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"content": "\u003cp>Theaters have reopened in and around San Francisco, which is cause for celebration as a benchmark in our battle with the virus. I’ll raise a small glass, as I’m not quite ready to partake in group activities indoors. Another toast is in order this week to the thrill of brilliant acting, Euro-style, with career highlights of Max Von Sydow, Mads Mikkelsen and Sir Anthony Hopkins.\u003c/p>\n\u003cp>\u003cstrong>Max Von Sydow: The Best Stradivarius\u003c/strong>\u003cbr>\nThrough Apr. 30\u003cbr>\n\u003ca href=\"https://bampfa.org/watch-from-home/max-von-sydow-best-stradivarius\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a>, \u003ca href=\"https://rafaelfilm.cafilm.org/max-von-sydow/\" rel=\"noopener noreferrer\" target=\"_blank\">Rafael@Home\u003c/a>\u003c/p>\n\u003cp>Movie history sparkles with long-running director-actor relationships: Josef von Sternberg and Marlene Dietrich, Jean Renoir and Jean Gabin, Akira Kurosawa and Toshiro Mifune, John Ford and John Wayne, Federico Fellini and Marcello Mastroianni, Martin Scorsese and Robert De Niro and, of course, Ingmar Bergman and Max Von Sydow. A year after the great Swedish actor’s death at 90, a mini-retrospective dazzles us with a couple Scandinavian landmarks and four of his extraordinary collaborations with Bergman, spanning \u003cem>The Seventh Seal\u003c/em> (1957) to \u003cem>The Passion of Anna\u003c/em> (1969).\u003c/p>\n\u003cp>Von Sydow’s air of taciturn, winking mystery was well-suited to Bergman’s fascination with the mask of public behavior and the intimacy of private life. The actor’s sinewy strength and sex appeal, meanwhile, amplified his director’s theme of passion, its pleasures and its price. One of cinema’s great walkers, Von Sydow could move—depending on the characer—like an athlete, a prince, a predator, or a protector.\u003c/p>\n\u003cp>In \u003cem>The Magician\u003c/em> (1958), a gorgeous, razor-sharp tale of a 19th century illusionist compelled to give a house performance for arrogant authorities, Von Sydow haunts the screen with barely a spoken line. As the titular artist-slash-charlatan whose audience taunts and envies him, resenting the trickster even as they crave being fooled, Von Sydow simultaneously conveys respect for his craft and disgust for the spectators. It is a delicious performance by an immortal actor in a timeless film.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/xlwAgvn1e5E\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Another Round\u003c/strong>\u003c/em>\u003cbr>\nNow streaming\u003cbr>\n\u003ca href=\"https://samuelgoldwynfilms.vhx.tv/products/another-round-cinemasf\" rel=\"noopener noreferrer\" target=\"_blank\">Cinema SF\u003c/a> (Balboa, Vogue; online)\u003c/p>\n\u003cp>The most acclaimed European film of 2020, Thomas Vinterberg’s boozy tragicomedy has been streaming hereabouts for a couple months. I’m late to the party and a couple drinks behind, but I’ve arrived before \u003cem>Another Round\u003c/em> scores an Oscar nomination for International Feature Film on Monday and St. Patrick’s Day sends people streaming and screaming into parklets on Wednesday. A couple of hours spent with Mads Mikkelsen and company before the erstwhile holiday may dissuade a few wise souls from the humiliation and fallout of public drunkenness.\u003c/p>\n\u003cp>Four fortysomething friends, intrigued by some wag’s theory that the optimal blood alcohol level is somewhat higher than zero, embark on a scientific experiment which entails drinking from dawn to dusk. All are high school teachers, a couple (including Mikkelsen’s character) have families, but most crucially they’re at that numb stage where routine and responsibility have drowned potential and promise.\u003c/p>\n\u003cp>We’re in Cassavetes territory, although John and his pals Ben Gazzara and Peter Falk never made middle age look especially fun. Mikkelsen and his castmates—abetted by the freedom of Sturla Brandth Grøvlen’s handheld camerawork—embody the seductive allure of letting go. For a while, that is, until tippling breakthroughs topple into breakdowns.