditorium setting. But for a show like the Oscars, which is so reliant on a sort of oscillation between earnestness and silliness—both of which benefit from the presence of a crowd—it’s very hard to solve the fundamental problem, which is that when a lot of people can’t easily party together, there’s nothing else that really substitutes for a lot of people partying together. The Emmys solved this with little sub-parties for different shows, and the Globes had various remotes from different people’s homes and laptops. But as in life, nothing else is like raucous company. This telecast figured out how to find some of the earnestness, some of the meaning. It didn’t find the exhilaration. The closest it came was a fairly labored bit in which Glenn Close improbably wound up saluting the legendary go-go number “Da Butt.” And doing the dance. (Yes, really.)\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But, as Frances McDormand would say, look: Nothing else is like raucous company. See you next year.\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=7+Takeaways+From+The+Train-Station+Oscars&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>1. Sometimes, there’s a reason things are done the way they are. \u003c/strong>Traditionally, Oscar night has ended with the announcement of the winner for best picture. This year, as the producers—including experienced risk-taker Steven Soderbergh—tried to mix it up a little in their train-station ceremony, they decided to change the order. They presented best picture to \u003cem>Nomadland\u003c/em>, then best actress to Frances McDormand, then best actor to Anthony Hopkins for \u003cem>The Father\u003c/em>. Hopkins wasn’t there, so presenter Joaquin Phoenix said the Academy accepted the award on his behalf, and because there was no host, that was pretty much it. Goodnight, everybody!\u003c/p>\n\u003cp>There were those who believed that this happened because there was a cynical calculation that the late Chadwick Boseman would win for \u003cem>Ma Rainey’s Black Bottom\u003c/em>, and that a speech—perhaps from his wife, Taylor Simone Ledward—would be a particularly emotional closing note for such a difficult and unusual year. If true, it was a highly cynical calculation, and if not, it showed a lack of foresight not to realize it might appear to be one. And whatever the intent, the result was that, instead of ending with a celebration on stage, as has happened with films like \u003cem>Moonlight \u003c/em>and \u003cem>Parasite \u003c/em>and other worthy winners, the entire three-plus-hour show ended with an award given to someone who wasn’t even there.\u003c/p>\n\u003cp>Experimentation? Sure. Innovation? Of course. Breaking the structure without thinking through how it might come off? That’s a dangerous approach.\u003c/p>\n\u003cp>\u003cstrong>2. Relaxed speeches are… well, they’re more relaxed. \u003c/strong>Without a live orchestra to play people off, some speeches stretched out in a way that, early on, seemed like it might mean the show would go on all night. Some were a bit meandering; some a bit undisciplined. But they were charming, too. And in some cases, that extra space allowed deeply emotional thoughts to be shared without fear of suddenly being interrupted, as when Thomas Vinterberg accepted the best international feature award for \u003cem>Another Round \u003c/em>and spoke movingly of the loss of his daughter in a car accident during production. It’s not just that Vinterberg got to speak, but that he got to speak without pressure and without the sense of a ticking clock. Whatever future Oscars ceremonies look like, it would be lovely to rethink the “speed through the list of names before you get cut off and don’t forget anyone important or powerful” format they often have.\u003c/p>\n\u003cp>\u003cstrong>3. Don’t be careless with In Memoriam. \u003c/strong>The In Memoriam segment is a production challenge: The audience tries to clap for certain people, the music has to feel appropriate, the visuals have to give at least a respectful amount of context for who each person was. Not so in 2021. Certainly, it was a year with a larger-than-average number of deaths, particularly among older people. But the answer to that would have been a longer segment. What they did instead was to cram the list into a segment that didn’t allow a lot of names to appear as much more than a flash on the screen—not even enough time for their names to be read. The math of dividing up a song, or parts of a song, to sync with a set of slides is not the art of it. That’s the beginning of it. The art of it is being careful not to accidentally disrespect the people you’re trying to honor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>4. Play the clips. \u003c/strong>The producers discarded the feeling that the Oscars telecast often has that it’s a big, goofy, splashy, intermittently musical party. Instead, they staged a sort of a staid banquet like you might see at the end of a long fundraising campaign for a fancy museum, where everyone thanked everyone else for their hard work. So, instead of seeing clips of the particularly strong best actress field, we saw presenter (and last year’s winner) Renee Zellweger personally say how much she liked each of the performances. That kind of direct address can have its place, but clips—particularly in categories like short films and makeup—can really give people a sense of the work that’s being honored. It’s cute to have the presenter tell us that a short film director likes a particular snack, but walking away with no idea what any of a lot of the honored work even looks like seems like a failure.\u003c/p>\n\u003cp>\u003cstrong>5. Lots of firsts and nearly-firsts, but progress is so very slow. \u003c/strong>Chloé Zhao became the \u003ca href=\"https://www.npr.org/sections/live-updates-oscars-2021/2021/04/25/988816124/chloe-zhao-is-the-first-woman-of-color-to-win-oscar-for-best-director\" target=\"_blank\" rel=\"noopener noreferrer\">first woman of color\u003c/a>, and only the second woman, to win best director, for \u003cem>Nomadland\u003c/em>. The delightful Yuh-jung Youn, who flirted with Brad Pitt while accepting her award for \u003cem>Minari\u003c/em>, was the \u003ca href=\"https://www.npr.org/sections/live-updates-oscars-2021/2021/04/25/989638064/youn-yuh-jung-is-first-korean-to-win-oscar-for-best-supporting-actress\" target=\"_blank\" rel=\"noopener noreferrer\">first Korean and the second Asian\u003c/a> to win as best supporting actress. And Mia Neal and Jamika Wilson, who worked on \u003cem>Ma Rainey’s Black Bottom\u003c/em>, became the \u003ca href=\"https://www.npr.org/sections/live-updates-oscars-2021/2021/04/25/990364577/ma-rainey-hairstylists-are-1st-black-women-to-win-makeup-hairstyling-oscar\" target=\"_blank\" rel=\"noopener noreferrer\">first Black women\u003c/a> to win in the category of makeup and hairstyling. But to celebrate because an entire second woman won best director? It’s a difficult ask. These things take time. A lot of time.\u003c/p>\n\u003cp>\u003cstrong>6. The big trailers are dropping.\u003c/strong> As this Oscars season ends, the next one is already ramping up. Trailers for \u003cem>In The Heights\u003c/em> and Steven Spielberg’s production of \u003cem>West Side Story \u003c/em>had prominent placement during the telecast. Both are expected to get awards attention in the next cycle. Hollywood may have spent this year figuring out how to do without theaters, but it’s eager to get audiences back into them as soon as possible.\u003c/p>\n\u003cp>\u003cstrong>7. Nobody ever really solved the COVID problem with awards shows. \u003c/strong>All the awards shows were a little different this season. In some ways, the Grammys had it easiest because, as a show centered on musical performances, they were able to capitalize on the quick progress people have made in learning to record musical performances that work perfectly well on television, even without a typical awards-auditorium setting. But for a show like the Oscars, which is so reliant on a sort of oscillation between earnestness and silliness—both of which benefit from the presence of a crowd—it’s very hard to solve the fundamental problem, which is that when a lot of people can’t easily party together, there’s nothing else that really substitutes for a lot of people partying together. The Emmys solved this with little sub-parties for different shows, and the Globes had various remotes from different people’s homes and laptops. But as in life, nothing else is like raucous company. This telecast figured out how to find some of the earnestness, some of the meaning. It didn’t find the exhilaration. The closest it came was a fairly labored bit in which Glenn Close improbably wound up saluting the legendary go-go number “Da Butt.” And doing the dance. (Yes, really.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But, as Frances McDormand would say, look: Nothing else is like raucous company. See you next year.\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=7+Takeaways+From+The+Train-Station+Oscars&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The second of SF Cinematheque’s four free programs of experimental short films by—and curated by—Indigenous artists, “\u003ca href=\"https://www.sfcinematheque.org/video-programs/cousins-and-kin-what-was-always-yours-and-never-lost/\" rel=\"noopener noreferrer\" target=\"_blank\">what was always yours and never lost\u003c/a>” is accessible, provocative and refreshingly non-dogmatic. Sky Hopinka’s selections engage rather than assault the viewer, and in so doing expand our horizons and shift our perspectives.\u003c/p>\n\u003cp>\u003ca href=\"https://carolinemonnet.ca/\" rel=\"noopener noreferrer\" target=\"_blank\">Caroline Monnet\u003c/a> (Anishinaabe/French) is represented by three films, with \u003cem>Creature Dada\u003c/em> (2016) leading off the program with a circle of confident Native women savoring seafood and champagne. By the time the Canadian filmmaker’s \u003cem>Cephyrophobia\u003c/em> (2016) arrives, with its monochrome studies of bridges, we don’t see it as a collection of picturesque still lifes but as evidence of white intrusion on the natural terrain.\u003c/p>\n\u003cfigure id=\"attachment_13896216\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/3.-LessLethalFetishesGasMask_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13896216\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/3.-LessLethalFetishesGasMask_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/3.-LessLethalFetishesGasMask_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/3.-LessLethalFetishesGasMask_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/3.-LessLethalFetishesGasMask_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/3.-LessLethalFetishesGasMask_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Thirza Cuthand’s ‘Less Lethal Fetishes,’ 2019. \u003ccite>(Courtesy SF Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In between, Toronto filmmaker \u003ca href=\"https://www.thirzacuthand.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Thirza Cuthand\u003c/a> (Cree) regales us with both the sexual potential of gas masks and the confusing moral responsibility of a Whitney Biennial invitation in the oddly endearing \u003cem>Less Lethal Fetishes\u003c/em> (2019). Cuthand also puts herself front and center as the guest speaker at an Indigenous revolutionary meeting who delivers an outlandish (and eminently entertaining) reminiscence of a brief affair with a version of Queen Elizabeth II in \u003cem>Just Dandy\u003c/em> (2013).\u003c/p>\n\u003cp>Indigenous artists collective New Red Order (Adam Khalil, Zack Khalil and Jackson Polys) takes on embedded power by skillfully revealing our complicity in the fetishizing and minimizing of historical figures in statues and busts in \u003cem>Culture Capture: Terminal Addition\u003c/em> (2018), a witty and valuable film made in Syracuse, New York.\u003c/p>\n\u003cfigure id=\"attachment_13896217\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/2.-USE-Itzcoatl0.png\" alt=\"\" width=\"1440\" height=\"900\" class=\"size-full wp-image-13896217\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/2.-USE-Itzcoatl0.png 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/2.-USE-Itzcoatl0-800x500.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/2.-USE-Itzcoatl0-1020x638.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/2.-USE-Itzcoatl0-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/2.-USE-Itzcoatl0-768x480.png 768w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Still from Colectivo Los Ingràvidos’ ‘Itzcóatl,’ 2016. \u003ccite>(Courtesy SF Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.instagram.com/zonaingravida/\" rel=\"noopener noreferrer\" target=\"_blank\">Colectivo Los Ingràvidos\u003c/a> (Tehuacán) reclaims the pyramids in defense of the Aztec empire in the high-energy, split-screen \u003cem>Itzcóatl\u003c/em> (2016). The symbolism in this beautiful film may be slightly obscure for American viewers, but no one will miss the meaning of the Mexican collective’s other contribution to the lineup, \u003cem>Impresiones para una máquina de luz y sonido\u003c/em> (2014). Against the tattered, black-and-white backdrop of an old celluloid melodrama, a woman delivers a vibrant speech—part eulogy, part poem, part shriek of anger—cataloguing the murders of Mexican civilians (primarily women) and the government’s indifference. If, for some reason, you only have time for one film, \u003cem>Impresiones para una máquina de luz y sonido\u003c/em> is the heart-wrenching standout of the program (even if it is a rebuttal of sorts of the title, “what was always yours and never lost”).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Cheer yourself up, slightly, with the wry curtain-dropper \u003cem>The History of the Luiseño People\u003c/em> (1993). The film showcases the late Native American performance artist James Luna home alone in the dark on Christmas Eve with a 12-pack, ciggies, sunglasses and, crucially, a phone. He reaches out to family and ex-lovers, giving a little but keeping his distance. Connection, however, proves more powerful than isolation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Cousins and Kin: what was always yours and never lost’ streams online at SF Cinematheque through May 15. \u003ca href=\"https://www.sfcinematheque.org\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The second of SF Cinematheque’s four free programs of experimental short films by—and curated by—Indigenous artists, “\u003ca href=\"https://www.sfcinematheque.org/video-programs/cousins-and-kin-what-was-always-yours-and-never-lost/\" rel=\"noopener noreferrer\" target=\"_blank\">what was always yours and never lost\u003c/a>” is accessible, provocative and refreshingly non-dogmatic. Sky Hopinka’s selections engage rather than assault the viewer, and in so doing expand our horizons and shift our perspectives.\u003c/p>\n\u003cp>\u003ca href=\"https://carolinemonnet.ca/\" rel=\"noopener noreferrer\" target=\"_blank\">Caroline Monnet\u003c/a> (Anishinaabe/French) is represented by three films, with \u003cem>Creature Dada\u003c/em> (2016) leading off the program with a circle of confident Native women savoring seafood and champagne. By the time the Canadian filmmaker’s \u003cem>Cephyrophobia\u003c/em> (2016) arrives, with its monochrome studies of bridges, we don’t see it as a collection of picturesque still lifes but as evidence of white intrusion on the natural terrain.\u003c/p>\n\u003cfigure id=\"attachment_13896216\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/3.-LessLethalFetishesGasMask_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13896216\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/3.-LessLethalFetishesGasMask_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/3.-LessLethalFetishesGasMask_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/3.-LessLethalFetishesGasMask_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/3.-LessLethalFetishesGasMask_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/3.-LessLethalFetishesGasMask_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Thirza Cuthand’s ‘Less Lethal Fetishes,’ 2019. \u003ccite>(Courtesy SF Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In between, Toronto filmmaker \u003ca href=\"https://www.thirzacuthand.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Thirza Cuthand\u003c/a> (Cree) regales us with both the sexual potential of gas masks and the confusing moral responsibility of a Whitney Biennial invitation in the oddly endearing \u003cem>Less Lethal Fetishes\u003c/em> (2019). 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Cheer yourself up, slightly, with the wry curtain-dropper \u003cem>The History of the Luiseño People\u003c/em> (1993). The film showcases the late Native American performance artist James Luna home alone in the dark on Christmas Eve with a 12-pack, ciggies, sunglasses and, crucially, a phone. He reaches out to family and ex-lovers, giving a little but keeping his distance. Connection, however, proves more powerful than isolation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Cousins and Kin: what was always yours and never lost’ streams online at SF Cinematheque through May 15. \u003ca href=\"https://www.sfcinematheque.org\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! Keep Earth Day Going With Livable Planet Film Fest",
"headTitle": "Now Playing! Keep Earth Day Going With Livable Planet Film Fest | KQED",
"content": "\u003cp>The mini-moguls of SF IndieFest have added another winner to their array of satellite festivals (DocFest, Another Hole in the Head, SF Short Film Festival, Decibels). Wading into the wide-open spaces left by the fondly remembered and sadly departed San Francisco Green Film Festival, tireless programmers Jeff Ross and Chris Metzler launch the \u003ca href=\"https://livableplanet2021.eventive.org/welcome\" rel=\"noopener noreferrer\" target=\"_blank\">Livable Planet Film Festival\u003c/a> today with an ambitious program of 20 features and several dozen shorts inspired by land, water, fire and air, and people whose lives are uniquely connected to the elements. \u003c/p>\n\u003cp>The opening night selection, \u003cem>Landfall\u003c/em>, reaches out to us from post-Maria Puerto Rico a year after its Tribeca Film Festival premiere, and garlanded with awards from its pandemic-year tour of the fest circuit. Talented director Cecilia Aldarondo takes us on an impressionistic tour of the Caribbean island, skipping around to eavesdrop on intimate conversations—primarily with Gen Y and Zers—about the future of the beautiful yet economically troubled U.S. territory.\u003c/p>\n\u003cfigure id=\"attachment_13896209\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/landfall_still_05_credit_pablo_alvarez-mesa.jpg\" alt=\"\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13896209\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/landfall_still_05_credit_pablo_alvarez-mesa.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/landfall_still_05_credit_pablo_alvarez-mesa-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/landfall_still_05_credit_pablo_alvarez-mesa-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/landfall_still_05_credit_pablo_alvarez-mesa-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/landfall_still_05_credit_pablo_alvarez-mesa-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/landfall_still_05_credit_pablo_alvarez-mesa-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Still from Cecilia Aldarondo’s ‘Landfall.’ \u003ccite>(Pablo Alvarez Mesa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Landfall\u003c/em>, like a great many documentaries, is necessitated by the abdication of crisis-happy, short-attention-span network and cable news. The film’s framing is miles from mainstream news’ rote cheerleading of capitalism: As one young Vieques woman puts it, “Hurricane Maria was like a big mop or broom with bleach. It swept everything away. And we were finally able to see how screwed we were!”\u003c/p>\n\u003cp>The screwing is partly political and entirely economic. Aldarondo blends chunks of 1950s and ’60s travel and industrial films with verité scenes of contemporary opportunists—hipster cryptocurrency profiteers, notably—to place debt-squeezed Puerto Rico’s recent cost-cutting measures in a long history of colonial exploitation rather than a unique case of disaster capitalism.\u003c/p>\n\u003cp>\u003cem>Landfall\u003c/em> (which was co-produced by Oakland’s Ines Hofmann Kanna) will air later this year on PBS’ \u003cem>POV\u003c/em> series. It’s especially relevant now as the infrastructure debate heats up in the continental U.S., and the opposition argues that spending that helps everyday people (as opposed to millionaires) is a wasteful use of the U.S. Treasury.\u003c/p>\n\u003cfigure id=\"attachment_13896202\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Crab_Season_2.jpg.crdownload.jpg\" alt=\"\" width=\"960\" height=\"544\" class=\"size-full wp-image-13896202\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Crab_Season_2.jpg.crdownload.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Crab_Season_2.jpg.crdownload-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Crab_Season_2.jpg.crdownload-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Crab_Season_2.jpg.crdownload-768x435.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Christopher Leboucher in Martin Benoist’s ‘The Crab Season.’ \u003ccite>(Courtesy SF IndieFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Christopher Leboucher, the visually impaired French protagonist of Martin Benoist’s \u003cem>The Crab Season\u003c/em>, has no agenda beyond his daily low-tide outing in the Normandy waters he’s fished since he was a small boy. “Fished” is a broad term, for Leboucher’s forte is using his bare hands to find crabs and lobsters ensconced in the seaweed-covered rock formations. “It’s like a palace with lots of hallways and amazing places,” he effuses.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Made for French television, this sublime 52-minute piece is arguably, and pleasurably, more of a landscape portrait than a character study. Filmed off the coast of Étretat, \u003cem>The Crab Season\u003c/em> is a crisp visual treat that provides an additional tactile experience when Benoist’s camera follows Leboucher’s hands underwater.\u003c/p>\n\u003cp>The intrepid fisherman offers occasional bits of philosophy in the midst of his earnestly pragmatic endeavors that give \u003cem>The Crab Season\u003c/em> a slight whiff of profundity. In a welcome counterpoint that may or may not be intentional, the sequences of a fully submerged Leboucher thrusting a flailing, boot-clad foot above the surface evoke the comic balletics of Jacques Tati.