\u003c/p>\n\u003cp>Mikkelsen is adept at playing an Everyman, which in itself is a stellar feat for a movie star. Even rarer, he can fit into an ensemble piece without throwing off the balance or demanding the spotlight. If we can’t take our eyes off him, even when he’s sharing the screen, it’s because it’s so much fun watching the pleasure he takes in acting.\u003c/p>\n\u003cfigure id=\"attachment_13894033\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/1.-Olivia-Colman-as-Anne-Anthony-Hopkins-as-Anthony-in-THE-FATHER.-Photo-by-Sean-Gleason.-Courtesy-of-Sony-Pictures-Classics_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13894033\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/1.-Olivia-Colman-as-Anne-Anthony-Hopkins-as-Anthony-in-THE-FATHER.-Photo-by-Sean-Gleason.-Courtesy-of-Sony-Pictures-Classics_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/1.-Olivia-Colman-as-Anne-Anthony-Hopkins-as-Anthony-in-THE-FATHER.-Photo-by-Sean-Gleason.-Courtesy-of-Sony-Pictures-Classics_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/1.-Olivia-Colman-as-Anne-Anthony-Hopkins-as-Anthony-in-THE-FATHER.-Photo-by-Sean-Gleason.-Courtesy-of-Sony-Pictures-Classics_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/1.-Olivia-Colman-as-Anne-Anthony-Hopkins-as-Anthony-in-THE-FATHER.-Photo-by-Sean-Gleason.-Courtesy-of-Sony-Pictures-Classics_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/1.-Olivia-Colman-as-Anne-Anthony-Hopkins-as-Anthony-in-THE-FATHER.-Photo-by-Sean-Gleason.-Courtesy-of-Sony-Pictures-Classics_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Olivia Colman and Anthony Hopkins in ‘The Father,’ 2020. \u003ccite>(Photo by Sam Gleason; courtesy Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>The Father\u003c/strong>\u003c/em>\u003cbr>\nNow playing\u003cbr>\n\u003ca href=\"https://www.landmarktheatres.com/san-francisco/embarcadero-center-cinema\" rel=\"noopener noreferrer\" target=\"_blank\">Embarcadero Center Cinema\u003c/a> (in person!)\u003c/p>\n\u003cp>Sir Anthony Hopkins, like so many lions of British stage and screen before him, has a gift for commanding our attention regardless of the material, the setting or who’s opposite him. The beauty of his Oscar-nominated portrayal in \u003cem>The Father\u003c/em>, as an aging figure of forceful personality, power and intellect named Anthony, is its complete avoidance of tics and tricks. As his memory fades and plays tricks on him, Anthony’s impulse is to maintain control through a kind of mannered performance. Sir Anthony’s brilliance is showing the frightened, angry man behind the façade.\u003c/p>\n\u003cp>Florian Zeller’s screen adaptation doesn’t open up his acclaimed play beyond the confines of well-appointed flats, but it hardly needs to when it has Hopkins and Olivia Colman (as Anthony’s devoted yet conflicted daughter) carrying the ball (with the pinpoint support of Mark Gattis, Imogen Poots and Rufus Sewell). That said, Zeller smartly employs cinematic techniques like jump cuts and off-camera sound to punch home the time-shifting nature of Anthony’s declining mental faculties (as opposed to a linear worsening of his memory)—which, unusually, provide the plot twists, turns and revelations.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Father\u003c/em> is a focused and fraught work that doesn’t turn the emotional taps in the same way as other films in the burgeoning “elders at a crossroads” genre. It’s not about loss and grief, but the battle and the wounds. Hopkins and Colman do not compromise a whit in what is an unflinching, unexpectedly sharp-elbowed film.\u003c/p>\n\n",
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I’m late to the party and a couple drinks behind, but I’ve arrived before \u003cem>Another Round\u003c/em> scores an Oscar nomination for International Feature Film on Monday and St. Patrick’s Day sends people streaming and screaming into parklets on Wednesday. A couple of hours spent with Mads Mikkelsen and company before the erstwhile holiday may dissuade a few wise souls from the humiliation and fallout of public drunkenness.