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Livable Planet Film Festival streams online April 22-May 2. \u003ca href=\"https://livableplanet2021.eventive.org/welcome\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The mini-moguls of SF IndieFest have added another winner to their array of satellite festivals (DocFest, Another Hole in the Head, SF Short Film Festival, Decibels). Wading into the wide-open spaces left by the fondly remembered and sadly departed San Francisco Green Film Festival, tireless programmers Jeff Ross and Chris Metzler launch the \u003ca href=\"https://livableplanet2021.eventive.org/welcome\" rel=\"noopener noreferrer\" target=\"_blank\">Livable Planet Film Festival\u003c/a> today with an ambitious program of 20 features and several dozen shorts inspired by land, water, fire and air, and people whose lives are uniquely connected to the elements. \u003c/p>\n\u003cp>The opening night selection, \u003cem>Landfall\u003c/em>, reaches out to us from post-Maria Puerto Rico a year after its Tribeca Film Festival premiere, and garlanded with awards from its pandemic-year tour of the fest circuit. Talented director Cecilia Aldarondo takes us on an impressionistic tour of the Caribbean island, skipping around to eavesdrop on intimate conversations—primarily with Gen Y and Zers—about the future of the beautiful yet economically troubled U.S. territory.\u003c/p>\n\u003cfigure id=\"attachment_13896209\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/landfall_still_05_credit_pablo_alvarez-mesa.jpg\" alt=\"\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13896209\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/landfall_still_05_credit_pablo_alvarez-mesa.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/landfall_still_05_credit_pablo_alvarez-mesa-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/landfall_still_05_credit_pablo_alvarez-mesa-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/landfall_still_05_credit_pablo_alvarez-mesa-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/landfall_still_05_credit_pablo_alvarez-mesa-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/landfall_still_05_credit_pablo_alvarez-mesa-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Still from Cecilia Aldarondo’s ‘Landfall.’ \u003ccite>(Pablo Alvarez Mesa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Landfall\u003c/em>, like a great many documentaries, is necessitated by the abdication of crisis-happy, short-attention-span network and cable news. The film’s framing is miles from mainstream news’ rote cheerleading of capitalism: As one young Vieques woman puts it, “Hurricane Maria was like a big mop or broom with bleach. It swept everything away. And we were finally able to see how screwed we were!”\u003c/p>\n\u003cp>The screwing is partly political and entirely economic. Aldarondo blends chunks of 1950s and ’60s travel and industrial films with verité scenes of contemporary opportunists—hipster cryptocurrency profiteers, notably—to place debt-squeezed Puerto Rico’s recent cost-cutting measures in a long history of colonial exploitation rather than a unique case of disaster capitalism.\u003c/p>\n\u003cp>\u003cem>Landfall\u003c/em> (which was co-produced by Oakland’s Ines Hofmann Kanna) will air later this year on PBS’ \u003cem>POV\u003c/em> series. It’s especially relevant now as the infrastructure debate heats up in the continental U.S., and the opposition argues that spending that helps everyday people (as opposed to millionaires) is a wasteful use of the U.S. Treasury.\u003c/p>\n\u003cfigure id=\"attachment_13896202\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Crab_Season_2.jpg.crdownload.jpg\" alt=\"\" width=\"960\" height=\"544\" class=\"size-full wp-image-13896202\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Crab_Season_2.jpg.crdownload.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Crab_Season_2.jpg.crdownload-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Crab_Season_2.jpg.crdownload-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Crab_Season_2.jpg.crdownload-768x435.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Christopher Leboucher in Martin Benoist’s ‘The Crab Season.’ \u003ccite>(Courtesy SF IndieFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Christopher Leboucher, the visually impaired French protagonist of Martin Benoist’s \u003cem>The Crab Season\u003c/em>, has no agenda beyond his daily low-tide outing in the Normandy waters he’s fished since he was a small boy. “Fished” is a broad term, for Leboucher’s forte is using his bare hands to find crabs and lobsters ensconced in the seaweed-covered rock formations. “It’s like a palace with lots of hallways and amazing places,” he effuses.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Made for French television, this sublime 52-minute piece is arguably, and pleasurably, more of a landscape portrait than a character study. Filmed off the coast of Étretat, \u003cem>The Crab Season\u003c/em> is a crisp visual treat that provides an additional tactile experience when Benoist’s camera follows Leboucher’s hands underwater.\u003c/p>\n\u003cp>The intrepid fisherman offers occasional bits of philosophy in the midst of his earnestly pragmatic endeavors that give \u003cem>The Crab Season\u003c/em> a slight whiff of profundity. In a welcome counterpoint that may or may not be intentional, the sequences of a fully submerged Leboucher thrusting a flailing, boot-clad foot above the surface evoke the comic balletics of Jacques Tati.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Livable Planet Film Festival streams online April 22-May 2. \u003ca href=\"https://livableplanet2021.eventive.org/welcome\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Looking For a Way to Mark Earth Day? Try These Movies, Songs, Books and More",
"headTitle": "Looking For a Way to Mark Earth Day? Try These Movies, Songs, Books and More | KQED",
"content": "\u003cp>On Thursday, Earth Day, President Biden is holding a global summit on climate—aiming for the U.S. to cut greenhouse gasses to half of their 2005 levels by the end of the 2020s.\u003c/p>\n\u003cp>Meanwhile at NPR, we want to share some ways we have connected with our Mother Earth via the arts. So, here are some of our favorite Earth-related media—from books to movies to songs—ones that might just give you something to think about and celebrate this Earth Day. (After you go for a walk or plant some flowers in your garden.)\u003c/p>\n\u003cp>\u003cstrong>Richard Powers’ \u003cem>Overstory\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Trees are older, wiser, and more diverse than humans. The presence of a majestic tree can provide emotional continuity for generations of one family. They beckon young climbers. They even communicate with each other. In Powers’ Pulitzer Prize-winning novel, a handful of different characters, from across time and geography, illuminate the ways in which we both cherish and destroy these towering giants. The stories eventually entwine in ways that might give “\u003ca href=\"https://www.npr.org/2018/04/19/602903697/novelist-richard-powers-finds-new-stories-deep-in-old-growth-forests\" target=\"_blank\" rel=\"noopener noreferrer\">the tree-blind\u003c/a>,” as Powers puts it, a newfound appreciation for the tribes we call forests. (You can find the book at your local library or independent bookstore, or \u003ca href=\"https://www.amazon.com/Overstory-Novel-Richard-Powers/dp/039335668X/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.) —\u003cem> Elizabeth Blair, reporter\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Silent Running \u003c/em>(1972)\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=p69lEMn0I8k\u003c/p>\n\u003cp>Douglas Trumbull’s postapocalyptic thriller, created just two years after the first Earth Day in 1970, starts in the not-too-distant future with Earth’s last surviving plant life preserved in space pods—giant geodesic domes attached to massive space freighters—for eventual return to use to reforest the planet. Bruce Dern is one of the caretakers when the cargo company decides it wants its freighters back, and starts jettisoning the pods. Aided by three droids—Huey, Dewey and Louie—Dern engages in some creative sabotage to foil their attempts and save the last vestiges of Earth’s ecosystem. (\u003ca href=\"https://www.amazon.com/Silent-Running-Douglas-Trumbull/dp/B002RPK1P0\" target=\"_blank\" rel=\"noopener noreferrer\">Watch\u003c/a> on Amazon Prime Video). \u003cem>— Bob Mondello, TV critic\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>“Mercy, Mercy Me (The Ecology)”\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=H9ePdk29rVI\u003c/p>\n\u003cp>What I love about this song—and the entire \u003cem>What’s Going On\u003c/em> album—is how it tackles a serious issue without a hint of preachiness or condescension. (*cough* Common *cough*) It emanates palpable concern and weariness for the state of the environment and is a musical poem with no real chorus, only the repeated, deeply relatable sigh of “mercy, mercy me” in between laments about “overcrowded land” and its “abuse from man.” The gift and curse of this song is that it’s even more relevant today than it was 50 years ago. (\u003ca href=\"https://www.youtube.com/watch?v=H9ePdk29rVI\" target=\"_blank\" rel=\"noopener noreferrer\">Listen\u003c/a> on YouTube.) —\u003cem> Aisha Harris, co-host Pop Culture Happy Hour\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>WALL-E\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9pyBKj5-jVk\u003c/p>\n\u003cp>Apparently, humans never changed course on pollution, and sometime in the 22nd century they were forced to leave a planet they had turned into a giant garbage dump. But they left without turning off a trash-compactor-on-treads robot they’d left behind—a Waste Allocation Load-Lifter: Earth Class, or WALL-E—who has, over the course of 700 years, developed a personality. Pixar’s digitizers made the first hour at once a bleak vision of our future, and an enchanting Chaplinesque love story as WALL-E falls for EVE—an Extra-terrestrial Vegetation Evaluator. (\u003ca href=\"https://www.preview.disneyplus.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Watch\u003c/a> on Disney+.) \u003cem>— Bob Mondello, TV critic\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Life in Color with David Attenborough\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WYj-7IrjC4c\u003c/p>\n\u003cp>Everyone’s favorite rumpled British naturalist is back, in a two-part docuseries about the way animals use color to warn off and/or hide from predators and find mates. Attenborough’s trademark warm, inquisitive voice has grown a bit thinner with age, but it’s still supple enough to convey his wonder at, and delight in, the natural world. And what a world this series captures, bursting with dazzling, shifting colors, courtesy of new camera technology that can approximate those aspects of the color spectrum normally invisible to us. A third episode offers a behind-the-scenes peek at how the documentary crew managed to capture some of the series’ most striking images. (Find it on \u003ca href=\"https://www.netflix.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix.\u003c/a>) \u003cem>— Glen Weldon, co-host, Pop Culture Happy Hour\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Learning, Recycling, and Becoming Little Heroes\u003c/strong> \u003c/em>\u003c/p>\n\u003cp>Author and activist Gale Glover was researching the Flint water crisis when she became inspired by how the city’s children have coped and changed with the environmental challenges that now define their hometown. You can hear Glover, who herself grew up in Flint, discussing the resilience of those kids in her thoughtful and uplifting 2016 children’s book, \u003cem>Learning, Recycling, and Becoming Little Heroes \u003c/em>\u003ca href=\"https://www.michiganradio.org/post/childrens-book-pays-tribute-unsung-heroes-flint-water-crisis-kids\" target=\"_blank\" rel=\"noopener noreferrer\">in this interview\u003c/a> on the Michigan Radio program Stateside. (You can find the book at your local library or independent bookstore, or \u003ca href=\"https://www.amazon.com/Learning-Recycling-Becoming-Little-Heroes/dp/1533581118\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.) —\u003cem> Neda Ulaby, reporter\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>An Inconvenient Truth\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OAK8Cd4t0WA\u003c/p>\n\u003cp>Yeah, yeah, I know. You think it’ll be like watching paint dry to hear Al Gore talking about global warming. Well, the film turns out to be pretty amazing, and \u003cem>very\u003c/em> smartly done, with computer graphics that make the story he’s telling far scarier and more immediate than the Hollywoodized one in, say, \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0319262/\" target=\"_blank\" rel=\"noopener noreferrer\">The Day After Tomorrow\u003c/a>\u003c/em>. I remember at the premiere, not a soul got up during the credits because they were riveted, believe it or not, by an environmental “to do” list. (Watch it on \u003ca href=\"https://www.amazon.com/gp/product/B00AB0SHRW?tag=deciderrg-20\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon Prime Video\u003c/a> or \u003ca href=\"https://www.paramountplus.com/intl/\" target=\"_blank\" rel=\"noopener noreferrer\">Paramount+\u003c/a>. ) \u003cem>— Bob Mondello, TV critic\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Artists Christo and Jeanne-Claude\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vCzaxunme7I\u003c/p>\n\u003cp>You might not think of the artists Christo and Jeanne-Claude as ardent environmentalists, but the two cared passionately about how their famous works of art interacted with nature. As I wrote \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=4283898\" target=\"_blank\" rel=\"noopener noreferrer\">in this 2015 review\u003c/a> of \u003cem>5 Films About Christo and Jeanne-Claude\u003c/em> for NPR, they “enveloped the Pont Neuf in Paris within acres of shimmering fabric, curtained a Colorado valley, dotted the coastal landscapes of California and Japan with brightly colored umbrellas, circled 11 Biscayne Bay islands with electric-pink sheeting and ran an enormous white nylon fence through 24 miles of ranch land in the U.S. West.” In a series of documentaries now viewable on the \u003ca href=\"https://www.criterionchannel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Criterion Channel\u003c/a>, filmmakers Albert and David Maysles “draw viewers into the artist duo’s world of stunning vision, bullheaded stubbornness, flower-child flights of fancy and mind-bending logistics.” (Find the documentaries \u003ca href=\"https://www.criterionchannel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.) \u003cem>— Neda Ulaby, reporter\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>My Octopus Teacher\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3s0LTDhqe5A\u003c/p>\n\u003cp>A documentary filmmaker goes deep inside an underwater kelp forest where he encounters—and then makes friends with—a mysterious sea creature. It sounds like something a Disney animator may have dreamed up, but it’s actually an apt description for Craig Foster’s Oscar-nominated Netflix film. Come along as Foster freedives into the chilly waters off South Africa. \u003cem>My Octopus Teacher\u003c/em> is a true reminder of the value of slowing down and immersing yourself (literally) in the natural world. (Find it on \u003ca href=\"https://www.netflix.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix\u003c/a>). \u003cem>— Bridget Bentz, producer\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Forty Signs of Rain\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The breathtakingly plausible and gripping first novel of Kim Stanley Robinson’s hard-science-fiction “Science in the Capital” trilogy chronicles the cascading effects of global warming after a trigger event—a huge storm off the coast of California. Waters rise (the Lincoln Memorial in Washington, D.C. is soon up to Lincoln’s neck in a flood) and the world belatedly takes action. This sets up two terrific subsequent novels \u003cem>Fifty Degrees Below\u003c/em>, and \u003cem>Sixty Days and Counting\u003c/em>, which collectively earned Robinson the moniker “Master of Disaster.” No idea why Hollywood hasn’t leapt on these. They’re great reads. (You can find the book at your local library or independent bookstore, or \u003ca href=\"https://www.amazon.com/Forty-Signs-Science-Capital-Trilogy-ebook/dp/B000FC1PZC/ref=sr_1_1\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.) —\u003cem> Bob Mondello, TV critic\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Looking+For+A+Way+To+Mark+Earth+Day%3F+Try+These+Movies%2C+Songs%2C+Books+And+More&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Thursday, Earth Day, President Biden is holding a global summit on climate—aiming for the U.S. to cut greenhouse gasses to half of their 2005 levels by the end of the 2020s.\u003c/p>\n\u003cp>Meanwhile at NPR, we want to share some ways we have connected with our Mother Earth via the arts. So, here are some of our favorite Earth-related media—from books to movies to songs—ones that might just give you something to think about and celebrate this Earth Day. (After you go for a walk or plant some flowers in your garden.)\u003c/p>\n\u003cp>\u003cstrong>Richard Powers’ \u003cem>Overstory\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Trees are older, wiser, and more diverse than humans. The presence of a majestic tree can provide emotional continuity for generations of one family. They beckon young climbers. They even communicate with each other. In Powers’ Pulitzer Prize-winning novel, a handful of different characters, from across time and geography, illuminate the ways in which we both cherish and destroy these towering giants. The stories eventually entwine in ways that might give “\u003ca href=\"https://www.npr.org/2018/04/19/602903697/novelist-richard-powers-finds-new-stories-deep-in-old-growth-forests\" target=\"_blank\" rel=\"noopener noreferrer\">the tree-blind\u003c/a>,” as Powers puts it, a newfound appreciation for the tribes we call forests. (You can find the book at your local library or independent bookstore, or \u003ca href=\"https://www.amazon.com/Overstory-Novel-Richard-Powers/dp/039335668X/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.) —\u003cem> Elizabeth Blair, reporter\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Silent Running \u003c/em>(1972)\u003c/strong>\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/p69lEMn0I8k'\n title='//www.youtube.com/embed/p69lEMn0I8k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Douglas Trumbull’s postapocalyptic thriller, created just two years after the first Earth Day in 1970, starts in the not-too-distant future with Earth’s last surviving plant life preserved in space pods—giant geodesic domes attached to massive space freighters—for eventual return to use to reforest the planet. Bruce Dern is one of the caretakers when the cargo company decides it wants its freighters back, and starts jettisoning the pods. Aided by three droids—Huey, Dewey and Louie—Dern engages in some creative sabotage to foil their attempts and save the last vestiges of Earth’s ecosystem. (\u003ca href=\"https://www.amazon.com/Silent-Running-Douglas-Trumbull/dp/B002RPK1P0\" target=\"_blank\" rel=\"noopener noreferrer\">Watch\u003c/a> on Amazon Prime Video). \u003cem>— Bob Mondello, TV critic\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>“Mercy, Mercy Me (The Ecology)”\u003c/strong>\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/H9ePdk29rVI'\n title='//www.youtube.com/embed/H9ePdk29rVI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>What I love about this song—and the entire \u003cem>What’s Going On\u003c/em> album—is how it tackles a serious issue without a hint of preachiness or condescension. (*cough* Common *cough*) It emanates palpable concern and weariness for the state of the environment and is a musical poem with no real chorus, only the repeated, deeply relatable sigh of “mercy, mercy me” in between laments about “overcrowded land” and its “abuse from man.” The gift and curse of this song is that it’s even more relevant today than it was 50 years ago. (\u003ca href=\"https://www.youtube.com/watch?v=H9ePdk29rVI\" target=\"_blank\" rel=\"noopener noreferrer\">Listen\u003c/a> on YouTube.) —\u003cem> Aisha Harris, co-host Pop Culture Happy Hour\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>WALL-E\u003c/em>\u003c/strong>\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/9pyBKj5-jVk'\n title='//www.youtube.com/embed/9pyBKj5-jVk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Apparently, humans never changed course on pollution, and sometime in the 22nd century they were forced to leave a planet they had turned into a giant garbage dump. But they left without turning off a trash-compactor-on-treads robot they’d left behind—a Waste Allocation Load-Lifter: Earth Class, or WALL-E—who has, over the course of 700 years, developed a personality. Pixar’s digitizers made the first hour at once a bleak vision of our future, and an enchanting Chaplinesque love story as WALL-E falls for EVE—an Extra-terrestrial Vegetation Evaluator. (\u003ca href=\"https://www.preview.disneyplus.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Watch\u003c/a> on Disney+.) \u003cem>— Bob Mondello, TV critic\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Life in Color with David Attenborough\u003c/em>\u003c/strong>\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/WYj-7IrjC4c'\n title='//www.youtube.com/embed/WYj-7IrjC4c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Everyone’s favorite rumpled British naturalist is back, in a two-part docuseries about the way animals use color to warn off and/or hide from predators and find mates. Attenborough’s trademark warm, inquisitive voice has grown a bit thinner with age, but it’s still supple enough to convey his wonder at, and delight in, the natural world. And what a world this series captures, bursting with dazzling, shifting colors, courtesy of new camera technology that can approximate those aspects of the color spectrum normally invisible to us. A third episode offers a behind-the-scenes peek at how the documentary crew managed to capture some of the series’ most striking images. (Find it on \u003ca href=\"https://www.netflix.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix.\u003c/a>) \u003cem>— Glen Weldon, co-host, Pop Culture Happy Hour\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Learning, Recycling, and Becoming Little Heroes\u003c/strong> \u003c/em>\u003c/p>\n\u003cp>Author and activist Gale Glover was researching the Flint water crisis when she became inspired by how the city’s children have coped and changed with the environmental challenges that now define their hometown. You can hear Glover, who herself grew up in Flint, discussing the resilience of those kids in her thoughtful and uplifting 2016 children’s book, \u003cem>Learning, Recycling, and Becoming Little Heroes \u003c/em>\u003ca href=\"https://www.michiganradio.org/post/childrens-book-pays-tribute-unsung-heroes-flint-water-crisis-kids\" target=\"_blank\" rel=\"noopener noreferrer\">in this interview\u003c/a> on the Michigan Radio program Stateside. (You can find the book at your local library or independent bookstore, or \u003ca href=\"https://www.amazon.com/Learning-Recycling-Becoming-Little-Heroes/dp/1533581118\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.) —\u003cem> Neda Ulaby, reporter\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>An Inconvenient Truth\u003c/strong>\u003c/em>\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/OAK8Cd4t0WA'\n title='//www.youtube.com/embed/OAK8Cd4t0WA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Yeah, yeah, I know. You think it’ll be like watching paint dry to hear Al Gore talking about global warming. Well, the film turns out to be pretty amazing, and \u003cem>very\u003c/em> smartly done, with computer graphics that make the story he’s telling far scarier and more immediate than the Hollywoodized one in, say, \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0319262/\" target=\"_blank\" rel=\"noopener noreferrer\">The Day After Tomorrow\u003c/a>\u003c/em>. I remember at the premiere, not a soul got up during the credits because they were riveted, believe it or not, by an environmental “to do” list. (Watch it on \u003ca href=\"https://www.amazon.com/gp/product/B00AB0SHRW?tag=deciderrg-20\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon Prime Video\u003c/a> or \u003ca href=\"https://www.paramountplus.com/intl/\" target=\"_blank\" rel=\"noopener noreferrer\">Paramount+\u003c/a>. ) \u003cem>— Bob Mondello, TV critic\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Artists Christo and Jeanne-Claude\u003c/strong>\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/vCzaxunme7I'\n title='//www.youtube.com/embed/vCzaxunme7I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>You might not think of the artists Christo and Jeanne-Claude as ardent environmentalists, but the two cared passionately about how their famous works of art interacted with nature. As I wrote \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=4283898\" target=\"_blank\" rel=\"noopener noreferrer\">in this 2015 review\u003c/a> of \u003cem>5 Films About Christo and Jeanne-Claude\u003c/em> for NPR, they “enveloped the Pont Neuf in Paris within acres of shimmering fabric, curtained a Colorado valley, dotted the coastal landscapes of California and Japan with brightly colored umbrellas, circled 11 Biscayne Bay islands with electric-pink sheeting and ran an enormous white nylon fence through 24 miles of ranch land in the U.S. West.” In a series of documentaries now viewable on the \u003ca href=\"https://www.criterionchannel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Criterion Channel\u003c/a>, filmmakers Albert and David Maysles “draw viewers into the artist duo’s world of stunning vision, bullheaded stubbornness, flower-child flights of fancy and mind-bending logistics.” (Find the documentaries \u003ca href=\"https://www.criterionchannel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.) \u003cem>— Neda Ulaby, reporter\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>My Octopus Teacher\u003c/strong>\u003c/em>\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/3s0LTDhqe5A'\n title='//www.youtube.com/embed/3s0LTDhqe5A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A documentary filmmaker goes deep inside an underwater kelp forest where he encounters—and then makes friends with—a mysterious sea creature. It sounds like something a Disney animator may have dreamed up, but it’s actually an apt description for Craig Foster’s Oscar-nominated Netflix film. Come along as Foster freedives into the chilly waters off South Africa. \u003cem>My Octopus Teacher\u003c/em> is a true reminder of the value of slowing down and immersing yourself (literally) in the natural world. (Find it on \u003ca href=\"https://www.netflix.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix\u003c/a>). \u003cem>— Bridget Bentz, producer\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Forty Signs of Rain\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The breathtakingly plausible and gripping first novel of Kim Stanley Robinson’s hard-science-fiction “Science in the Capital” trilogy chronicles the cascading effects of global warming after a trigger event—a huge storm off the coast of California. Waters rise (the Lincoln Memorial in Washington, D.C. is soon up to Lincoln’s neck in a flood) and the world belatedly takes action. This sets up two terrific subsequent novels \u003cem>Fifty Degrees Below\u003c/em>, and \u003cem>Sixty Days and Counting\u003c/em>, which collectively earned Robinson the moniker “Master of Disaster.” No idea why Hollywood hasn’t leapt on these. They’re great reads. (You can find the book at your local library or independent bookstore, or \u003ca href=\"https://www.amazon.com/Forty-Signs-Science-Capital-Trilogy-ebook/dp/B000FC1PZC/ref=sr_1_1\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.) —\u003cem> Bob Mondello, TV critic\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Looking+For+A+Way+To+Mark+Earth+Day%3F+Try+These+Movies%2C+Songs%2C+Books+And+More&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The 2021 Oscars' Best Original Song Nominees, Cruelly Ranked",
"headTitle": "The 2021 Oscars’ Best Original Song Nominees, Cruelly Ranked | KQED",
"content": "\u003cp>It’s been an unusual year for… a lot of things, really, so why should the Oscars be any different? But the category of best original song feels especially anomalous, given the way the pandemic forced the postponement of so many blockbusters: We didn’t get a \u003cem>Frozen\u003c/em>-style animated musical to lock down one of the spots by default (and Christina Aguilera’s \u003ca href=\"https://www.youtube.com/watch?v=G6PZm8vhm6I\" target=\"_blank\" rel=\"noopener noreferrer\">new song\u003c/a> from the live-action \u003cem>Mulan\u003c/em> remake didn’t make the cut), while Billie Eilish’s \u003ca href=\"https://www.youtube.com/watch?v=BboMpayJomw\" target=\"_blank\" rel=\"noopener noreferrer\">James Bond theme\u003c/a> might have been the frontrunner had \u003cem>No Time to Die\u003c/em> actually come out as planned.\u003c/p>\n\u003cp>That’s left more room than usual for somber closing-credits dirges reflecting the themes of dramas about the pursuit of social justice—songs that, over the years, tend to bleed together in our collective memory to form a glum-but-rousing \u003ca href=\"https://www.mentalfloss.com/article/506504/almost-comprehensive-history-rat-kings\">rat king\u003c/a> called “I Will Speak and Raise My Voice to Rise and Stand and Fight.” These songs, following a path blazed by Common and John Legend’s 2014 \u003cem>Selma\u003c/em> anthem “\u003ca href=\"https://www.youtube.com/watch?v=HUZOKvYcx_o\" target=\"_blank\" rel=\"noopener noreferrer\">Glory\u003c/a>,” form a subgenre best described as, well, Glorycore. Speak! Rise! Stand! Fight!\u003c/p>\n\u003cp>Taken collectively, this year’s crop could have used a jolt of joy and energy—a “\u003ca href=\"https://www.youtube.com/watch?v=bOR38552MJA\">Blame Canada\u003c/a>,” if you will. But, given that it’s probably best that we won’t have to watch Sacha Baron Cohen perform “\u003ca href=\"https://www.youtube.com/watch?v=1EuyDMq3mYQ\" target=\"_blank\" rel=\"noopener noreferrer\">Wuhan Flu\u003c/a>” on the Oscars out of context, these are the five songs we’re getting. Here they are, cruelly and objectively ranked in ascending order of quality.\u003c/p>\n\u003cp>\u003cstrong>5. “Hear My Voice,” \u003c/strong>\u003cstrong>\u003cem>The Trial of the Chicago 7\u003c/em>\u003c/strong>\u003cstrong>, performed by Celeste (Daniel Pemberton and Celeste, songwriters)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pnY9_DXMBis\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Hear My Voice” has a vibrant vocal from soul singer Celeste, a grand string arrangement and a universally accessible message about, you know, having one’s voice heard. But a song can be \u003cem>too\u003c/em> universal: You could tack “Hear My Voice” onto the closing credits of three dozen different movies from 2020 and make a case that it fits. It’s an afterthought in \u003cem>The Trial of the Chicago 7\u003c/em>, and it’d be an afterthought just about anywhere else.\u003c/p>\n\u003cp>Seriously, what reason does “Hear My Voice” have to exist beyond the pursuit of this award? It’s a nice boost to Celeste’s worthy career, but the song itself might as well be titled “For Your Consideration: Hear My Voice (from \u003cem>The Trial Of The Chicago 7\u003c/em>).”\u003c/p>\n\u003cp>\u003cstrong>4. “Io sì (Seen),” \u003c/strong>\u003cstrong>\u003cem>The Life Ahead\u003c/em>\u003c/strong>\u003cstrong>, performed by Laura Pausini (Diane Warren and Laura Pausini, songwriters)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=imjSm7FNmwE\u003c/p>\n\u003cp>Diane Warren has been nominated for Best Original Song an astonishing 12 times, including for indelible hits like “Nothing’s Gonna Stop Us Now,” “How Do I Live” and “I Don’t Want to Miss a Thing”—from the Academy Awards staples \u003cem>Mannequin\u003c/em>, \u003cem>Con Air\u003c/em> and \u003cem>Armageddon\u003c/em>, respectively. But she’s never won, and after her 2015 Lady Gaga collaboration “\u003ca href=\"https://www.youtube.com/watch?v=ZmWBrN7QV6Y\" target=\"_blank\" rel=\"noopener noreferrer\">Til It Happens to You\u003c/a>” wrongly lost to Sam Smith’s “\u003ca href=\"https://www.youtube.com/watch?v=8jzDnsjYv9A\" target=\"_blank\" rel=\"noopener noreferrer\">Writing’s on the Wall\u003c/a>,” Warren has settled into a pattern of writing or co-writing a given year’s fourth- or fifth-most-powerful Best Original Song nominee, year in and year out.\u003c/p>\n\u003cp>Though she didn’t write Celeste’s “Hear My Voice,” Warren has become one of the most dedicated and persistent practitioners of Glorycore, contributing “\u003ca href=\"https://www.youtube.com/watch?v=2GhY7qXGx-0\" target=\"_blank\" rel=\"noopener noreferrer\">Stand Up for Something\u003c/a>” (from \u003cem>Marshall\u003c/em>), “\u003ca href=\"https://www.youtube.com/watch?v=ho0aVZHQnNM\" target=\"_blank\" rel=\"noopener noreferrer\">I’ll Fight\u003c/a>” (from \u003cem>RBG\u003c/em>) and “\u003ca href=\"https://www.youtube.com/watch?v=s7CHl9cB-m8\" target=\"_blank\" rel=\"noopener noreferrer\">I’m Standing With You\u003c/a>” (from \u003cem>Breakthrough\u003c/em>) to the catalog of Oscars-approved anthems about loyalty and/or defiance. In “Io sì” (from the Italian drama \u003cem>The Life Ahead\u003c/em>), she at least mellows her approach a bit, writing in Italian about… well, a kind of defiant loyalty. Translated, the words Laura Pausini sings could have been written by an app programmed to get its user nominated for Best Original Song at the Academy Awards: “If you want me, I’m here / Nobody sees you, but I do.”\u003c/p>\n\u003cp>Still, though it’s not a heavy favorite to win, don’t be surprised if Warren finally ends her losing streak Sunday night. As a sentimental choice from a pool with no clear frontrunner, she’s got a significantly better chance than Celeste—or, say, anyone nominated for Best Actor against Chadwick Boseman.\u003c/p>\n\u003cp>\u003cstrong>3. “Speak Now,” \u003c/strong>\u003cstrong>\u003cem>One Night in Miami…\u003c/em>\u003c/strong>\u003cstrong>, performed by Leslie Odom Jr. (Sam Ashworth and Leslie Odom Jr., songwriters)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZvnPEMW1jj8\u003c/p>\n\u003cp>On one hand, “Speak Now” doesn’t figure into the plot of \u003cem>One Night in Miami…\u003c/em>, Regina King’s excellent drama about an eventful evening in the lives of Sam Cooke, Malcolm X, Muhammad Ali and Jim Brown. Nor does it stretch the boundaries of Oscar-friendly songs about speaking, standing, rising and/or fighting. But it does tie into one of the central tensions of the film, in which Cooke (as played by Odom) wrestles with his responsibility to perform songs that address the moment and challenge white audiences.\u003c/p>\n\u003cp>The Tony- and Grammy-winning star of \u003cem>Hamilton\u003c/em>, Odom was also nominated for best supporting actor, and he’s deployed extremely well throughout King’s film: In both \u003cem>One Night in Miami…\u003c/em> and “Speak Now,” he’s not imitating Cooke so much as embodying the legend’s essence and letting his own talent make up the difference.\u003c/p>\n\u003cp>\u003cstrong>2. “Fight for You,” \u003c/strong>\u003cstrong>\u003cem>Judas and the Black Messiah\u003c/em>\u003c/strong>\u003cstrong>, performed by H.E.R. (D’Mile, H.E.R. and Tiara Thomas, songwriters)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Nu8TS2Vr6lo\u003c/p>\n\u003cp>So if you’re keeping track, that’s a song about being heard, a song about being seen and \u003cem>another\u003c/em> song about being heard. At least H.E.R. is bringing a fight to the mix, right?\u003c/p>\n\u003cp>Unfortunately, we’re now 4-for-4 with best original song nominees whose placement in their respective movies begins riiiiiiiight as the credits begin to roll. Still, “Fight for You” has a brassy period quality to it that suits the sound and tone of \u003cem>Judas and the Black Messiah\u003c/em>; it feels like an extension of the film’s score and overall messaging. Even better, it raises the stakes from words to actions, complete with a call for revolution befitting the film’s subject matter.\u003c/p>\n\u003cp>If you’re attempting to navigate an Oscar pool, this feels like an unusually tricky category to call—a notion reflected in the \u003ca href=\"https://www.goldderby.com/odds/graph/oscars-2021-predictions/best-song/\" target=\"_blank\" rel=\"noopener noreferrer\">bunched-up Gold Derby standings\u003c/a>. After all, voters could be eager to help Warren break her dry spell, or get Leslie Odom Jr. one letter closer to his inevitable EGOT, or surrender to Netflix’s aggressive attempts to promote \u003cem>The Trial of the Chicago 7\u003c/em> at all costs. But “Fight for You” feels like as likely a bet as any: It’s timeless \u003cem>and\u003c/em> timely \u003cem>and\u003c/em> era-appropriate, in ways that help it transcend mere Glorycore award-grubbing. Plus, \u003ca href=\"https://www.grammy.com/grammys/artists/her/243298\" target=\"_blank\" rel=\"noopener noreferrer\">the Grammys love H.E.R.\u003c/a> Why wouldn’t the Oscars join them?\u003c/p>\n\u003cp>\u003cstrong>1. “Husavik,” \u003c/strong>\u003cstrong>\u003cem>Eurovision Song Contest: The Story of Fire Saga\u003c/em>\u003c/strong>\u003cstrong>, performed by Molly Sandén, Rachel McAdams and Will Ferrell (Rickard Göransson, Fat Max Gsus and Savan Kotecha, songwriters)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qjuphuG3ndw&t=1s\u003c/p>\n\u003cp>\u003cem>Eurovision Song Contest\u003c/em> is hardly what you’d consider Oscar bait: It’s a fun but scattershot send-up of a subject that’s already parodying itself, led by stars (Will Ferrell and Rachel McAdams) whose eternal gameness can’t overcome a laggy pace and iffy joke density. But the film succeeds in a crucial area: It largely gets the songs right, pushing the pageantry over the top while still generating material that would thrive on a real-life Eurovision stage.\u003c/p>\n\u003cp>Lyrically cheesy in a manner befitting its context in the film, the song is built on a soaring melody that ratchets up the orchestral grandeur and provides a strong showcase for both McAdams (in a quiet solo scene) and Swedish singer Molly Sandén, whose tremendous voice viewers hear when McAdams sings onstage. As a best original song nominee, “Husavik” checks all the boxes this category ought to be in the interest of checking: Where all four other nominated songs are tacked onto their films’ closing credits, “Husavik” resides at the center of \u003cem>Eurovision Song Contest\u003c/em>‘s climactic scene. It has to absolutely kill for the film’s finale to work, and it brings the house down.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Not saying it \u003cem>will\u003c/em> win, because it probably won’t. But it should.\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=The+2021+Oscars%27+Best+Original+Song+Nominees%2C+Cruelly+Ranked&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s been an unusual year for… a lot of things, really, so why should the Oscars be any different? But the category of best original song feels especially anomalous, given the way the pandemic forced the postponement of so many blockbusters: We didn’t get a \u003cem>Frozen\u003c/em>-style animated musical to lock down one of the spots by default (and Christina Aguilera’s \u003ca href=\"https://www.youtube.com/watch?v=G6PZm8vhm6I\" target=\"_blank\" rel=\"noopener noreferrer\">new song\u003c/a> from the live-action \u003cem>Mulan\u003c/em> remake didn’t make the cut), while Billie Eilish’s \u003ca href=\"https://www.youtube.com/watch?v=BboMpayJomw\" target=\"_blank\" rel=\"noopener noreferrer\">James Bond theme\u003c/a> might have been the frontrunner had \u003cem>No Time to Die\u003c/em> actually come out as planned.\u003c/p>\n\u003cp>That’s left more room than usual for somber closing-credits dirges reflecting the themes of dramas about the pursuit of social justice—songs that, over the years, tend to bleed together in our collective memory to form a glum-but-rousing \u003ca href=\"https://www.mentalfloss.com/article/506504/almost-comprehensive-history-rat-kings\">rat king\u003c/a> called “I Will Speak and Raise My Voice to Rise and Stand and Fight.” These songs, following a path blazed by Common and John Legend’s 2014 \u003cem>Selma\u003c/em> anthem “\u003ca href=\"https://www.youtube.com/watch?v=HUZOKvYcx_o\" target=\"_blank\" rel=\"noopener noreferrer\">Glory\u003c/a>,” form a subgenre best described as, well, Glorycore. Speak! Rise! Stand! Fight!\u003c/p>\n\u003cp>Taken collectively, this year’s crop could have used a jolt of joy and energy—a “\u003ca href=\"https://www.youtube.com/watch?v=bOR38552MJA\">Blame Canada\u003c/a>,” if you will. But, given that it’s probably best that we won’t have to watch Sacha Baron Cohen perform “\u003ca href=\"https://www.youtube.com/watch?v=1EuyDMq3mYQ\" target=\"_blank\" rel=\"noopener noreferrer\">Wuhan Flu\u003c/a>” on the Oscars out of context, these are the five songs we’re getting. Here they are, cruelly and objectively ranked in ascending order of quality.\u003c/p>\n\u003cp>\u003cstrong>5. “Hear My Voice,” \u003c/strong>\u003cstrong>\u003cem>The Trial of the Chicago 7\u003c/em>\u003c/strong>\u003cstrong>, performed by Celeste (Daniel Pemberton and Celeste, songwriters)\u003c/strong>\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/pnY9_DXMBis'\n title='//www.youtube.com/embed/pnY9_DXMBis'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Hear My Voice” has a vibrant vocal from soul singer Celeste, a grand string arrangement and a universally accessible message about, you know, having one’s voice heard. But a song can be \u003cem>too\u003c/em> universal: You could tack “Hear My Voice” onto the closing credits of three dozen different movies from 2020 and make a case that it fits. It’s an afterthought in \u003cem>The Trial of the Chicago 7\u003c/em>, and it’d be an afterthought just about anywhere else.\u003c/p>\n\u003cp>Seriously, what reason does “Hear My Voice” have to exist beyond the pursuit of this award? It’s a nice boost to Celeste’s worthy career, but the song itself might as well be titled “For Your Consideration: Hear My Voice (from \u003cem>The Trial Of The Chicago 7\u003c/em>).”\u003c/p>\n\u003cp>\u003cstrong>4. “Io sì (Seen),” \u003c/strong>\u003cstrong>\u003cem>The Life Ahead\u003c/em>\u003c/strong>\u003cstrong>, performed by Laura Pausini (Diane Warren and Laura Pausini, songwriters)\u003c/strong>\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/imjSm7FNmwE'\n title='//www.youtube.com/embed/imjSm7FNmwE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Diane Warren has been nominated for Best Original Song an astonishing 12 times, including for indelible hits like “Nothing’s Gonna Stop Us Now,” “How Do I Live” and “I Don’t Want to Miss a Thing”—from the Academy Awards staples \u003cem>Mannequin\u003c/em>, \u003cem>Con Air\u003c/em> and \u003cem>Armageddon\u003c/em>, respectively. But she’s never won, and after her 2015 Lady Gaga collaboration “\u003ca href=\"https://www.youtube.com/watch?v=ZmWBrN7QV6Y\" target=\"_blank\" rel=\"noopener noreferrer\">Til It Happens to You\u003c/a>” wrongly lost to Sam Smith’s “\u003ca href=\"https://www.youtube.com/watch?v=8jzDnsjYv9A\" target=\"_blank\" rel=\"noopener noreferrer\">Writing’s on the Wall\u003c/a>,” Warren has settled into a pattern of writing or co-writing a given year’s fourth- or fifth-most-powerful Best Original Song nominee, year in and year out.\u003c/p>\n\u003cp>Though she didn’t write Celeste’s “Hear My Voice,” Warren has become one of the most dedicated and persistent practitioners of Glorycore, contributing “\u003ca href=\"https://www.youtube.com/watch?v=2GhY7qXGx-0\" target=\"_blank\" rel=\"noopener noreferrer\">Stand Up for Something\u003c/a>” (from \u003cem>Marshall\u003c/em>), “\u003ca href=\"https://www.youtube.com/watch?v=ho0aVZHQnNM\" target=\"_blank\" rel=\"noopener noreferrer\">I’ll Fight\u003c/a>” (from \u003cem>RBG\u003c/em>) and “\u003ca href=\"https://www.youtube.com/watch?v=s7CHl9cB-m8\" target=\"_blank\" rel=\"noopener noreferrer\">I’m Standing With You\u003c/a>” (from \u003cem>Breakthrough\u003c/em>) to the catalog of Oscars-approved anthems about loyalty and/or defiance. In “Io sì” (from the Italian drama \u003cem>The Life Ahead\u003c/em>), she at least mellows her approach a bit, writing in Italian about… well, a kind of defiant loyalty. Translated, the words Laura Pausini sings could have been written by an app programmed to get its user nominated for Best Original Song at the Academy Awards: “If you want me, I’m here / Nobody sees you, but I do.”\u003c/p>\n\u003cp>Still, though it’s not a heavy favorite to win, don’t be surprised if Warren finally ends her losing streak Sunday night. As a sentimental choice from a pool with no clear frontrunner, she’s got a significantly better chance than Celeste—or, say, anyone nominated for Best Actor against Chadwick Boseman.\u003c/p>\n\u003cp>\u003cstrong>3. “Speak Now,” \u003c/strong>\u003cstrong>\u003cem>One Night in Miami…\u003c/em>\u003c/strong>\u003cstrong>, performed by Leslie Odom Jr. (Sam Ashworth and Leslie Odom Jr., songwriters)\u003c/strong>\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/ZvnPEMW1jj8'\n title='//www.youtube.com/embed/ZvnPEMW1jj8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On one hand, “Speak Now” doesn’t figure into the plot of \u003cem>One Night in Miami…\u003c/em>, Regina King’s excellent drama about an eventful evening in the lives of Sam Cooke, Malcolm X, Muhammad Ali and Jim Brown. Nor does it stretch the boundaries of Oscar-friendly songs about speaking, standing, rising and/or fighting. But it does tie into one of the central tensions of the film, in which Cooke (as played by Odom) wrestles with his responsibility to perform songs that address the moment and challenge white audiences.\u003c/p>\n\u003cp>The Tony- and Grammy-winning star of \u003cem>Hamilton\u003c/em>, Odom was also nominated for best supporting actor, and he’s deployed extremely well throughout King’s film: In both \u003cem>One Night in Miami…\u003c/em> and “Speak Now,” he’s not imitating Cooke so much as embodying the legend’s essence and letting his own talent make up the difference.\u003c/p>\n\u003cp>\u003cstrong>2. “Fight for You,” \u003c/strong>\u003cstrong>\u003cem>Judas and the Black Messiah\u003c/em>\u003c/strong>\u003cstrong>, performed by H.E.R. (D’Mile, H.E.R. and Tiara Thomas, songwriters)\u003c/strong>\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/Nu8TS2Vr6lo'\n title='//www.youtube.com/embed/Nu8TS2Vr6lo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>So if you’re keeping track, that’s a song about being heard, a song about being seen and \u003cem>another\u003c/em> song about being heard. At least H.E.R. is bringing a fight to the mix, right?\u003c/p>\n\u003cp>Unfortunately, we’re now 4-for-4 with best original song nominees whose placement in their respective movies begins riiiiiiiight as the credits begin to roll. Still, “Fight for You” has a brassy period quality to it that suits the sound and tone of \u003cem>Judas and the Black Messiah\u003c/em>; it feels like an extension of the film’s score and overall messaging. Even better, it raises the stakes from words to actions, complete with a call for revolution befitting the film’s subject matter.\u003c/p>\n\u003cp>If you’re attempting to navigate an Oscar pool, this feels like an unusually tricky category to call—a notion reflected in the \u003ca href=\"https://www.goldderby.com/odds/graph/oscars-2021-predictions/best-song/\" target=\"_blank\" rel=\"noopener noreferrer\">bunched-up Gold Derby standings\u003c/a>. After all, voters could be eager to help Warren break her dry spell, or get Leslie Odom Jr. one letter closer to his inevitable EGOT, or surrender to Netflix’s aggressive attempts to promote \u003cem>The Trial of the Chicago 7\u003c/em> at all costs. But “Fight for You” feels like as likely a bet as any: It’s timeless \u003cem>and\u003c/em> timely \u003cem>and\u003c/em> era-appropriate, in ways that help it transcend mere Glorycore award-grubbing. Plus, \u003ca href=\"https://www.grammy.com/grammys/artists/her/243298\" target=\"_blank\" rel=\"noopener noreferrer\">the Grammys love H.E.R.\u003c/a> Why wouldn’t the Oscars join them?\u003c/p>\n\u003cp>\u003cstrong>1. “Husavik,” \u003c/strong>\u003cstrong>\u003cem>Eurovision Song Contest: The Story of Fire Saga\u003c/em>\u003c/strong>\u003cstrong>, performed by Molly Sandén, Rachel McAdams and Will Ferrell (Rickard Göransson, Fat Max Gsus and Savan Kotecha, songwriters)\u003c/strong>\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/qjuphuG3ndw'\n title='//www.youtube.com/embed/qjuphuG3ndw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Eurovision Song Contest\u003c/em> is hardly what you’d consider Oscar bait: It’s a fun but scattershot send-up of a subject that’s already parodying itself, led by stars (Will Ferrell and Rachel McAdams) whose eternal gameness can’t overcome a laggy pace and iffy joke density. But the film succeeds in a crucial area: It largely gets the songs right, pushing the pageantry over the top while still generating material that would thrive on a real-life Eurovision stage.\u003c/p>\n\u003cp>Lyrically cheesy in a manner befitting its context in the film, the song is built on a soaring melody that ratchets up the orchestral grandeur and provides a strong showcase for both McAdams (in a quiet solo scene) and Swedish singer Molly Sandén, whose tremendous voice viewers hear when McAdams sings onstage. As a best original song nominee, “Husavik” checks all the boxes this category ought to be in the interest of checking: Where all four other nominated songs are tacked onto their films’ closing credits, “Husavik” resides at the center of \u003cem>Eurovision Song Contest\u003c/em>‘s climactic scene. It has to absolutely kill for the film’s finale to work, and it brings the house down.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Not saying it \u003cem>will\u003c/em> win, because it probably won’t. But it should.\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=The+2021+Oscars%27+Best+Original+Song+Nominees%2C+Cruelly+Ranked&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Neither #OscarsSoWhite Nor #OscarsSoMale—What a Difference a Pandemic Makes",
"headTitle": "Neither #OscarsSoWhite Nor #OscarsSoMale—What a Difference a Pandemic Makes | KQED",
"content": "\u003cp>This past year of masks, lockdowns, and capacity restrictions has been the most catastrophic 12 months in the history of movie theaters. It has also been a banner year for diversity at the Oscars.\u003c/p>\n\u003cp>Odd as this might seem, I suspect those two things are related—a matter of industry imperatives meeting cold hard cash. And as salutary as the diversity part is, it’s going to take some work to make it permanent. The Academy of Motion Picture Arts and Sciences, which awards the Oscars, has signaled a willingness to do that work with inclusion standards for Best Picture nominees. They’ll start phasing them in next year.\u003c/p>\n\u003cp>This year, they got lucky.\u003c/p>\n\u003cp>One thing you don’t want, if you’re in charge of the Oscars, is a hashtag—especially something like #OscarsSoWhite—as telecast host Chris Rock acknowledged in 2016, when that one went viral. “It’s the 88th Academy Awards,” he said then to applause, “which means this whole no-black-nominees thing has happened at least 71 other times.”\u003c/p>\n\u003cp>The situation didn’t change much in the next few years. Last year’s Oscars were again among the least diverse in recent memory; only one of 20 acting nominees was non-white.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But this year, nine of the 20—almost half the acting nominees—are non-white.\u003c/p>\n\u003cp>Another telecast, another hashtag: 2018 was the year of #OscarsSoMale, which Frances McDormand riffed on in her Best Actress acceptance speech by asking to have “all the female nominees in every category stand with me in this room tonight.” [aside postid='arts_13892640']\u003c/p>\n\u003cp>Dozens of women stood as the crowd cheered but, again, it didn’t initially have much effect. Last year, just as in 86 of the 91 previous years, not a single woman director was nominated, even though McDormand had closed-out this speech urging her colleagues to insist on women behind the camera by adding a clause to their contracts called an “inclusion rider.”\u003c/p>\n\u003cp>But McDormand took her own advice and this year, what a difference a pandemic makes. She produced as well as starred in \u003cem>Nomadland\u003c/em>, a film based on a book by a woman, featuring the stories of quite a few women, and scripted, edited and directed by Chloe Zhao, who, for the first time in Hollywood history, is a woman competing with a second woman in the directing category.\u003c/p>\n\u003cp>As for the unprecedented number of actors of color among the nominees, it represents a remarkable moment of recognition.\u003c/p>\n\u003cp>There were the nominations for vibrant performances in the true stories of celebrated African-American figures: Daniel Kaluuya and Lakeith Stanfield, each a Best Supporting Actor nominee as, respectively, Black Panther Fred Hampton and the informant who set him up for assassination in \u003cem>Judas and the Black Messiah\u003c/em>; Andra Day as Best Actress for playing blues legend Lady Day in \u003cem>The United States Vs. Billie Holiday\u003c/em>; Leslie Odom Jr. for Supporting Actor as Sam Cooke in \u003cem>One Night in Miami. \u003c/em>[aside postid='arts_13890664']\u003c/p>\n\u003cp>And there were nominations for acting as fictional characters too: A blues singer and her trumpet player in \u003cem>Ma Rainey’s Black Bottom\u003c/em> earned Viola Davis and the late Chadwick Bosemen nods for Best Actress and Actor. Youn Yuh-Jung received a supporting actress nomination as a feisty grandmother in \u003cem>Minari\u003c/em>, the story of Korean immigrants in Arkansas. Riz Ahmed became the first Muslim Best Actor nominee playing a heavy metal drummer who suffers hearing loss in \u003cem>Sound of Metal.\u003c/em>\u003c/p>\n\u003cp>All are eye-opening performances that, taken together, are a clear sign that this is a year of inclusion for the Academy.\u003c/p>\n\u003cp>But not necessarily because Tinseltown has awakened to the virtues of diversity. These are the films that studios decided to open in the middle of a pandemic, a decision that they were well aware would have financial consequences.\u003c/p>\n\u003cp>Films usually get an Oscar bounce from being nominated—a bump in ticket sales that, in a normal year, can amount to many millions of dollars, and also give a film far more reach.\u003c/p>\n\u003cp>Last year’s Best Picture winner, \u003cem>Parasite\u003c/em>, is a case in point. The film was playing in 300 theaters before it was nominated. Following the award, its run in the U.S. expanded to five times as many theaters.\u003c/p>\n\u003cp>But this year, with cinemas mostly closed, and audiences skittish about crowds, that box office bounce doesn’t exist. If you take all eight of the Best Picture nominees, and combine their earnings, the total comes to barely $35 million worldwide. That would be an unimpressive number for just one nominee in a normal year.\u003c/p>\n\u003cp>So to compete for an Oscar in 2020, a filmmaker had to make an almost Faustian bargain: Come out mid-pandemic for awards consideration and lose your shirt, or sell your soul for bigger box office after the pandemic and lose your shot. [aside postid='arts_13893138']\u003c/p>\n\u003cp>Many of the films regarded as Oscar shoo-ins decided to wait. A new version of the musical \u003cem>West Side Story,\u003c/em> for instance, with a script by Pulitzer winner Tony Kushner, directed by Oscar winner Steven Spielberg. Also the star-studded costume epic \u003cem>The Last Duel\u003c/em> from \u003cem>Gladiator \u003c/em>director Ridley Scott. And \u003cem>The French Dispatch\u003c/em>, the latest weirdness from Wes Anderson, director of \u003cem>Grand Budapest Hotel.\u003c/em>\u003c/p>\n\u003cp>These films were all shot, edited, and ready-to-go in plenty of time for Oscar consideration, but their studios opted to wait. And from a financial perspective, it’s easy to see why. Until a couple of weeks ago, New York and Los Angeles—the two markets that make-or-break prestige pictures—were still not allowing theaters to open.\u003c/p>\n\u003cp>Almost as bad, the theaters elsewhere that were open were reducing attendance to as little as 25 per cent of capacity. That scared off even the commercial crowd, from 007, to Marvel superheroes, to the \u003cem>Fast & Furious\u003c/em> crew.\u003c/p>\n\u003cp>If they weren’t willing to brave the crippling economics at cinemas in a pandemic year, why should Oscar hopefuls?\u003c/p>\n\u003cp>So when filmmakers had the clout to say “let’s wait” they did. And who had that clout? The same mostly male, mostly white stars, producers and studio heads who’ve always had it.\u003c/p>\n\u003cp>Who apparently didn’t have that clout? Well, start with the women who made \u003cem>Nomadland\u003c/em> and \u003cem>Promising Young Woman\u003c/em>. Or the Korean-American director of the low-budget indie, \u003cem>Minari.\u003c/em>\u003c/p>\n\u003cp>Or even the well-connected folks behind \u003cem>Judas and the Black Messiah\u003c/em> who are the first all-Black producing team ever nominated for Best Picture. They told \u003cem>The Hollywood Reporter\u003c/em> they’d originally thought their film would perform about as well as \u003cem>Straight Outta Compton\u003c/em>, which earned $200 million worldwide. [aside postid='arts_13895652']\u003c/p>\n\u003cp>The pandemic lowered that estimate, and Warner’s decision to stream all its films the same day they hit theaters lowered it further. Left with no choice but to go along, the producers watched as their film stalled at the box office. Instead of $200 million, \u003cem>Judas and the Black Messiah\u003c/em> has made less than $6 million.\u003c/p>\n\u003cp>It’s not easy to imagine a Steven Spielberg being put in that position.\u003c/p>\n\u003cp>Is this another way of saying Hollywood’s power and privilege still resides mostly with white men? The power to maximize box office; the privilege of making event pictures so expensive they can’t be treated as loss-leaders for streaming services.\u003c/p>\n\u003cp>Well, sure. But while dollars are important, for filmmakers who have traditionally been marginalized, they are not all-important.\u003c/p>\n\u003cp>This pandemic year will go down in history as the year without blockbusters—not one, single, billion-dollar superhero epic or action-adventure.\u003c/p>\n\u003cp>But it will also be remembered as a watershed for inclusion. The Academy of Motion Picture Arts and Sciences, which produces the Oscars has already made history by nominating the most diverse slate of actors ever, as well as a record number of women. Had studios thrown their weight behind the usual, big-budget spectacles, that might not have happened.\u003c/p>\n\u003cp>By letting less expensive, more socially conscious films lead the way back to cinemas, studios have—possibly inadvertently—ended up championing work that speaks to this moment.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Next year, the blockbusters will return, and with them, no doubt, a lot of inequities that seem wedded to the cash they generate. But in the meantime, audiences get to celebrate artists for whom the recognition brought by awards may just have greater value than dollars.\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=Neither+%23OscarsSoWhite+Nor+%23OscarsSoMale+%E2%80%94+What+A+Difference+A+Pandemic+Makes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This past year of masks, lockdowns, and capacity restrictions has been the most catastrophic 12 months in the history of movie theaters. It has also been a banner year for diversity at the Oscars.\u003c/p>\n\u003cp>Odd as this might seem, I suspect those two things are related—a matter of industry imperatives meeting cold hard cash. And as salutary as the diversity part is, it’s going to take some work to make it permanent. The Academy of Motion Picture Arts and Sciences, which awards the Oscars, has signaled a willingness to do that work with inclusion standards for Best Picture nominees. They’ll start phasing them in next year.\u003c/p>\n\u003cp>This year, they got lucky.\u003c/p>\n\u003cp>One thing you don’t want, if you’re in charge of the Oscars, is a hashtag—especially something like #OscarsSoWhite—as telecast host Chris Rock acknowledged in 2016, when that one went viral. “It’s the 88th Academy Awards,” he said then to applause, “which means this whole no-black-nominees thing has happened at least 71 other times.”\u003c/p>\n\u003cp>The situation didn’t change much in the next few years. Last year’s Oscars were again among the least diverse in recent memory; only one of 20 acting nominees was non-white.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But this year, nine of the 20—almost half the acting nominees—are non-white.\u003c/p>\n\u003cp>Another telecast, another hashtag: 2018 was the year of #OscarsSoMale, which Frances McDormand riffed on in her Best Actress acceptance speech by asking to have “all the female nominees in every category stand with me in this room tonight.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dozens of women stood as the crowd cheered but, again, it didn’t initially have much effect. Last year, just as in 86 of the 91 previous years, not a single woman director was nominated, even though McDormand had closed-out this speech urging her colleagues to insist on women behind the camera by adding a clause to their contracts called an “inclusion rider.”\u003c/p>\n\u003cp>But McDormand took her own advice and this year, what a difference a pandemic makes. She produced as well as starred in \u003cem>Nomadland\u003c/em>, a film based on a book by a woman, featuring the stories of quite a few women, and scripted, edited and directed by Chloe Zhao, who, for the first time in Hollywood history, is a woman competing with a second woman in the directing category.\u003c/p>\n\u003cp>As for the unprecedented number of actors of color among the nominees, it represents a remarkable moment of recognition.\u003c/p>\n\u003cp>There were the nominations for vibrant performances in the true stories of celebrated African-American figures: Daniel Kaluuya and Lakeith Stanfield, each a Best Supporting Actor nominee as, respectively, Black Panther Fred Hampton and the informant who set him up for assassination in \u003cem>Judas and the Black Messiah\u003c/em>; Andra Day as Best Actress for playing blues legend Lady Day in \u003cem>The United States Vs. Billie Holiday\u003c/em>; Leslie Odom Jr. for Supporting Actor as Sam Cooke in \u003cem>One Night in Miami. \u003c/em>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And there were nominations for acting as fictional characters too: A blues singer and her trumpet player in \u003cem>Ma Rainey’s Black Bottom\u003c/em> earned Viola Davis and the late Chadwick Bosemen nods for Best Actress and Actor. Youn Yuh-Jung received a supporting actress nomination as a feisty grandmother in \u003cem>Minari\u003c/em>, the story of Korean immigrants in Arkansas. Riz Ahmed became the first Muslim Best Actor nominee playing a heavy metal drummer who suffers hearing loss in \u003cem>Sound of Metal.\u003c/em>\u003c/p>\n\u003cp>All are eye-opening performances that, taken together, are a clear sign that this is a year of inclusion for the Academy.\u003c/p>\n\u003cp>But not necessarily because Tinseltown has awakened to the virtues of diversity. These are the films that studios decided to open in the middle of a pandemic, a decision that they were well aware would have financial consequences.\u003c/p>\n\u003cp>Films usually get an Oscar bounce from being nominated—a bump in ticket sales that, in a normal year, can amount to many millions of dollars, and also give a film far more reach.\u003c/p>\n\u003cp>Last year’s Best Picture winner, \u003cem>Parasite\u003c/em>, is a case in point. The film was playing in 300 theaters before it was nominated. Following the award, its run in the U.S. expanded to five times as many theaters.\u003c/p>\n\u003cp>But this year, with cinemas mostly closed, and audiences skittish about crowds, that box office bounce doesn’t exist. If you take all eight of the Best Picture nominees, and combine their earnings, the total comes to barely $35 million worldwide. That would be an unimpressive number for just one nominee in a normal year.\u003c/p>\n\u003cp>So to compete for an Oscar in 2020, a filmmaker had to make an almost Faustian bargain: Come out mid-pandemic for awards consideration and lose your shirt, or sell your soul for bigger box office after the pandemic and lose your shot. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Many of the films regarded as Oscar shoo-ins decided to wait. A new version of the musical \u003cem>West Side Story,\u003c/em> for instance, with a script by Pulitzer winner Tony Kushner, directed by Oscar winner Steven Spielberg. Also the star-studded costume epic \u003cem>The Last Duel\u003c/em> from \u003cem>Gladiator \u003c/em>director Ridley Scott. And \u003cem>The French Dispatch\u003c/em>, the latest weirdness from Wes Anderson, director of \u003cem>Grand Budapest Hotel.\u003c/em>\u003c/p>\n\u003cp>These films were all shot, edited, and ready-to-go in plenty of time for Oscar consideration, but their studios opted to wait. And from a financial perspective, it’s easy to see why. Until a couple of weeks ago, New York and Los Angeles—the two markets that make-or-break prestige pictures—were still not allowing theaters to open.\u003c/p>\n\u003cp>Almost as bad, the theaters elsewhere that were open were reducing attendance to as little as 25 per cent of capacity. That scared off even the commercial crowd, from 007, to Marvel superheroes, to the \u003cem>Fast & Furious\u003c/em> crew.\u003c/p>\n\u003cp>If they weren’t willing to brave the crippling economics at cinemas in a pandemic year, why should Oscar hopefuls?\u003c/p>\n\u003cp>So when filmmakers had the clout to say “let’s wait” they did. And who had that clout? The same mostly male, mostly white stars, producers and studio heads who’ve always had it.\u003c/p>\n\u003cp>Who apparently didn’t have that clout? Well, start with the women who made \u003cem>Nomadland\u003c/em> and \u003cem>Promising Young Woman\u003c/em>. Or the Korean-American director of the low-budget indie, \u003cem>Minari.\u003c/em>\u003c/p>\n\u003cp>Or even the well-connected folks behind \u003cem>Judas and the Black Messiah\u003c/em> who are the first all-Black producing team ever nominated for Best Picture. They told \u003cem>The Hollywood Reporter\u003c/em> they’d originally thought their film would perform about as well as \u003cem>Straight Outta Compton\u003c/em>, which earned $200 million worldwide. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The pandemic lowered that estimate, and Warner’s decision to stream all its films the same day they hit theaters lowered it further. Left with no choice but to go along, the producers watched as their film stalled at the box office. Instead of $200 million, \u003cem>Judas and the Black Messiah\u003c/em> has made less than $6 million.\u003c/p>\n\u003cp>It’s not easy to imagine a Steven Spielberg being put in that position.\u003c/p>\n\u003cp>Is this another way of saying Hollywood’s power and privilege still resides mostly with white men? The power to maximize box office; the privilege of making event pictures so expensive they can’t be treated as loss-leaders for streaming services.\u003c/p>\n\u003cp>Well, sure. But while dollars are important, for filmmakers who have traditionally been marginalized, they are not all-important.\u003c/p>\n\u003cp>This pandemic year will go down in history as the year without blockbusters—not one, single, billion-dollar superhero epic or action-adventure.\u003c/p>\n\u003cp>But it will also be remembered as a watershed for inclusion. The Academy of Motion Picture Arts and Sciences, which produces the Oscars has already made history by nominating the most diverse slate of actors ever, as well as a record number of women. Had studios thrown their weight behind the usual, big-budget spectacles, that might not have happened.\u003c/p>\n\u003cp>By letting less expensive, more socially conscious films lead the way back to cinemas, studios have—possibly inadvertently—ended up championing work that speaks to this moment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Next year, the blockbusters will return, and with them, no doubt, a lot of inequities that seem wedded to the cash they generate. But in the meantime, audiences get to celebrate artists for whom the recognition brought by awards may just have greater value than dollars.\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=Neither+%23OscarsSoWhite+Nor+%23OscarsSoMale+%E2%80%94+What+A+Difference+A+Pandemic+Makes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Quo Vadis, Aida?' Asks: Where Does a Society Go After War Ends?",
"headTitle": "‘Quo Vadis, Aida?’ Asks: Where Does a Society Go After War Ends? | KQED",