\u003c/p>\n\u003cp>Four fortysomething friends, intrigued by some wag’s theory that the optimal blood alcohol level is somewhat higher than zero, embark on a scientific experiment which entails drinking from dawn to dusk. All are high school teachers, a couple (including Mikkelsen’s character) have families, but most crucially they’re at that numb stage where routine and responsibility have drowned potential and promise.\u003c/p>\n\u003cp>We’re in Cassavetes territory, although John and his pals Ben Gazzara and Peter Falk never made middle age look especially fun. Mikkelsen and his castmates—abetted by the freedom of Sturla Brandth Grøvlen’s handheld camerawork—embody the seductive allure of letting go. For a while, that is, until tippling breakthroughs topple into breakdowns.\u003c/p>\n\u003cp>Mikkelsen is adept at playing an Everyman, which in itself is a stellar feat for a movie star. Even rarer, he can fit into an ensemble piece without throwing off the balance or demanding the spotlight. If we can’t take our eyes off him, even when he’s sharing the screen, it’s because it’s so much fun watching the pleasure he takes in acting.\u003c/p>\n\u003cfigure id=\"attachment_13894033\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/1.-Olivia-Colman-as-Anne-Anthony-Hopkins-as-Anthony-in-THE-FATHER.-Photo-by-Sean-Gleason.-Courtesy-of-Sony-Pictures-Classics_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13894033\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/1.-Olivia-Colman-as-Anne-Anthony-Hopkins-as-Anthony-in-THE-FATHER.-Photo-by-Sean-Gleason.-Courtesy-of-Sony-Pictures-Classics_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/1.-Olivia-Colman-as-Anne-Anthony-Hopkins-as-Anthony-in-THE-FATHER.-Photo-by-Sean-Gleason.-Courtesy-of-Sony-Pictures-Classics_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/1.-Olivia-Colman-as-Anne-Anthony-Hopkins-as-Anthony-in-THE-FATHER.-Photo-by-Sean-Gleason.-Courtesy-of-Sony-Pictures-Classics_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/1.-Olivia-Colman-as-Anne-Anthony-Hopkins-as-Anthony-in-THE-FATHER.-Photo-by-Sean-Gleason.-Courtesy-of-Sony-Pictures-Classics_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/1.-Olivia-Colman-as-Anne-Anthony-Hopkins-as-Anthony-in-THE-FATHER.-Photo-by-Sean-Gleason.-Courtesy-of-Sony-Pictures-Classics_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Olivia Colman and Anthony Hopkins in ‘The Father,’ 2020. \u003ccite>(Photo by Sam Gleason; courtesy Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>The Father\u003c/strong>\u003c/em>\u003cbr>\nNow playing\u003cbr>\n\u003ca href=\"https://www.landmarktheatres.com/san-francisco/embarcadero-center-cinema\" rel=\"noopener noreferrer\" target=\"_blank\">Embarcadero Center Cinema\u003c/a> (in person!)\u003c/p>\n\u003cp>Sir Anthony Hopkins, like so many lions of British stage and screen before him, has a gift for commanding our attention regardless of the material, the setting or who’s opposite him. The beauty of his Oscar-nominated portrayal in \u003cem>The Father\u003c/em>, as an aging figure of forceful personality, power and intellect named Anthony, is its complete avoidance of tics and tricks. As his memory fades and plays tricks on him, Anthony’s impulse is to maintain control through a kind of mannered performance. Sir Anthony’s brilliance is showing the frightened, angry man behind the façade.\u003c/p>\n\u003cp>Florian Zeller’s screen adaptation doesn’t open up his acclaimed play beyond the confines of well-appointed flats, but it hardly needs to when it has Hopkins and Olivia Colman (as Anthony’s devoted yet conflicted daughter) carrying the ball (with the pinpoint support of Mark Gattis, Imogen Poots and Rufus Sewell). That said, Zeller smartly employs cinematic techniques like jump cuts and off-camera sound to punch home the time-shifting nature of Anthony’s declining mental faculties (as opposed to a linear worsening of his memory)—which, unusually, provide the plot twists, turns and revelations.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Father\u003c/em> is a focused and fraught work that doesn’t turn the emotional taps in the same way as other films in the burgeoning “elders at a crossroads” genre. It’s not about loss and grief, but the battle and the wounds. Hopkins and Colman do not compromise a whit in what is an unflinching, unexpectedly sharp-elbowed film.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Mank’ Leads Oscar Nominations in a Year When it's Easy to Judge For Yourself",