"content": "\u003cp>Filmmaker Jasmila Zbanic was a 17-year-old student living in Sarajevo with her family when the Bosnian war began in April 1992. As clashes over Bosnia’s referendum for independence first started, she says nobody imagined there could ever be a full war. “It started like [the] riots on Congress in January in [the] U.S. … I was happy when this happened because I thought what a cool thing not to go to school and have [the] whole city stop,” she says.\u003c/p>\n\u003cp>Instead, the ensuing siege of Sarajevo became part of the longest and bloodiest armed conflict in Europe since World War II. The experience marked Zbanic as a young woman—and as an artist—and her award-winning films have explored the legacy of war with a particular focus on women’s stories. Her latest film \u003cem>Quo Vadis, Aida?\u003c/em> is among the nominees for this year’s Oscars for Best International Feature and it dramatizes the genocide of more than 8,000 Bosnian Muslim men and boys in Srebrenica in July 1995.\u003c/p>\n\u003cp>Journalist Christiane Amanpour, who covered the war for CNN, says she was “gobsmacked” by the film and it took her right back to the asymmetry of that conflict. “I was a young woman in my first real war and it took me several weeks, maybe a couple of months, to understand that in Bosnia there was no question that there was an aggressor, clearly defined and there were victims, clearly defined. The aggressors were white Christians who were the Serbs and the Bosnian Serbs. The victims were white European Muslims and the aim of the aggressor was exactly the definition of genocide: to destroy a community in part or in whole based on their ethnicity.”\u003c/p>\n\u003cp>Zbanic spent years researching the real-world politics and mass violence that unfolded in Srebrenica but she says she knew she was also creating a piece of cinema. “Media are dealing with numbers or shocking images but cinema allows us to identify with characters and spend time with them and be with their decisions, having [the] feeling that it’s in real time,” she says.\u003c/p>\n\u003cp>Her version eschews on-screen violence and widescreen battles for a more immersive and intimate experience than traditional Hollywood war films. “I just respect [the] audience very much and I know that [an] audience can imagine many things so I didn’t show blood and violence in an obvious way. I really think we don’t have to see men in blood to know that they were all killed.”\u003c/p>\n\u003cfigure id=\"attachment_13895792\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13895792\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/jasmila-zbanic-c-deblokada-photo-by-imrana-kapetanovic_enl-57353808e02f73f7c9ad5abd7c075ea90ff20b43-800x1200.jpg\" alt=\"Jasmila Žbanić, who wrote and directed 'Quo Vadis, Aida?'\" width=\"800\" height=\"1200\">\u003cfigcaption class=\"wp-caption-text\">Jasmila Žbanić wrote and directed ‘Quo Vadis, Aida?’ \u003ccite>(Super LTD)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Zbanic tells the story of Srebrenica through Aida, a former teacher working as a translator for the United Nations forces. Played by acclaimed Serbian actress Jasna Duricic, Aida rushes between meetings and military negotiations as Srebrenica is ethnically cleansed, her own family joining the thousands of refugees outside the gates of the U.N. base seeking protection. Despite her privileged status as a United Nations employee, she is unable to ensure her own family’s safety. Zbanic says the U.N. betrayed the people it sought to protect and Aida is a tragic character placed at the intersection of that impossible position. In a landmark 1999 report completed under then Secretary General Kofi Annan, the United Nations acknowledged its systemic failures to intervene and protect civilians in Srebrenica.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Despite being Bosnia’s entry to this year’s Oscars, for some viewers, the film has been simply too painful to watch. Amir Husak, who is a Bosnian filmmaker and scholar of media studies at The New School says, “I can tell you that many of my friends and family reported not being able to finish the film in one sitting. It’s a collective trauma that we’re speaking about and it brings back many painful memories.” [aside postid='arts_80724']\u003c/p>\n\u003cp>More than 25 years after the events of Srebrenica, the bones of missing victims are still being found in mass graves surrounding the forests where the film is set. Zbanic says she has been following the stories of those discoveries and \u003cem>Quo Vadis, Aida? \u003c/em>includes Aida’s own search for closure in the present day. In this on screen portrayal, Zbanic says she wanted to pay tribute to the mothers of Srebrenica who have shown a way beyond the politics of vengeance.\u003c/p>\n\u003cp>“These women of Srebrenica are what we thought once saints are,” Zbanic adds. “They are really going back and facing these perpetrators and there was not a single case of revenge. They shaped our country in completely unbelievable ways because they said no revenge, we just want people who did killings to be in prison and they are always talking about truth and justice, not revenge, and how we have to live together.”\u003c/p>\n\u003cp>Therefore the film’s title—\u003cem>Quo Vadis, Aida?\u003c/em>—\u003ca href=\"https://www.nationalgallery.org.uk/paintings/glossary/domine-quo-vadis\" target=\"_blank\" rel=\"noopener noreferrer\">taken from the apocryphal Christian tradition\u003c/a>—asks the question at the heart of the film’s story: where is Aida going and where does a society go after a war ends?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5Kn4TOJwR2w\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=%27Quo+Vadis%2C+Aida%3F%27+Asks%3A+Where+Does+A+Society+Go+After+War+Ends%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Filmmaker Jasmila Zbanic was a 17-year-old student living in Sarajevo with her family when the Bosnian war began in April 1992. As clashes over Bosnia’s referendum for independence first started, she says nobody imagined there could ever be a full war. “It started like [the] riots on Congress in January in [the] U.S. … I was happy when this happened because I thought what a cool thing not to go to school and have [the] whole city stop,” she says.\u003c/p>\n\u003cp>Instead, the ensuing siege of Sarajevo became part of the longest and bloodiest armed conflict in Europe since World War II. The experience marked Zbanic as a young woman—and as an artist—and her award-winning films have explored the legacy of war with a particular focus on women’s stories. Her latest film \u003cem>Quo Vadis, Aida?\u003c/em> is among the nominees for this year’s Oscars for Best International Feature and it dramatizes the genocide of more than 8,000 Bosnian Muslim men and boys in Srebrenica in July 1995.\u003c/p>\n\u003cp>Journalist Christiane Amanpour, who covered the war for CNN, says she was “gobsmacked” by the film and it took her right back to the asymmetry of that conflict. “I was a young woman in my first real war and it took me several weeks, maybe a couple of months, to understand that in Bosnia there was no question that there was an aggressor, clearly defined and there were victims, clearly defined. The aggressors were white Christians who were the Serbs and the Bosnian Serbs. The victims were white European Muslims and the aim of the aggressor was exactly the definition of genocide: to destroy a community in part or in whole based on their ethnicity.”\u003c/p>\n\u003cp>Zbanic spent years researching the real-world politics and mass violence that unfolded in Srebrenica but she says she knew she was also creating a piece of cinema. “Media are dealing with numbers or shocking images but cinema allows us to identify with characters and spend time with them and be with their decisions, having [the] feeling that it’s in real time,” she says.\u003c/p>\n\u003cp>Her version eschews on-screen violence and widescreen battles for a more immersive and intimate experience than traditional Hollywood war films. “I just respect [the] audience very much and I know that [an] audience can imagine many things so I didn’t show blood and violence in an obvious way. I really think we don’t have to see men in blood to know that they were all killed.”\u003c/p>\n\u003cfigure id=\"attachment_13895792\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13895792\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/jasmila-zbanic-c-deblokada-photo-by-imrana-kapetanovic_enl-57353808e02f73f7c9ad5abd7c075ea90ff20b43-800x1200.jpg\" alt=\"Jasmila Žbanić, who wrote and directed 'Quo Vadis, Aida?'\" width=\"800\" height=\"1200\">\u003cfigcaption class=\"wp-caption-text\">Jasmila Žbanić wrote and directed ‘Quo Vadis, Aida?’ \u003ccite>(Super LTD)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Zbanic tells the story of Srebrenica through Aida, a former teacher working as a translator for the United Nations forces. Played by acclaimed Serbian actress Jasna Duricic, Aida rushes between meetings and military negotiations as Srebrenica is ethnically cleansed, her own family joining the thousands of refugees outside the gates of the U.N. base seeking protection. Despite her privileged status as a United Nations employee, she is unable to ensure her own family’s safety. Zbanic says the U.N. betrayed the people it sought to protect and Aida is a tragic character placed at the intersection of that impossible position. In a landmark 1999 report completed under then Secretary General Kofi Annan, the United Nations acknowledged its systemic failures to intervene and protect civilians in Srebrenica.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Despite being Bosnia’s entry to this year’s Oscars, for some viewers, the film has been simply too painful to watch. Amir Husak, who is a Bosnian filmmaker and scholar of media studies at The New School says, “I can tell you that many of my friends and family reported not being able to finish the film in one sitting. It’s a collective trauma that we’re speaking about and it brings back many painful memories.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>More than 25 years after the events of Srebrenica, the bones of missing victims are still being found in mass graves surrounding the forests where the film is set. Zbanic says she has been following the stories of those discoveries and \u003cem>Quo Vadis, Aida? \u003c/em>includes Aida’s own search for closure in the present day. In this on screen portrayal, Zbanic says she wanted to pay tribute to the mothers of Srebrenica who have shown a way beyond the politics of vengeance.\u003c/p>\n\u003cp>“These women of Srebrenica are what we thought once saints are,” Zbanic adds. “They are really going back and facing these perpetrators and there was not a single case of revenge. They shaped our country in completely unbelievable ways because they said no revenge, we just want people who did killings to be in prison and they are always talking about truth and justice, not revenge, and how we have to live together.”\u003c/p>\n\u003cp>Therefore the film’s title—\u003cem>Quo Vadis, Aida?\u003c/em>—\u003ca href=\"https://www.nationalgallery.org.uk/paintings/glossary/domine-quo-vadis\" target=\"_blank\" rel=\"noopener noreferrer\">taken from the apocryphal Christian tradition\u003c/a>—asks the question at the heart of the film’s story: where is Aida going and where does a society go after a war ends?\u003c/p>\n\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/5Kn4TOJwR2w'\n title='//www.youtube.com/embed/5Kn4TOJwR2w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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=%27Quo+Vadis%2C+Aida%3F%27+Asks%3A+Where+Does+A+Society+Go+After+War+Ends%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! Fulfill Wanderlust With Dives into Ocean and Greek Film Fests",
"headTitle": "Now Playing! Fulfill Wanderlust With Dives into Ocean and Greek Film Fests | KQED",
"content": "\u003cp>Traveling is viable again, according to the CDC, for those with the blessed vaccine (and the bucks). But voyaging abroad remains a risky venture. Two local film festivals, both with exceptionally large footprints and coincidentally marking their 18th years, step up to satisfy the craving to be footloose.\u003c/p>\n\u003cp>\u003ca href=\"https://intloceanfilmfest.org/ioff2021\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cstrong>International Ocean Film Festival\u003c/strong>\u003c/a>\u003cbr>\nApril 15–May 2\u003cbr>\nOnline and drive-in at Fort Mason Center\u003c/p>\n\u003cp>Once upon a time, the most widely seen “nature” films outside of PBS were Warren Miller’s ski films and Thomas Campbell’s surf films. \u003cem>Winged Migration\u003c/em> and \u003cem>An Inconvenient Truth\u003c/em> mainstreamed Mother Nature far beyond the extreme sports crowd, then public interest and portable, durable, hi-res digital video cameras launched environmental films into what’s evolved into a dynamic subgenre of documentary.\u003c/p>\n\u003cp>Even still, the breadth and depth (pun intended) of the International Ocean Film Festival program is remarkable. Seventeen countries are represented across 11 themed categories (Our Blue World, Whales, Coastal Communities and Cultures, Coral Reefs and yes, Surfing, among them). Perhaps the pandemic hyper-focused filmmakers on their footage, turning 2020 into a busy year for editors (and composers).\u003c/p>\n\u003cp>The IOFF is onboard with the hallmark of the virtual film festival, namely audience participation. Join the conversation via numerous Q&As with filmmakers, environmentalists and activists, and watch for free and vote for your faves among the 10 finalists in the student film competition.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Of the dozen or so feature films, I sampled a couple of the U.S. premieres, beginning with Australian underwater cinematographer Nays Baghai’s ruminative portrait of Dutch ice freediver Kiki Bosch. For his debut feature (66 minutes, to be precise), \u003cem>Descent\u003c/em>, Baghai willfully spotlights the meditative nature of diving rather than its adrenalized appeal. Instead of daredevil exploits, Bosch’s bone-chilling, cold-water ventures to Iceland and Greenland are presented as destinations on a personal journey narrated by its erstwhile heroine.\u003c/p>\n\u003cp>Originally, Bosch’s impetus was athletics and adventure. When she was raped in her late teens/early 20s, the joy of diving disappeared. Eventually she rediscovered cold-water activities as a means of healing, and through recovery and research became a practitioner of the Wim Hof method of breathing and cold therapy.\u003c/p>\n\u003cp>\u003cem>Descent\u003c/em> is a sobering, contemplative coming-of-age story rather than a vicarious ride-along with someone testing their limits. Bosch seeks, and Baghi honors, “the calm under the waves.” Some viewers will embrace that vibe, while thrill seekers will have to be satisfied with gorgeous settings and jolting ice baths. \u003c/p>\n\u003cfigure id=\"attachment_13895767\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Ocean-Souls.jpg\" alt=\"A view of a whale underwater, turned so its belly is visible along with two flippers.\" width=\"800\" height=\"492\" class=\"size-full wp-image-13895767\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Ocean-Souls.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Ocean-Souls-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Ocean-Souls-768x472.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Ocean Souls.’ \u003ccite>(Courtesy International Ocean Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bosch is the only figure in sight for most of \u003cem>Descent\u003c/em>, while U.K. filmmaker Philip Hamilton fills every frame of \u003cem>Ocean Souls\u003c/em> with whales and dolphins. Unabashed undersea wonder is a significant element of the film, contributing to its overriding goal of impressing us with the animals’ unappreciated and underrated qualities: intelligence, communication and sophisticated social structures (of child-raising, especially).\u003c/p>\n\u003cp>A narrator—one of those slightly arrogant British voices, alas—describes the thinking and behavior of the graceful and often playful creatures, but \u003cem>Ocean Souls\u003c/em> assuredly does not anthropomorphize whales and dolphins. (That’s Disney’s domain.) The filmmaker makes another welcome decision to only include a few seconds, words and images conveying the human damage and ongoing threats (not just climate change but the volume of commercial ocean traffic) to dolphins’ and whales’ health and long-term prospects.\u003c/p>\n\u003cp>That restraint in no way lessens the implicit message of \u003cem>Ocean Souls\u003c/em>, namely that these animals are immensely important and deserve protection. That’s the aim of the vast majority of films about the environment and the natural world, of course; their challenge is catalyzing viewers by means other than depressing, sensationalist destruction. The International Ocean Film Festival abounds with approaches that do precisely that.\u003c/p>\n\u003cfigure id=\"attachment_13895765\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Tailor_2K_Scope_24p_0013_1200.jpg\" alt=\"A close-up view of the tailor character, dressed in a pristine three-piece suit with a checkered tie, behind him are bolts of fabric in many patterns and colors. He looks hopeful, as if about to say something.\" width=\"1200\" height=\"503\" class=\"size-full wp-image-13895765\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Tailor_2K_Scope_24p_0013_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Tailor_2K_Scope_24p_0013_1200-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Tailor_2K_Scope_24p_0013_1200-1020x428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Tailor_2K_Scope_24p_0013_1200-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Tailor_2K_Scope_24p_0013_1200-768x322.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Dimitris Imellos plays Nikos in ‘Tailor.’ \u003ccite>(Courtesy San Francisco Greek Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://sfgff2021.eventive.org/welcome\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cstrong>San Francisco Greek Film Festival\u003c/strong>\u003c/a>\u003cbr>\nApr 16–25\u003cbr>\nOnline and drive-in at Par 3 at Poplar Creek, San Mateo \u003c/p>\n\u003cp>In the early 1990s, on one of my trips to the enormous and now-defunct Montreal World Film Festival, the program included a sidebar on contemporary Greek films. Greece is known for many things, but its national cinema is not, shall we say, one of Europe’s most renowned. Indeed, it’s rare for a Greek film to get a U.S. release. So I squeezed a couple titles into my festival schedule, realizing this was my only chance to see movies from Greece. Unfortunately, both were lackluster works that looked and felt like ’70s TV movies.\u003c/p>\n\u003cp>Even a cursory peep at the San Francisco Greek Film Festival program is sufficient to render my Montreal memory mirage-like. The accomplished productions curated for your streaming pleasure—all free, incredibly—encompass every genre from cerebral arthouse riddle (\u003cem>The Miracle of the Sargasso Sea\u003c/em>) to crime-tinged black comedy (\u003cem>Ballad for a Pierced Heart\u003c/em>) to food-centered mystery (\u003cem>Green Sea\u003c/em>). There’s even a musical drama, \u003cem>Fantasia\u003c/em>, playing at the Par 3 in Poplar Creek in San Mateo on Sunday, April 18.\u003c/p>\n\u003cfigure id=\"attachment_13895766\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Tailor_2K_Scope_24p_0073_1200.jpg\" alt=\"An outdoor scene of many women dressed in glamorous white wedding dresses, clustered around a tailor in a gray vest and pants fitting a smiling woman in a white peplum top. A woman in a midi-length patterned red dress stands across from the tailor with her arms out in a questioning pose.\" width=\"1200\" height=\"503\" class=\"size-full wp-image-13895766\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Tailor_2K_Scope_24p_0073_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Tailor_2K_Scope_24p_0073_1200-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Tailor_2K_Scope_24p_0073_1200-1020x428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Tailor_2K_Scope_24p_0073_1200-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Tailor_2K_Scope_24p_0073_1200-768x322.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Tailor.’ \u003ccite>(Courtesy San Francisco Greek Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While I was tempted by all the aforementioned films, I opted for \u003cem>Tailor\u003c/em>, a tender drama with a droll veneer. The film is precise and attentive to every detail and composition—reflecting its meticulous protagonist—yet fastidious about avoiding conventional plot turns and pat interpretations. Nikos is a middle-aged bachelor who’s labored in the shadow of his demanding father, sewing custom suits for discerning men. But that chapter is ending: The clientele is dying off, the bank is foreclosing on the business and health issues are forcing the father to reluctantly relinquish the business.\u003c/p>\n\u003cp>Dimitris Imelios, who plays Nikos, looks like mid-career Robert De Niro with a hangdog expression. A whiz with his hands, he builds a portable cart and takes his cloths and tools to the streets of Athens, where he unexpectedly stumbles onto a potential new market: women, notably mothers of brides in need of dresses.\u003c/p>\n\u003cp>\u003cem>Tailor\u003c/em> operates on a curious yet accessible wavelength that has the effect of understating its themes of quiet mid-life desperation, stifled creativity and parental acceptance. To put it another way, the premise of Sonia Liza Kenterman’s feature directorial debut has built-in commercial potential that she consistently downplays, sidesteps or ignores. You have to respect that kind of integrity.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It even features a romantic subplot and a precocious child—a mother and daughter, as it happens—that pan out in ways we expect and ways we don’t. The film is both exquisitely made and willfully offbeat, so see it before an enterprising Hollywood producer remakes it—with a younger De Niro, or, heaven help us, Gerard Butler—and trades its low-key charms for syrupy sentimentality.\u003c/p>\n\n",
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"excerpt": "Two festivals with large footprints step up to satisfy our craving to travel abroad.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Traveling is viable again, according to the CDC, for those with the blessed vaccine (and the bucks). But voyaging abroad remains a risky venture. Two local film festivals, both with exceptionally large footprints and coincidentally marking their 18th years, step up to satisfy the craving to be footloose.\u003c/p>\n\u003cp>\u003ca href=\"https://intloceanfilmfest.org/ioff2021\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cstrong>International Ocean Film Festival\u003c/strong>\u003c/a>\u003cbr>\nApril 15–May 2\u003cbr>\nOnline and drive-in at Fort Mason Center\u003c/p>\n\u003cp>Once upon a time, the most widely seen “nature” films outside of PBS were Warren Miller’s ski films and Thomas Campbell’s surf films. \u003cem>Winged Migration\u003c/em> and \u003cem>An Inconvenient Truth\u003c/em> mainstreamed Mother Nature far beyond the extreme sports crowd, then public interest and portable, durable, hi-res digital video cameras launched environmental films into what’s evolved into a dynamic subgenre of documentary.\u003c/p>\n\u003cp>Even still, the breadth and depth (pun intended) of the International Ocean Film Festival program is remarkable. Seventeen countries are represented across 11 themed categories (Our Blue World, Whales, Coastal Communities and Cultures, Coral Reefs and yes, Surfing, among them). Perhaps the pandemic hyper-focused filmmakers on their footage, turning 2020 into a busy year for editors (and composers).\u003c/p>\n\u003cp>The IOFF is onboard with the hallmark of the virtual film festival, namely audience participation. Join the conversation via numerous Q&As with filmmakers, environmentalists and activists, and watch for free and vote for your faves among the 10 finalists in the student film competition.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Of the dozen or so feature films, I sampled a couple of the U.S. premieres, beginning with Australian underwater cinematographer Nays Baghai’s ruminative portrait of Dutch ice freediver Kiki Bosch. For his debut feature (66 minutes, to be precise), \u003cem>Descent\u003c/em>, Baghai willfully spotlights the meditative nature of diving rather than its adrenalized appeal. Instead of daredevil exploits, Bosch’s bone-chilling, cold-water ventures to Iceland and Greenland are presented as destinations on a personal journey narrated by its erstwhile heroine.\u003c/p>\n\u003cp>Originally, Bosch’s impetus was athletics and adventure. When she was raped in her late teens/early 20s, the joy of diving disappeared. Eventually she rediscovered cold-water activities as a means of healing, and through recovery and research became a practitioner of the Wim Hof method of breathing and cold therapy.\u003c/p>\n\u003cp>\u003cem>Descent\u003c/em> is a sobering, contemplative coming-of-age story rather than a vicarious ride-along with someone testing their limits. Bosch seeks, and Baghi honors, “the calm under the waves.” Some viewers will embrace that vibe, while thrill seekers will have to be satisfied with gorgeous settings and jolting ice baths. \u003c/p>\n\u003cfigure id=\"attachment_13895767\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Ocean-Souls.jpg\" alt=\"A view of a whale underwater, turned so its belly is visible along with two flippers.\" width=\"800\" height=\"492\" class=\"size-full wp-image-13895767\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Ocean-Souls.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Ocean-Souls-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Ocean-Souls-768x472.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Ocean Souls.’ \u003ccite>(Courtesy International Ocean Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bosch is the only figure in sight for most of \u003cem>Descent\u003c/em>, while U.K. filmmaker Philip Hamilton fills every frame of \u003cem>Ocean Souls\u003c/em> with whales and dolphins. Unabashed undersea wonder is a significant element of the film, contributing to its overriding goal of impressing us with the animals’ unappreciated and underrated qualities: intelligence, communication and sophisticated social structures (of child-raising, especially).\u003c/p>\n\u003cp>A narrator—one of those slightly arrogant British voices, alas—describes the thinking and behavior of the graceful and often playful creatures, but \u003cem>Ocean Souls\u003c/em> assuredly does not anthropomorphize whales and dolphins. (That’s Disney’s domain.) The filmmaker makes another welcome decision to only include a few seconds, words and images conveying the human damage and ongoing threats (not just climate change but the volume of commercial ocean traffic) to dolphins’ and whales’ health and long-term prospects.\u003c/p>\n\u003cp>That restraint in no way lessens the implicit message of \u003cem>Ocean Souls\u003c/em>, namely that these animals are immensely important and deserve protection. That’s the aim of the vast majority of films about the environment and the natural world, of course; their challenge is catalyzing viewers by means other than depressing, sensationalist destruction. The International Ocean Film Festival abounds with approaches that do precisely that.\u003c/p>\n\u003cfigure id=\"attachment_13895765\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Tailor_2K_Scope_24p_0013_1200.jpg\" alt=\"A close-up view of the tailor character, dressed in a pristine three-piece suit with a checkered tie, behind him are bolts of fabric in many patterns and colors. He looks hopeful, as if about to say something.\" width=\"1200\" height=\"503\" class=\"size-full wp-image-13895765\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Tailor_2K_Scope_24p_0013_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Tailor_2K_Scope_24p_0013_1200-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Tailor_2K_Scope_24p_0013_1200-1020x428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Tailor_2K_Scope_24p_0013_1200-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Tailor_2K_Scope_24p_0013_1200-768x322.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Dimitris Imellos plays Nikos in ‘Tailor.’ \u003ccite>(Courtesy San Francisco Greek Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://sfgff2021.eventive.org/welcome\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cstrong>San Francisco Greek Film Festival\u003c/strong>\u003c/a>\u003cbr>\nApr 16–25\u003cbr>\nOnline and drive-in at Par 3 at Poplar Creek, San Mateo \u003c/p>\n\u003cp>In the early 1990s, on one of my trips to the enormous and now-defunct Montreal World Film Festival, the program included a sidebar on contemporary Greek films. Greece is known for many things, but its national cinema is not, shall we say, one of Europe’s most renowned. Indeed, it’s rare for a Greek film to get a U.S. release. So I squeezed a couple titles into my festival schedule, realizing this was my only chance to see movies from Greece. Unfortunately, both were lackluster works that looked and felt like ’70s TV movies.\u003c/p>\n\u003cp>Even a cursory peep at the San Francisco Greek Film Festival program is sufficient to render my Montreal memory mirage-like. The accomplished productions curated for your streaming pleasure—all free, incredibly—encompass every genre from cerebral arthouse riddle (\u003cem>The Miracle of the Sargasso Sea\u003c/em>) to crime-tinged black comedy (\u003cem>Ballad for a Pierced Heart\u003c/em>) to food-centered mystery (\u003cem>Green Sea\u003c/em>). There’s even a musical drama, \u003cem>Fantasia\u003c/em>, playing at the Par 3 in Poplar Creek in San Mateo on Sunday, April 18.\u003c/p>\n\u003cfigure id=\"attachment_13895766\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Tailor_2K_Scope_24p_0073_1200.jpg\" alt=\"An outdoor scene of many women dressed in glamorous white wedding dresses, clustered around a tailor in a gray vest and pants fitting a smiling woman in a white peplum top. A woman in a midi-length patterned red dress stands across from the tailor with her arms out in a questioning pose.\" width=\"1200\" height=\"503\" class=\"size-full wp-image-13895766\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Tailor_2K_Scope_24p_0073_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Tailor_2K_Scope_24p_0073_1200-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Tailor_2K_Scope_24p_0073_1200-1020x428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Tailor_2K_Scope_24p_0073_1200-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Tailor_2K_Scope_24p_0073_1200-768x322.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Tailor.’ \u003ccite>(Courtesy San Francisco Greek Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While I was tempted by all the aforementioned films, I opted for \u003cem>Tailor\u003c/em>, a tender drama with a droll veneer. The film is precise and attentive to every detail and composition—reflecting its meticulous protagonist—yet fastidious about avoiding conventional plot turns and pat interpretations. Nikos is a middle-aged bachelor who’s labored in the shadow of his demanding father, sewing custom suits for discerning men. But that chapter is ending: The clientele is dying off, the bank is foreclosing on the business and health issues are forcing the father to reluctantly relinquish the business.\u003c/p>\n\u003cp>Dimitris Imelios, who plays Nikos, looks like mid-career Robert De Niro with a hangdog expression. A whiz with his hands, he builds a portable cart and takes his cloths and tools to the streets of Athens, where he unexpectedly stumbles onto a potential new market: women, notably mothers of brides in need of dresses.\u003c/p>\n\u003cp>\u003cem>Tailor\u003c/em> operates on a curious yet accessible wavelength that has the effect of understating its themes of quiet mid-life desperation, stifled creativity and parental acceptance. To put it another way, the premise of Sonia Liza Kenterman’s feature directorial debut has built-in commercial potential that she consistently downplays, sidesteps or ignores. You have to respect that kind of integrity.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It even features a romantic subplot and a precocious child—a mother and daughter, as it happens—that pan out in ways we expect and ways we don’t. The film is both exquisitely made and willfully offbeat, so see it before an enterprising Hollywood producer remakes it—with a younger De Niro, or, heaven help us, Gerard Butler—and trades its low-key charms for syrupy sentimentality.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "For Indie Movie Theaters in the Bay Area, an Uphill Climb to Reopening",
"headTitle": "For Indie Movie Theaters in the Bay Area, an Uphill Climb to Reopening | KQED",
"content": "\u003cp>On March 13 of last year, Lex Sloan had been planning for a sold-out weekend of movies at the \u003ca href=\"https://www.roxie.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Roxie\u003c/a> when she decided to \u003ca href=\"https://www.roxie.com/a-message-to-our-patrons-regarding-covid-19/\" rel=\"noopener noreferrer\" target=\"_blank\">shut down\u003c/a>. “Health and public safety encouraged us to close our doors early and to remain closed,” explains Sloan, the executive director of the historic indie movie theater in San Francisco’s Mission District.\u003c/p>\n\u003cp>Now, over a year later, large theater chains in the Bay Area like AMC and Regency have reopened their multiplexes while most indie theaters remain closed, a result of reduced resources combined with social-distancing protocols. Smaller cinemas have been forced to innovate to stay afloat, leaning on \u003ca href=\"https://www.gofundme.com/f/rialto-cinemas-needs-your-help\" rel=\"noopener noreferrer\" target=\"_blank\">crowdfunding campaigns\u003c/a> and \u003ca href=\"https://www.thenewparkway.com/very-private-rentals/\" rel=\"noopener noreferrer\" target=\"_blank\">private theater rentals\u003c/a>. As for their reopening, Sloan has a simple prescription.\u003c/p>\n\u003cp>“San Franciscans and Bay Areans \u003ca href=\"https://www.kqed.org/news/11855623/where-can-i-get-a-covid-19-vaccine-in-the-bay-area-your-questions-answered\" rel=\"noopener noreferrer\" target=\"_blank\">getting vaccinated\u003c/a>,” she says. “That’s really the key.” \u003c/p>\n\u003ch2>Indie Theaters Hit Harder\u003c/h2>\n\u003cp>Until the pandemic fully recedes, indie theaters abide by the state’s \u003ca href=\"https://www.cinemasafe.org/\" rel=\"noopener noreferrer\" target=\"_blank\">CinemaSafe\u003c/a> regulations, which mandate reduced capacity and social distancing in movie theaters. These rules make the indoor moviegoing experience safer—and, for many independent exhibitors, less profitable. Smaller venues with less seats, Zastrow explains, will have trouble reaching even 50% capacity while also maintaining six feet of distance between customers.\u003c/p>\n\u003cp>J Moses Caesar, general manager of the \u003ca href=\"https://www.thenewparkway.com/\" rel=\"noopener noreferrer\" target=\"_blank\">New Parkway\u003c/a> in Oakland, concurs. “We had the opportunity to reopen in the fall,” Caesar says. “The numbers just did not pencil out for us, certainly at 25% [capacity] and probably not even at 50%.” Caesar admits the decision to reopen the New Parkway \u003ca href=\"https://twitter.com/TheNewParkway/status/1379630318064447497\" rel=\"noopener noreferrer\" target=\"_blank\">in September\u003c/a> is partially based on the hope that, by then, it will be allowed to operate as a “non-socially distanced theater.”\u003c/p>\n\u003cfigure id=\"attachment_13895685\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/New.Parkway-800x600.jpg\" alt=\"The New Parkway auditorium, with couches and seats\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13895685\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/New.Parkway-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/New.Parkway-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/New.Parkway-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/New.Parkway-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/New.Parkway-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/New.Parkway.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The New Parkway in Oakland, with couches and household furniture as seating, may wait until social-distancing requirements are scaled back before reopening to the public. \u003ccite>(Flickr/mliu92)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sloan estimates that the Roxie will also probably lose money when it reopens. “With limited concessions at reduced capacity,” she says, “it’s very unlikely we will be able to break even for the first couple of months that we’re open.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But continued sales of virtual cinema tickets and memberships have given Sloan reason for optimism. This community support, she says, will make the financial losses workable.\u003c/p>\n\u003ch2>Innovations—and Obstacles\u003c/h2>\n\u003cp>Streaming cinema is one of many interim measures that smaller theaters have implemented—in addition to crowdfunding campaigns and private theater rentals—that may remain a fixture of post-pandemic moviegoing. As the specter of the virus looms over public gatherings, at-home digital cinema provides viewers who would rather watch from home with a steady supply of curated programming from their local indie theater. The Roxie Theater, Balboa Theater and the Smith Rafael Film Center have all incorporated a digital cinema arm since initially closing their physical doors.\u003c/p>\n\u003cp>Dan Zastrow, general manager and programmer at the \u003ca href=\"https://rafaelfilm.cafilm.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Smith Rafael Film Center\u003c/a>, has seen continued engagement with both in-person and virtual offerings since the theater reopened on March 5. “It’s kind of 50/50 in terms of attendance,” Zastrow says. “So, if these kinds of numbers keep holding true, it makes total sense to keep the streaming site going.” \u003c/p>\n\u003cp>Another pandemic-era feature that could possibly stay put is the \u003ca href=\"https://dothebay.com/events/weekly/sun/popcorn-parklet-tickets\" rel=\"noopener noreferrer\" target=\"_blank\">parklet\u003c/a> that owner and operator Adam Bergeron installed in front of the \u003ca href=\"https://www.cinemasf.com/balboa\" rel=\"noopener noreferrer\" target=\"_blank\">Balboa Theater\u003c/a>. The parklet, which features an 80-inch screen and allows for concession sales, has enabled Bergeron to stay in contact with audiences in the absence of indoor screenings. \u003c/p>\n\u003cp>“The neighborhood has really responded to it,” says Bergeron. “I really hope that is something we keep up for as long as we can.”\u003c/p>\n\u003cfigure id=\"attachment_13895683\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Smith.Rafael.Film_.Center.GeorgeLazarus-800x534.jpg\" alt=\"The Smith Rafael Film Center in San Rafael.\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13895683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Smith.Rafael.Film_.Center.GeorgeLazarus-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Smith.Rafael.Film_.Center.GeorgeLazarus-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Smith.Rafael.Film_.Center.GeorgeLazarus-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Smith.Rafael.Film_.Center.GeorgeLazarus-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Smith.Rafael.Film_.Center.GeorgeLazarus.jpg 1030w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Smith Rafael Film Center in San Rafael. \u003ccite>(George Lazarus/Courtesy Smith Rafael Film Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A more unwelcome innovation? Major film studios’ aggressive shifts in \u003ca href=\"https://variety.com/2021/film/news/disney-postpones-black-widow-shang-chi-1234935874/\" rel=\"noopener noreferrer\" target=\"_blank\">release strategy\u003c/a> as a response to COVID-19. Warner Bros., for example, is \u003ca href=\"https://www.hollywoodreporter.com/news/warner-bros-smashes-box-office-windows-will-send-2021-slate-to-hbo-max-and-theaters\" rel=\"noopener noreferrer\" target=\"_blank\">releasing its 2021 slate of films simultaneously\u003c/a> in cinemas and on HBOMax. In 2022, Warner will return to theatrical releases, but with a \u003ca href=\"https://www.theverge.com/2021/3/23/22346613/warner-bros-theatrical-releases-2022-hbo-max\" rel=\"noopener noreferrer\" target=\"_blank\">much shorter window of exclusivity\u003c/a>—only 45 days, as opposed to the pre-pandemic 90—that is quickly coalescing as the \u003ca href=\"https://www.cnet.com/news/paramount-plus-to-stream-big-screen-movies-45-days-after-they-hit-theaters/\" rel=\"noopener noreferrer\" target=\"_blank\">new industry standard\u003c/a>.\u003c/p>\n\u003cp>“The theatrical window has irrevocably changed,” admits Ky J. Boyd, director of the \u003ca href=\"https://rialtocinemas.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Rialto Cinemas\u003c/a> theaters in Sebastopol, Berkeley and El Cerrito. Titles like Disney’s \u003cem>Luca\u003c/em> \u003ca href=\"https://collider.com/luca-disney-plus-release-date-pixar-movie-details/\" rel=\"noopener noreferrer\" target=\"_blank\">bypassing theaters\u003c/a> for streamers, he says, is a “concerning factor” for him and other exhibitors.\u003c/p>\n\u003ch2>‘We Know Our Customers’ Names’\u003c/h2>\n\u003cp>But many indie theaters see themselves as adaptable to these changes, in a way that the larger theater chains—who depend almost exclusively on studio blockbusters for traffic—aren’t. “We’ve never relied on the Disney hits to keep our theater going,” says Sloan. “At the megaplexes, you’ll see Godzilla vs. Whoever on their screens, like, all week long. At the Roxie, we usually do 14 different titles a week.”\u003c/p>\n\u003cp>Upcoming programming across Bay Area arthouses follows this niche model, guided by local tastes and suggestions. The Balboa is reopening May 14 with a festival of 10 classic Godzilla flicks; the New Parkway is planning a series of theme weeks; and the Rafael is currently showing quirky documentaries and Academy Award-nominated films on 35mm.\u003c/p>\n\u003cp>[aside postID='arts_13894499']It’s this kind of community-driven, creative ethos that theater owners confidently predict will help them maneuver around national chains and reignite their neighborhoods’ desire to come back to the movies. “We know our customers’ names, and they know our names,” says Bergeron. Zastrow echoes: “We are an integral part of the community.”\u003c/p>\n\u003cp>And after a year of darkened auditoriums, reconnecting with their local communities is a buoying prospect for these Bay Area institutions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I do think that theaters are going to continue to be a place where audiences discover film, whether it’s indie film or mid-size releases,” says Boyd, voicing a shared sense of optimism among indie cinemas. “Because there’s only so much that the streaming services have.”\u003c/p>\n\n",