"headTitle": "‘Mank’ Leads Oscar Nominations in a Year When it’s Easy to Judge For Yourself | KQED",
"content": "\u003cp>Hollywood loves a movie about Hollywood, so it’s no real surprise that the Oscar nominations on Monday morning were led by \u003cem>Mank\u003c/em>, director David Fincher’s story about the writing of \u003cem>Citizen Kane\u003c/em>. It landed 10 nominations: best picture, actor (Gary Oldman), supporting actress (Amanda Seyfried), directing, cinematography, costume design, makeup, sound, production design and score.\u003c/p>\n\u003cp>Including \u003cem>Mank\u003c/em>, there are a total of eight best picture contenders: \u003cem>The Trial of the Chicago 7\u003c/em>, \u003cem>Minari\u003c/em>, \u003cem>The Father\u003c/em>, \u003cem>Judas and the Black Messiah\u003c/em>, \u003cem>Nomadland\u003c/em> and \u003cem>Sound of Metal\u003c/em>, all of which had six nominations total; and \u003cem>Promising Young Woman\u003c/em>, which had five. (See the full \u003ca href=\"https://www.oscars.org/oscars/ceremonies/2021\" target=\"_blank\" rel=\"noopener noreferrer\">nominations list for the 93rd Academy Awards here\u003c/a>.) [aside postid='arts_13890020']\u003c/p>\n\u003cp>And among the top films, there are certainly firsts. It’s the first year two women—Chloé Zhao for \u003cem>Nomadland\u003c/em> and Emerald Fennell for \u003cem>Promising Young Woman\u003c/em>—have been nominated for best director, and Zhao is the first woman of color nominated and the first woman to have four nominations in one year. (Her other nominations are for writing, editing and producing the film.) Steven Yeun in \u003cem>Minari\u003c/em> is the first Asian American actor, and Riz Ahmed the first actor of Pakistani heritage, to be nominated as leads.\u003c/p>\n\u003cp>Many expect the lead actor Oscar to be awarded posthumously to Chadwick Boseman, who died in August, for his final film role in \u003cem>Ma Rainey’s Black Bottom\u003c/em>; Viola Davis was also nominated for her work in that film. Rounding out the best actor category is Anthony Hopkins, who plays a man dealing with the onset of dementia in the unusually structured film \u003cem>The Father\u003c/em>. (Note: Daniel Kaluuya and LaKeith Stanfield were both nominated for \u003cem>Judas and the Black Messiah\u003c/em>, in the supporting actor category.)\u003c/p>\n\u003cp>In the lead actress race, Davis will face Andra Day in \u003cem>The United States vs. Billie Holiday\u003c/em>, Frances McDormand in \u003cem>Nomadland\u003c/em>, Vanessa Kirby in \u003cem>Pieces of a Woman\u003c/em>, and Carey Mulligan in \u003cem>Promising Young Woman\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Other nominations are certainly more conventional, such as the recognition of the somewhat dutiful \u003cem>The Trial of the Chicago 7\u003c/em>, written and directed by Aaron Sorkin, for which Sacha Baron Cohen was nominated for his portrayal of Abbie Hoffman. (Great men, check. Historical figures, check. Courtroom drama, check.) Glenn Close was nominated for her heavily disguised work in the poorly reviewed \u003cem>Hillbilly Elegy\u003c/em>, which perhaps tellingly got its only other nomination for makeup.\u003c/p>\n\u003cp>As happens every year, this crop of nominees has a lot of delights: The strong showing for \u003cem>Minari\u003c/em>—including nominations for lead actor Steven Yeun, supporting actress Yuh-jung Youn, and director Lee Isaac Chung—follows its disappointing and somewhat baffling move to the foreign language film category at the Golden Globes. (It is an American-made and American-set film.) The academy doesn’t often recognize a purely, truly comedic performance—especially an extravagantly silly one—in the acting categories, but Maria Bakalova grabbed a nomination for \u003cem>Borat Subsequent Moviefilm\u003c/em>. And it’s lovely to see a nomination for \u003cem>Wolfwalkers\u003c/em>, an animated feature that’s nothing like the style of Pixar or Disney, and which sits over on Apple TV+, just waiting to be watched. [aside postid='arts_13893976']\u003c/p>\n\u003cp>But as always, there are nominations that were expected or hoped for that didn’t come through, probably none more noted this year than Delroy Lindo, who was absent for his work in Spike Lee’s \u003cem>Da 5 Bloods\u003c/em>. Regina King, who made her feature directing debut with \u003cem>One Night In Miami\u003c/em>, wasn’t nominated, and the film missed out on best picture, although Leslie Odom Jr. was nominated as a supporting actor for playing Sam Cooke.