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"excerpt": "The Roxie, New Parkway, Rafael, Rialto and Balboa Theaters all face challenges—and possibly, permanent changes.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On March 13 of last year, Lex Sloan had been planning for a sold-out weekend of movies at the \u003ca href=\"https://www.roxie.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Roxie\u003c/a> when she decided to \u003ca href=\"https://www.roxie.com/a-message-to-our-patrons-regarding-covid-19/\" rel=\"noopener noreferrer\" target=\"_blank\">shut down\u003c/a>. “Health and public safety encouraged us to close our doors early and to remain closed,” explains Sloan, the executive director of the historic indie movie theater in San Francisco’s Mission District.\u003c/p>\n\u003cp>Now, over a year later, large theater chains in the Bay Area like AMC and Regency have reopened their multiplexes while most indie theaters remain closed, a result of reduced resources combined with social-distancing protocols. Smaller cinemas have been forced to innovate to stay afloat, leaning on \u003ca href=\"https://www.gofundme.com/f/rialto-cinemas-needs-your-help\" rel=\"noopener noreferrer\" target=\"_blank\">crowdfunding campaigns\u003c/a> and \u003ca href=\"https://www.thenewparkway.com/very-private-rentals/\" rel=\"noopener noreferrer\" target=\"_blank\">private theater rentals\u003c/a>. As for their reopening, Sloan has a simple prescription.\u003c/p>\n\u003cp>“San Franciscans and Bay Areans \u003ca href=\"https://www.kqed.org/news/11855623/where-can-i-get-a-covid-19-vaccine-in-the-bay-area-your-questions-answered\" rel=\"noopener noreferrer\" target=\"_blank\">getting vaccinated\u003c/a>,” she says. “That’s really the key.” \u003c/p>\n\u003ch2>Indie Theaters Hit Harder\u003c/h2>\n\u003cp>Until the pandemic fully recedes, indie theaters abide by the state’s \u003ca href=\"https://www.cinemasafe.org/\" rel=\"noopener noreferrer\" target=\"_blank\">CinemaSafe\u003c/a> regulations, which mandate reduced capacity and social distancing in movie theaters. These rules make the indoor moviegoing experience safer—and, for many independent exhibitors, less profitable. Smaller venues with less seats, Zastrow explains, will have trouble reaching even 50% capacity while also maintaining six feet of distance between customers.\u003c/p>\n\u003cp>J Moses Caesar, general manager of the \u003ca href=\"https://www.thenewparkway.com/\" rel=\"noopener noreferrer\" target=\"_blank\">New Parkway\u003c/a> in Oakland, concurs. “We had the opportunity to reopen in the fall,” Caesar says. “The numbers just did not pencil out for us, certainly at 25% [capacity] and probably not even at 50%.” Caesar admits the decision to reopen the New Parkway \u003ca href=\"https://twitter.com/TheNewParkway/status/1379630318064447497\" rel=\"noopener noreferrer\" target=\"_blank\">in September\u003c/a> is partially based on the hope that, by then, it will be allowed to operate as a “non-socially distanced theater.”\u003c/p>\n\u003cfigure id=\"attachment_13895685\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/New.Parkway-800x600.jpg\" alt=\"The New Parkway auditorium, with couches and seats\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13895685\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/New.Parkway-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/New.Parkway-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/New.Parkway-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/New.Parkway-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/New.Parkway-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/New.Parkway.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The New Parkway in Oakland, with couches and household furniture as seating, may wait until social-distancing requirements are scaled back before reopening to the public. \u003ccite>(Flickr/mliu92)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sloan estimates that the Roxie will also probably lose money when it reopens. “With limited concessions at reduced capacity,” she says, “it’s very unlikely we will be able to break even for the first couple of months that we’re open.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But continued sales of virtual cinema tickets and memberships have given Sloan reason for optimism. This community support, she says, will make the financial losses workable.\u003c/p>\n\u003ch2>Innovations—and Obstacles\u003c/h2>\n\u003cp>Streaming cinema is one of many interim measures that smaller theaters have implemented—in addition to crowdfunding campaigns and private theater rentals—that may remain a fixture of post-pandemic moviegoing. As the specter of the virus looms over public gatherings, at-home digital cinema provides viewers who would rather watch from home with a steady supply of curated programming from their local indie theater. The Roxie Theater, Balboa Theater and the Smith Rafael Film Center have all incorporated a digital cinema arm since initially closing their physical doors.\u003c/p>\n\u003cp>Dan Zastrow, general manager and programmer at the \u003ca href=\"https://rafaelfilm.cafilm.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Smith Rafael Film Center\u003c/a>, has seen continued engagement with both in-person and virtual offerings since the theater reopened on March 5. “It’s kind of 50/50 in terms of attendance,” Zastrow says. “So, if these kinds of numbers keep holding true, it makes total sense to keep the streaming site going.” \u003c/p>\n\u003cp>Another pandemic-era feature that could possibly stay put is the \u003ca href=\"https://dothebay.com/events/weekly/sun/popcorn-parklet-tickets\" rel=\"noopener noreferrer\" target=\"_blank\">parklet\u003c/a> that owner and operator Adam Bergeron installed in front of the \u003ca href=\"https://www.cinemasf.com/balboa\" rel=\"noopener noreferrer\" target=\"_blank\">Balboa Theater\u003c/a>. The parklet, which features an 80-inch screen and allows for concession sales, has enabled Bergeron to stay in contact with audiences in the absence of indoor screenings. \u003c/p>\n\u003cp>“The neighborhood has really responded to it,” says Bergeron. “I really hope that is something we keep up for as long as we can.”\u003c/p>\n\u003cfigure id=\"attachment_13895683\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Smith.Rafael.Film_.Center.GeorgeLazarus-800x534.jpg\" alt=\"The Smith Rafael Film Center in San Rafael.\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13895683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Smith.Rafael.Film_.Center.GeorgeLazarus-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Smith.Rafael.Film_.Center.GeorgeLazarus-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Smith.Rafael.Film_.Center.GeorgeLazarus-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Smith.Rafael.Film_.Center.GeorgeLazarus-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Smith.Rafael.Film_.Center.GeorgeLazarus.jpg 1030w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Smith Rafael Film Center in San Rafael. \u003ccite>(George Lazarus/Courtesy Smith Rafael Film Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A more unwelcome innovation? Major film studios’ aggressive shifts in \u003ca href=\"https://variety.com/2021/film/news/disney-postpones-black-widow-shang-chi-1234935874/\" rel=\"noopener noreferrer\" target=\"_blank\">release strategy\u003c/a> as a response to COVID-19. Warner Bros., for example, is \u003ca href=\"https://www.hollywoodreporter.com/news/warner-bros-smashes-box-office-windows-will-send-2021-slate-to-hbo-max-and-theaters\" rel=\"noopener noreferrer\" target=\"_blank\">releasing its 2021 slate of films simultaneously\u003c/a> in cinemas and on HBOMax. In 2022, Warner will return to theatrical releases, but with a \u003ca href=\"https://www.theverge.com/2021/3/23/22346613/warner-bros-theatrical-releases-2022-hbo-max\" rel=\"noopener noreferrer\" target=\"_blank\">much shorter window of exclusivity\u003c/a>—only 45 days, as opposed to the pre-pandemic 90—that is quickly coalescing as the \u003ca href=\"https://www.cnet.com/news/paramount-plus-to-stream-big-screen-movies-45-days-after-they-hit-theaters/\" rel=\"noopener noreferrer\" target=\"_blank\">new industry standard\u003c/a>.\u003c/p>\n\u003cp>“The theatrical window has irrevocably changed,” admits Ky J. Boyd, director of the \u003ca href=\"https://rialtocinemas.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Rialto Cinemas\u003c/a> theaters in Sebastopol, Berkeley and El Cerrito. Titles like Disney’s \u003cem>Luca\u003c/em> \u003ca href=\"https://collider.com/luca-disney-plus-release-date-pixar-movie-details/\" rel=\"noopener noreferrer\" target=\"_blank\">bypassing theaters\u003c/a> for streamers, he says, is a “concerning factor” for him and other exhibitors.\u003c/p>\n\u003ch2>‘We Know Our Customers’ Names’\u003c/h2>\n\u003cp>But many indie theaters see themselves as adaptable to these changes, in a way that the larger theater chains—who depend almost exclusively on studio blockbusters for traffic—aren’t. “We’ve never relied on the Disney hits to keep our theater going,” says Sloan. “At the megaplexes, you’ll see Godzilla vs. Whoever on their screens, like, all week long. At the Roxie, we usually do 14 different titles a week.”\u003c/p>\n\u003cp>Upcoming programming across Bay Area arthouses follows this niche model, guided by local tastes and suggestions. The Balboa is reopening May 14 with a festival of 10 classic Godzilla flicks; the New Parkway is planning a series of theme weeks; and the Rafael is currently showing quirky documentaries and Academy Award-nominated films on 35mm.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s this kind of community-driven, creative ethos that theater owners confidently predict will help them maneuver around national chains and reignite their neighborhoods’ desire to come back to the movies. “We know our customers’ names, and they know our names,” says Bergeron. Zastrow echoes: “We are an integral part of the community.”\u003c/p>\n\u003cp>And after a year of darkened auditoriums, reconnecting with their local communities is a buoying prospect for these Bay Area institutions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I do think that theaters are going to continue to be a place where audiences discover film, whether it’s indie film or mid-size releases,” says Boyd, voicing a shared sense of optimism among indie cinemas. “Because there’s only so much that the streaming services have.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Emerald Fennell's 'Promising Young Woman' Doesn't Let Anyone Off the Hook",
"headTitle": "Emerald Fennell’s ‘Promising Young Woman’ Doesn’t Let Anyone Off the Hook | KQED",
"content": "\u003cp>In the dark comedy \u003cem>Promising Young Woman,\u003c/em> Cassie (Carey Mulligan) works at a coffee shop by day and hunts sexual predators by night. She goes to bars, pretends to be falling down drunk—and then confronts the men who try to take advantage of her.\u003c/p>\n\u003cp>Cassie is avenging the death of her best friend, who, the movie implies, has died by suicide after being raped at medical school. Writer and director Emerald Fennell says the film was inspired, in part, by the messages other movies send about alcohol and consent. [aside postid='arts_13874000']\u003c/p>\n\u003cp>“When I was growing up—and I think still probably it’s the case now—in movies, getting women drunk to sleep with them, filling up their drink more than you’d fill your own, waiting at the end of the night to see who’s drunk at the club, girls waking up not knowing who’s in bed next to them—it was just comedy fodder,” Fennell says. “We live in a culture where this sort of stuff is normalized.”\u003c/p>\n\u003cp>Fennell got her start in television as an actor, then worked as the showrunner for the second season of\u003cem> Killing Eve. Promising Young Woman \u003c/em>is the first film she’s directed. The movie has been nominated for five Academy Awards, including best director and best original screenplay. Fennell describes the film as “a kind of fantasy—with wish fulfillment” but also as something “much darker and, I hope, more honest than that.”\u003c/p>\n\u003cp>“I always wanted to make a film, I think, that people would really enjoy and emotionally connect to and find gripping and romantic and all of those things, but [that’s] also not a film that lets anyone off the hook,” she says. “That’s a really interesting position for a filmmaker: to make an audience feel that they’re in familiar territory when they’re not.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7i5kiFDunk8\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On the film’s depictions of sexual assault, especially as it relates to alcohol \u003c/strong>\u003c/p>\n\u003cp>In Britain at the moment, the most incredible thing is happening, which is that women and girls are writing about their experiences [with sexual assault] at schools. Honestly, the volume, the sheer volume of these stories shows just how commonplace this stuff is. There’s nothing in this film that isn’t—and regrettably—incredibly normal and certainly was when I was growing up. And I think for anyone who thinks that these things weren’t horribly common, I think, probably never went to a party or a nightclub, or is kidding themselves.\u003c/p>\n\u003cp>\u003cstrong>On the character of Cassie\u003c/strong>\u003c/p>\n\u003cp>This is a film about a woman who is trying to find a way forward in a very grief-stricken and angry way. And part of her journey, part of her means of coping is to present herself as incredibly functioning. Like a lot of addicts, I think, she is somewhat addicted to these nighttime excursions, which make her feel kind of fleetingly better. During the day, she wears a lot of pink. Her hair is always immaculate. Her nails are perfect—kind of whimsical pastels. She’s weaponized her femininity, not just in a kind of aggressive way, but as a defense. Like, she knows that people won’t ask too many questions of her if she hides in plain sight like this.\u003c/p>\n\u003cp>\u003cstrong>On why she wanted Cassie’s act of revenge to be scaring men rather than committing acts of violence \u003c/strong>\u003c/p>\n\u003cp>I think part of the film for me was taking a genre that I really love, which is the revenge thriller, and seeing if I could … use that structure, which we’re all so familiar with, but do something unexpected with it—and most importantly, do something that felt feasible to me and female, because I think so often in these kinds of films, and particularly when it pertains to violence, it is not feasible that a woman commits acts of violence against men in the night. It’s not a fair thing to expect. And I think this film is very clear about what happens if you were to try. I really started it by thinking: If I was going to go on a journey like this, what could I do? And if I couldn’t shoot a gun and I’m too unfit to kind of wrestle someone, what could I do to effect some kind of change or to punish people or frighten them? I could do what she does, which is scare them.\u003c/p>\n\u003cp>\u003cstrong>On whether she sees a similarity between \u003c/strong>\u003cem>\u003cstrong>Killing Eve \u003c/strong>\u003c/em>\u003cstrong>and\u003c/strong>\u003cem>\u003cstrong> Promising Young Woman,\u003c/strong>\u003c/em>\u003cstrong> in terms of how they subvert expectations \u003c/strong>[aside postid='arts_13884214']\u003c/p>\n\u003cp>I think, certainly, this sense of wickedness is something that it shares. Anything that gives you that laugh/gasp, sort of “No! Oh god. Yes!” is just always going to be such a fun space to be in. Absolutely, they’re both twists on genres, but I would say they’re both kind of quite different genres, and I’m always kind of quite careful not to make comparisons, just because I think also we do tend to make comparisons between female-led projects much more, just generally all of us as a kind of society. I do think of them as quite markedly different, but certainly, I think, they do share some sort of sense of macabre wickedness and a subversion of the feminine.\u003c/p>\n\u003cp>\u003cstrong>On portraying Camilla Parker Bowles in the latest season of \u003c/strong>\u003cem>\u003cstrong>The Crown \u003c/strong>\u003c/em>\u003c/p>\n\u003cp>I definitely don’t think of her as a villain. I think that increasingly what we’re realizing—and certainly on the show—is that anything that touches the royal family, anything that is part of that is so profoundly strange. It’s not like any other world. It’s not like any other family. The circumstances are just completely extraordinary. So that’s kind of the thing that was always interesting to me about Camilla, was that she’s actually very, very private. The Camilla that I was playing, there’s almost no footage, no photographs of her. … She was head girl of her school. She was incredibly popular. Everyone who’s met her from the research says she’s incredibly funny and kind and good fun, and I was just so interested in what happens to that kind of person when they get sucked into this world and then their biography is written for them by other people. I’m certainly not saying that having affairs is a good thing, but a lot of people do it, and it takes more than one person to do it, too. I went at it, to be honest, very much as a fiction. It’s just an amazingly genius drama.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Lauren Krenzel and Thea Chaloner produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Emerald+Fennell%27s+%27Promising+Young+Woman%27+Doesn%27t+Let+Anyone+Off+The+Hook&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the dark comedy \u003cem>Promising Young Woman,\u003c/em> Cassie (Carey Mulligan) works at a coffee shop by day and hunts sexual predators by night. She goes to bars, pretends to be falling down drunk—and then confronts the men who try to take advantage of her.\u003c/p>\n\u003cp>Cassie is avenging the death of her best friend, who, the movie implies, has died by suicide after being raped at medical school. Writer and director Emerald Fennell says the film was inspired, in part, by the messages other movies send about alcohol and consent. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When I was growing up—and I think still probably it’s the case now—in movies, getting women drunk to sleep with them, filling up their drink more than you’d fill your own, waiting at the end of the night to see who’s drunk at the club, girls waking up not knowing who’s in bed next to them—it was just comedy fodder,” Fennell says. “We live in a culture where this sort of stuff is normalized.”\u003c/p>\n\u003cp>Fennell got her start in television as an actor, then worked as the showrunner for the second season of\u003cem> Killing Eve. Promising Young Woman \u003c/em>is the first film she’s directed. The movie has been nominated for five Academy Awards, including best director and best original screenplay. Fennell describes the film as “a kind of fantasy—with wish fulfillment” but also as something “much darker and, I hope, more honest than that.”\u003c/p>\n\u003cp>“I always wanted to make a film, I think, that people would really enjoy and emotionally connect to and find gripping and romantic and all of those things, but [that’s] also not a film that lets anyone off the hook,” she says. “That’s a really interesting position for a filmmaker: to make an audience feel that they’re in familiar territory when they’re not.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Youn Yuh-jung is an institution in Korean cinema. Her career spans five decades and includes starring roles in classic Korean films and famous TV dramas. Now, at 73, she has newfound fame in the U.S. for her role in the Oscar-nominated film \u003cem>Minari\u003c/em>.\u003c/p>\n\u003cp>Youn is nominated for Best Supporting Actress, making her the first South Korean woman ever to be nominated for an Academy Award in an acting category.\u003c/p>\n\u003cp>“This has never happened in Korea, and I feel like I’m an Olympian competing for my country,” Youn tells NPR in a call from her home in Seoul. “It’s very stressful,” she says with a laugh. [aside postid='arts_13893138']\u003c/p>\n\u003cp>The film \u003cem>Minari\u003c/em> centers around a Korean-American family that moves to rural Arkansas to start a new life on a farm. Youn plays Soonja, the grandmother who travels from South Korea to watch over her two young grandchildren.\u003c/p>\n\u003cp>“That character Soonja—she’s not a typical grandmother,” Youn says. Soonja is loving and lighthearted, but mischievous, too. She swears, watches pro wrestling, drinks Mountain Dew and shows her grandkids how to gamble.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“She was a widow—a Korean War widow, a single mother and a working mother,” Youn says of her character. “She likes to have some fun because she’s been through a lot. She tries to comfort [her family].”\u003c/p>\n\u003cp>Soonja develops a special bond with her young grandson David, played by Alan Kim. But cultivating a relationship with him takes patience. In David’s mind, Soonja isn’t a “real” grandmother—she shares a room with him and never bakes him cookies. He accuses her of wearing men’s underwear. Soonja is unfazed. In one scene, she embraces him and looks into his eyes, saying, “Pretty boy, pretty boy.”\u003c/p>\n\u003cp>David interjects: “I’m not pretty, I’m good looking!” as he storms off into his bedroom. Soonja laughs, then turns back to the TV to watch the wrestling match.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KQ0gFidlro8\u003c/p>\n\u003cp>Youn says the character Soonja holds a deeper meaning in her own life. While filming, she often thought about childhood memories of her great-grandmother.\u003c/p>\n\u003cp>“It’s a heartbreaking story,” Youn says. “I was born in 1947, so I was maybe 3 when the Korean War started. And after the war, we didn’t have enough water, enough rice, nothing. My grandmother passed away during the wartime, and my great-grandmother happened to be alive until I was 9.”\u003c/p>\n\u003cp>Youn says her family had to ration supplies, and her great-grandmother would often re-use the family’s water. “To me, she was very dirty, or not hygienic. So, I didn’t like her at all. What a stupid thing [to think],” Youn says. “I didn’t like her because she’s not clean and she’d always say she’s not hungry. She would always skip lunch.” [aside postid='arts_13874634']\u003c/p>\n\u003cp>As a child, Youn didn’t understand that her great-grandmother was skipping meals so her family could have more food. “I didn’t know that,” Youn says. “She never said, ‘I love you,’ but I realized, after I become 60 years old, all of a sudden I thought about my great-grandmother. Then I realized, ‘Oh, she was saving all the food and all the water for us. Every night, I prayed for her because I felt terrible,” she says. “I ask her for forgiveness, I was very ignorant.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Youn says she still lives with that guilt, but says playing the role of Soonja offered a chance to come to terms with her painful memories. “I really understood this script, deeply. It connected me. The script was very authentic and very real to me, and a very genuine story to me. It was very touching. So, I said, ‘OK, I’ll do it—without any condition.’ ”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27I+Feel+Like+I%27m+An+Olympian%27%3A+Youn+Yuh-jung+On+Her+Historic+Oscar+Nomination&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“She was a widow—a Korean War widow, a single mother and a working mother,” Youn says of her character. “She likes to have some fun because she’s been through a lot. She tries to comfort [her family].”\u003c/p>\n\u003cp>Soonja develops a special bond with her young grandson David, played by Alan Kim. But cultivating a relationship with him takes patience. In David’s mind, Soonja isn’t a “real” grandmother—she shares a room with him and never bakes him cookies. He accuses her of wearing men’s underwear. Soonja is unfazed. In one scene, she embraces him and looks into his eyes, saying, “Pretty boy, pretty boy.”\u003c/p>\n\u003cp>David interjects: “I’m not pretty, I’m good looking!” as he storms off into his bedroom. Soonja laughs, then turns back to the TV to watch the wrestling match.\u003c/p>\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/KQ0gFidlro8'\n title='//www.youtube.com/embed/KQ0gFidlro8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Youn says the character Soonja holds a deeper meaning in her own life. While filming, she often thought about childhood memories of her great-grandmother.\u003c/p>\n\u003cp>“It’s a heartbreaking story,” Youn says. “I was born in 1947, so I was maybe 3 when the Korean War started. And after the war, we didn’t have enough water, enough rice, nothing. My grandmother passed away during the wartime, and my great-grandmother happened to be alive until I was 9.”\u003c/p>\n\u003cp>Youn says her family had to ration supplies, and her great-grandmother would often re-use the family’s water. “To me, she was very dirty, or not hygienic. So, I didn’t like her at all. What a stupid thing [to think],” Youn says. “I didn’t like her because she’s not clean and she’d always say she’s not hungry. She would always skip lunch.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As a child, Youn didn’t understand that her great-grandmother was skipping meals so her family could have more food. “I didn’t know that,” Youn says. “She never said, ‘I love you,’ but I realized, after I become 60 years old, all of a sudden I thought about my great-grandmother. Then I realized, ‘Oh, she was saving all the food and all the water for us. Every night, I prayed for her because I felt terrible,” she says. “I ask her for forgiveness, I was very ignorant.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Youn says she still lives with that guilt, but says playing the role of Soonja offered a chance to come to terms with her painful memories. “I really understood this script, deeply. It connected me. The script was very authentic and very real to me, and a very genuine story to me. It was very touching. So, I said, ‘OK, I’ll do it—without any condition.’ ”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27I+Feel+Like+I%27m+An+Olympian%27%3A+Youn+Yuh-jung+On+Her+Historic+Oscar+Nomination&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! SFFILM Festival Returns With Crime, Futurism, Sexual Revolutions and More",
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"content": "\u003cp>\u003ca href=\"https://sffilm.org\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cstrong>SFFILM\u003c/strong>\u003c/a>\u003cbr>\n\u003cstrong>Apr. 9-18\u003c/strong>\u003cbr>\nOnline and Drive-in at Fort Mason Center\u003c/p>\n\u003cp>One tune could serve as the unofficial anthem of this year’s SFFILM Festival: “\u003ca href=\"https://www.youtube.com/watch?v=kgYFHoWrcBM\" rel=\"noopener noreferrer\" target=\"_blank\">Happy Survival\u003c/a>,” the bluesy pop song that Nigerian twin brothers Arie and Chuko Esiri picked to play over the end credits of their engrossing 2019 feature debut, \u003cem>Eyimofe\u003c/em> (\u003cem>This Is My Desire\u003c/em>). A ’70s hit for Ifeanyi Eddie Okwedy & His Maymores Dance Band, it provides a perfect coda, rueful yet upbeat, to the Esiris’ naturalistic, slice-of-lives saga of persistence and compromise—and speaks now, as the arts \u003ca href=\"https://www.kqed.org/arts/13894499/reopened-bay-area-movies-museums-music-sports-open\" rel=\"noopener noreferrer\" target=\"_blank\">slowly reopen\u003c/a>, for all of us on the verge of making it through the pandemic.\u003c/p>\n\u003cp>[aside postID='arts_13894499']In the turbulent wake of the cancellation of the 2020 SFFILM festival and arrivals of new Executive Director Anne Lai and Director of Programming Jessie Fairbanks, the festival returns in what is, necessarily, a transition year. The smaller-than-usual program of just 45 feature films (including 20 documentaries), buttressed with a slew of shorts, is available through the pandemic-era combo of a streaming platform and several physical screenings at the Fort Mason Drive-In.\u003c/p>\n\u003cp>Consequently, it’s best to view the 2021 SFFILM Festival as a welcome spring fling rather than the annual d-e-e-e-e-p dive into global cinema. The cream of Cannes, Venice, Toronto and other festivals has already trickled out to virtual cinemas or is being held by distributors until theaters fully reopen. The inclusion of 15 world premieres and 15 North American debuts (along with five U.S. premieres) suggests, however, that SFFILM found plenty of films primed to begin their post-pandemic lives.\u003c/p>\n\u003cp>One of those world premieres is the Opening Night selection, \u003cem>Naked Singularity\u003c/em> (pictured above), a crime thriller starring John Boyega as a public defender with a noir hero’s opportunistic streak. Chase Palmer adapted Sergio De La Pava’s ambitious novel for his feature directorial debut.\u003c/p>\n\u003cfigure id=\"attachment_13895495\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Homeroom_Still1_Courtesy-of-SFFILM-800x450.jpg\" alt=\"A scene from Pete Nicks' 'Homeroom.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13895495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Homeroom_Still1_Courtesy-of-SFFILM-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Homeroom_Still1_Courtesy-of-SFFILM-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Homeroom_Still1_Courtesy-of-SFFILM-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Homeroom_Still1_Courtesy-of-SFFILM-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Homeroom_Still1_Courtesy-of-SFFILM-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Homeroom_Still1_Courtesy-of-SFFILM.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Pete Nicks’ ‘Homeroom.’ \u003ccite>(Courtesy SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As always, plenty of titles that debuted at Sundance make their way to the Bay. Oakland filmmaker Peter Nicks presents his engaging study of Oakland High School student activists, \u003cem>Homeroom\u003c/em>, and receives the George Gund III Craft of Cinema Award. \u003cem>Rita Moreno: Just a Girl Who Decided to Go For It\u003c/em> (screening ahead of its June theatrical release and subsequent American Masters broadcast) recasts the EGOT winner as a determined victor over racism and misogyny, with its social-justice message leavened by its subject’s irrepressible spirit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Another well-known Bay Area figure thriving into his golden years, albeit far from the showbiz heat lamp, is the pragmatic seeker Stewart Brand. David Alvarado and Jason Susskind’s fascinating and provocative portrait, \u003cem>We Are as Gods\u003c/em>, portrays the man behind \u003cem>The Whole Earth Catalog\u003c/em> as the bridge between ’60s independent thinking and Internet-age possibilities.\u003c/p>\n\u003cfigure id=\"attachment_13895496\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/We-Are-As-Gods_Still1-Courtesy-of-SFFILM-800x450.jpg\" alt=\"Stewart Brand (foreground, left) is the subject of 'We Are As Gods.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13895496\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/We-Are-As-Gods_Still1-Courtesy-of-SFFILM-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/We-Are-As-Gods_Still1-Courtesy-of-SFFILM-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/We-Are-As-Gods_Still1-Courtesy-of-SFFILM-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/We-Are-As-Gods_Still1-Courtesy-of-SFFILM-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/We-Are-As-Gods_Still1-Courtesy-of-SFFILM-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/We-Are-As-Gods_Still1-Courtesy-of-SFFILM.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stewart Brand (foreground, left) is the subject of ‘We Are As Gods.’ \u003ccite>(Courtesy SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For a younger man’s take on futurism, SFFILM gives us Dash Shaw’s color-drenched animated feature \u003cem>Cryptozoo\u003c/em>, a violent sex- and profanity-laced eco-fable about erstwhile savior conservationists and evil military contractors crisscrossing the country in a battle over rare cryptids (i.e., unicorn, winged horse, centaur). Acid isn’t necessary for this Garden-of-Eden-gone-wrong film trip, but a chilled glass of chartreuse with a mandarin orange segment might make a good pairing. And you’ll have a drink in hand to toast Shaw, this year’s Persistence of Vision Award recipient, as he joins recent honorees Isaac Julien, Barbara Kopple, Lynn Hershman Leeson, Nathaniel Dorsky and Kim Longinotto.\u003c/p>\n\u003cp>Another way the festival has tapped in to Generations Y and Z in recent years is by celebrating up-and-coming actors and actresses. Vanessa Kirby, the Academy Award-nominated star of Netflix’s \u003cem>Pieces of a Woman\u003c/em>, will receive the Impact Award. While the fest’s batting average at picking future household names hasn’t been great, Kirby is certainly well-positioned for stardom. \u003c/p>\n\u003cfigure id=\"attachment_13895494\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Seyran-Ates_Still3_Courtesy-of-SFFILM-800x450.jpg\" alt=\"A still from 'Seyran Ates: Sex, Revolution & Islam,' playing at SFFILM.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13895494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Seyran-Ates_Still3_Courtesy-of-SFFILM-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Seyran-Ates_Still3_Courtesy-of-SFFILM-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Seyran-Ates_Still3_Courtesy-of-SFFILM-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Seyran-Ates_Still3_Courtesy-of-SFFILM-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Seyran-Ates_Still3_Courtesy-of-SFFILM-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Seyran-Ates_Still3_Courtesy-of-SFFILM.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Seyran Ates: Sex, Revolution & Islam,’ playing at SFFILM. \u003ccite>(Courtesy SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Turkish-born, German-based lawyer and imam Seyran Ates doesn’t mind the spotlight, even if she must be protected by bodyguards or police wherever she goes. (Especially at the gender-neutral LGBTQ mosque she founded in Berlin.) The author of \u003cem>Islam Needs a Sexual Revolution\u003c/em> lives with a fatwa, and a stream of online abuse, on account of her advocacy for gender equality.\u003c/p>\n\u003cp>Norwegian director Nefise Özkal Lorentzen’s sisterly profile, \u003cem>Seyran Ates: Sex, Revolution & Islam\u003c/em>, gives the impression that its dedicated subject is well-known in Europe. Her profile is about to get a boost in the U.S. thanks to SFFILM’s North American premiere and the cascade of LGBTQ festival screenings to follow. Nonetheless, the soft-spoken Ates isn’t what you’d call a galvanizing personality—that is, a riveting film subject. \u003c/p>\n\u003cp>Ates is empathetic and effective in small groups and one-on-one, speaking with lesbian Muslims in China or to worshipers at her mosque. A woman of faith and tenacity, Ates is a scholar, a counselor, a rock. But she isn’t a firebrand, so set your expectations accordingly.\u003c/p>\n\u003cfigure id=\"attachment_13895493\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/This-Is-My-Desire_Still3-Courtesy-of-SFFILM-800x450.jpg\" alt=\"A still from 'This is My Desire,' playing at SFFILM.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13895493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/This-Is-My-Desire_Still3-Courtesy-of-SFFILM-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/This-Is-My-Desire_Still3-Courtesy-of-SFFILM-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/This-Is-My-Desire_Still3-Courtesy-of-SFFILM-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/This-Is-My-Desire_Still3-Courtesy-of-SFFILM-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/This-Is-My-Desire_Still3-Courtesy-of-SFFILM-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/This-Is-My-Desire_Still3-Courtesy-of-SFFILM.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘This is My Desire,’ playing at SFFILM. \u003ccite>(Courtesy SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The protagonists of \u003cem>This Is My Desire\u003c/em> are also everyday people, indistinguishable from the thousands thronging the streets, alleys and open-air markets of Lagos. A highlight of the festival, the film first follows Mofe (Jude Akuwudike), a mechanic at a printing factory who plans to emigrate to Spain until a family tragedy derails his dream. Further setbacks follow, but the Esiri brothers (who did their film studies in New York) aren’t interested in gritty nihilism and urban degradation but in Mofe’s resilience.\u003c/p>\n\u003cp>That’s not to say that the filmmakers aren’t attuned to the transactional nature of life. Everyone has a hand out or something to barter. While Mofe uses his ability to repair anything to rebound and rebuild, Rosa (Temi Ami-Williams) has less autonomy. A hairdresser and a bartender with sparkle and smarts, Rosa has her sights set on Italy but a pregnant teenage sister to look after. Like Mofe, she has no margin for error, for unexpected expenses, for fate.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Refreshingly, the characters in \u003cem>This is My Desire\u003c/em> don’t evince an iota of self-pity. They don’t complain. They don’t have the luxury of melodrama. There’s no time to lose. They weigh their options, calculate the costs of compromise, make a decision and go. Happy survival, indeed.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://sffilm.org\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cstrong>SFFILM\u003c/strong>\u003c/a>\u003cbr>\n\u003cstrong>Apr. 9-18\u003c/strong>\u003cbr>\nOnline and Drive-in at Fort Mason Center\u003c/p>\n\u003cp>One tune could serve as the unofficial anthem of this year’s SFFILM Festival: “\u003ca href=\"https://www.youtube.com/watch?v=kgYFHoWrcBM\" rel=\"noopener noreferrer\" target=\"_blank\">Happy Survival\u003c/a>,” the bluesy pop song that Nigerian twin brothers Arie and Chuko Esiri picked to play over the end credits of their engrossing 2019 feature debut, \u003cem>Eyimofe\u003c/em> (\u003cem>This Is My Desire\u003c/em>). A ’70s hit for Ifeanyi Eddie Okwedy & His Maymores Dance Band, it provides a perfect coda, rueful yet upbeat, to the Esiris’ naturalistic, slice-of-lives saga of persistence and compromise—and speaks now, as the arts \u003ca href=\"https://www.kqed.org/arts/13894499/reopened-bay-area-movies-museums-music-sports-open\" rel=\"noopener noreferrer\" target=\"_blank\">slowly reopen\u003c/a>, for all of us on the verge of making it through the pandemic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In the turbulent wake of the cancellation of the 2020 SFFILM festival and arrivals of new Executive Director Anne Lai and Director of Programming Jessie Fairbanks, the festival returns in what is, necessarily, a transition year. The smaller-than-usual program of just 45 feature films (including 20 documentaries), buttressed with a slew of shorts, is available through the pandemic-era combo of a streaming platform and several physical screenings at the Fort Mason Drive-In.\u003c/p>\n\u003cp>Consequently, it’s best to view the 2021 SFFILM Festival as a welcome spring fling rather than the annual d-e-e-e-e-p dive into global cinema. The cream of Cannes, Venice, Toronto and other festivals has already trickled out to virtual cinemas or is being held by distributors until theaters fully reopen. The inclusion of 15 world premieres and 15 North American debuts (along with five U.S. premieres) suggests, however, that SFFILM found plenty of films primed to begin their post-pandemic lives.\u003c/p>\n\u003cp>One of those world premieres is the Opening Night selection, \u003cem>Naked Singularity\u003c/em> (pictured above), a crime thriller starring John Boyega as a public defender with a noir hero’s opportunistic streak. Chase Palmer adapted Sergio De La Pava’s ambitious novel for his feature directorial debut.\u003c/p>\n\u003cfigure id=\"attachment_13895495\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Homeroom_Still1_Courtesy-of-SFFILM-800x450.jpg\" alt=\"A scene from Pete Nicks' 'Homeroom.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13895495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Homeroom_Still1_Courtesy-of-SFFILM-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Homeroom_Still1_Courtesy-of-SFFILM-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Homeroom_Still1_Courtesy-of-SFFILM-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Homeroom_Still1_Courtesy-of-SFFILM-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Homeroom_Still1_Courtesy-of-SFFILM-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Homeroom_Still1_Courtesy-of-SFFILM.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Pete Nicks’ ‘Homeroom.’ \u003ccite>(Courtesy SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As always, plenty of titles that debuted at Sundance make their way to the Bay. Oakland filmmaker Peter Nicks presents his engaging study of Oakland High School student activists, \u003cem>Homeroom\u003c/em>, and receives the George Gund III Craft of Cinema Award. \u003cem>Rita Moreno: Just a Girl Who Decided to Go For It\u003c/em> (screening ahead of its June theatrical release and subsequent American Masters broadcast) recasts the EGOT winner as a determined victor over racism and misogyny, with its social-justice message leavened by its subject’s irrepressible spirit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Another well-known Bay Area figure thriving into his golden years, albeit far from the showbiz heat lamp, is the pragmatic seeker Stewart Brand. David Alvarado and Jason Susskind’s fascinating and provocative portrait, \u003cem>We Are as Gods\u003c/em>, portrays the man behind \u003cem>The Whole Earth Catalog\u003c/em> as the bridge between ’60s independent thinking and Internet-age possibilities.\u003c/p>\n\u003cfigure id=\"attachment_13895496\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/We-Are-As-Gods_Still1-Courtesy-of-SFFILM-800x450.jpg\" alt=\"Stewart Brand (foreground, left) is the subject of 'We Are As Gods.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13895496\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/We-Are-As-Gods_Still1-Courtesy-of-SFFILM-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/We-Are-As-Gods_Still1-Courtesy-of-SFFILM-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/We-Are-As-Gods_Still1-Courtesy-of-SFFILM-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/We-Are-As-Gods_Still1-Courtesy-of-SFFILM-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/We-Are-As-Gods_Still1-Courtesy-of-SFFILM-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/We-Are-As-Gods_Still1-Courtesy-of-SFFILM.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stewart Brand (foreground, left) is the subject of ‘We Are As Gods.’ \u003ccite>(Courtesy SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For a younger man’s take on futurism, SFFILM gives us Dash Shaw’s color-drenched animated feature \u003cem>Cryptozoo\u003c/em>, a violent sex- and profanity-laced eco-fable about erstwhile savior conservationists and evil military contractors crisscrossing the country in a battle over rare cryptids (i.e., unicorn, winged horse, centaur). Acid isn’t necessary for this Garden-of-Eden-gone-wrong film trip, but a chilled glass of chartreuse with a mandarin orange segment might make a good pairing. And you’ll have a drink in hand to toast Shaw, this year’s Persistence of Vision Award recipient, as he joins recent honorees Isaac Julien, Barbara Kopple, Lynn Hershman Leeson, Nathaniel Dorsky and Kim Longinotto.\u003c/p>\n\u003cp>Another way the festival has tapped in to Generations Y and Z in recent years is by celebrating up-and-coming actors and actresses. Vanessa Kirby, the Academy Award-nominated star of Netflix’s \u003cem>Pieces of a Woman\u003c/em>, will receive the Impact Award. While the fest’s batting average at picking future household names hasn’t been great, Kirby is certainly well-positioned for stardom. \u003c/p>\n\u003cfigure id=\"attachment_13895494\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Seyran-Ates_Still3_Courtesy-of-SFFILM-800x450.jpg\" alt=\"A still from 'Seyran Ates: Sex, Revolution & Islam,' playing at SFFILM.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13895494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Seyran-Ates_Still3_Courtesy-of-SFFILM-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Seyran-Ates_Still3_Courtesy-of-SFFILM-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Seyran-Ates_Still3_Courtesy-of-SFFILM-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Seyran-Ates_Still3_Courtesy-of-SFFILM-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Seyran-Ates_Still3_Courtesy-of-SFFILM-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Seyran-Ates_Still3_Courtesy-of-SFFILM.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Seyran Ates: Sex, Revolution & Islam,’ playing at SFFILM. \u003ccite>(Courtesy SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Turkish-born, German-based lawyer and imam Seyran Ates doesn’t mind the spotlight, even if she must be protected by bodyguards or police wherever she goes. (Especially at the gender-neutral LGBTQ mosque she founded in Berlin.) The author of \u003cem>Islam Needs a Sexual Revolution\u003c/em> lives with a fatwa, and a stream of online abuse, on account of her advocacy for gender equality.\u003c/p>\n\u003cp>Norwegian director Nefise Özkal Lorentzen’s sisterly profile, \u003cem>Seyran Ates: Sex, Revolution & Islam\u003c/em>, gives the impression that its dedicated subject is well-known in Europe. Her profile is about to get a boost in the U.S. thanks to SFFILM’s North American premiere and the cascade of LGBTQ festival screenings to follow. Nonetheless, the soft-spoken Ates isn’t what you’d call a galvanizing personality—that is, a riveting film subject. \u003c/p>\n\u003cp>Ates is empathetic and effective in small groups and one-on-one, speaking with lesbian Muslims in China or to worshipers at her mosque. A woman of faith and tenacity, Ates is a scholar, a counselor, a rock. But she isn’t a firebrand, so set your expectations accordingly.\u003c/p>\n\u003cfigure id=\"attachment_13895493\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/This-Is-My-Desire_Still3-Courtesy-of-SFFILM-800x450.jpg\" alt=\"A still from 'This is My Desire,' playing at SFFILM.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13895493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/This-Is-My-Desire_Still3-Courtesy-of-SFFILM-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/This-Is-My-Desire_Still3-Courtesy-of-SFFILM-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/This-Is-My-Desire_Still3-Courtesy-of-SFFILM-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/This-Is-My-Desire_Still3-Courtesy-of-SFFILM-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/This-Is-My-Desire_Still3-Courtesy-of-SFFILM-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/This-Is-My-Desire_Still3-Courtesy-of-SFFILM.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘This is My Desire,’ playing at SFFILM. \u003ccite>(Courtesy SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The protagonists of \u003cem>This Is My Desire\u003c/em> are also everyday people, indistinguishable from the thousands thronging the streets, alleys and open-air markets of Lagos. A highlight of the festival, the film first follows Mofe (Jude Akuwudike), a mechanic at a printing factory who plans to emigrate to Spain until a family tragedy derails his dream. Further setbacks follow, but the Esiri brothers (who did their film studies in New York) aren’t interested in gritty nihilism and urban degradation but in Mofe’s resilience.\u003c/p>\n\u003cp>That’s not to say that the filmmakers aren’t attuned to the transactional nature of life. Everyone has a hand out or something to barter. While Mofe uses his ability to repair anything to rebound and rebuild, Rosa (Temi Ami-Williams) has less autonomy. A hairdresser and a bartender with sparkle and smarts, Rosa has her sights set on Italy but a pregnant teenage sister to look after. Like Mofe, she has no margin for error, for unexpected expenses, for fate.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Refreshingly, the characters in \u003cem>This is My Desire\u003c/em> don’t evince an iota of self-pity. They don’t complain. They don’t have the luxury of melodrama. There’s no time to lose. They weigh their options, calculate the costs of compromise, make a decision and go. Happy survival, indeed.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"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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"title": "Political Breakdown",
"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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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"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": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
},
"link": "/podcasts/rightnowish",
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