\u003c/p>\n\u003cp>Another first that’s likely to set the tone for the awards is directly related to the pandemic that shut down theaters in many places for much of 2020: It’s the first year most of the best picture nominees, and most of the other major nominees as well, have been widely available to watch at home for at least some period of time prior to the nominations. The one exception in the best picture category is \u003cem>The Father\u003c/em>, starring nominee Anthony Hopkins, which won’t hit streaming until March 26—which is still well before the ceremony on April 25. It’s possible that by Oscar night, a lot more people than ever before will have seen all (or nearly all) of the nominees, at least in the feature categories.\u003c/p>\n\u003cp>Whether these nods please you or not, you’re probably in a better position to have strong opinions than you’ve been in past years. How pleased you’ll be with the outcomes remains to be seen.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2021 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hollywood loves a movie about Hollywood, so it’s no real surprise that the Oscar nominations on Monday morning were led by \u003cem>Mank\u003c/em>, director David Fincher’s story about the writing of \u003cem>Citizen Kane\u003c/em>. It landed 10 nominations: best picture, actor (Gary Oldman), supporting actress (Amanda Seyfried), directing, cinematography, costume design, makeup, sound, production design and score.\u003c/p>\n\u003cp>Including \u003cem>Mank\u003c/em>, there are a total of eight best picture contenders: \u003cem>The Trial of the Chicago 7\u003c/em>, \u003cem>Minari\u003c/em>, \u003cem>The Father\u003c/em>, \u003cem>Judas and the Black Messiah\u003c/em>, \u003cem>Nomadland\u003c/em> and \u003cem>Sound of Metal\u003c/em>, all of which had six nominations total; and \u003cem>Promising Young Woman\u003c/em>, which had five. (See the full \u003ca href=\"https://www.oscars.org/oscars/ceremonies/2021\" target=\"_blank\" rel=\"noopener noreferrer\">nominations list for the 93rd Academy Awards here\u003c/a>.) \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And among the top films, there are certainly firsts. It’s the first year two women—Chloé Zhao for \u003cem>Nomadland\u003c/em> and Emerald Fennell for \u003cem>Promising Young Woman\u003c/em>—have been nominated for best director, and Zhao is the first woman of color nominated and the first woman to have four nominations in one year. (Her other nominations are for writing, editing and producing the film.) Steven Yeun in \u003cem>Minari\u003c/em> is the first Asian American actor, and Riz Ahmed the first actor of Pakistani heritage, to be nominated as leads.\u003c/p>\n\u003cp>Many expect the lead actor Oscar to be awarded posthumously to Chadwick Boseman, who died in August, for his final film role in \u003cem>Ma Rainey’s Black Bottom\u003c/em>; Viola Davis was also nominated for her work in that film. Rounding out the best actor category is Anthony Hopkins, who plays a man dealing with the onset of dementia in the unusually structured film \u003cem>The Father\u003c/em>. (Note: Daniel Kaluuya and LaKeith Stanfield were both nominated for \u003cem>Judas and the Black Messiah\u003c/em>, in the supporting actor category.)\u003c/p>\n\u003cp>In the lead actress race, Davis will face Andra Day in \u003cem>The United States vs. Billie Holiday\u003c/em>, Frances McDormand in \u003cem>Nomadland\u003c/em>, Vanessa Kirby in \u003cem>Pieces of a Woman\u003c/em>, and Carey Mulligan in \u003cem>Promising Young Woman\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Other nominations are certainly more conventional, such as the recognition of the somewhat dutiful \u003cem>The Trial of the Chicago 7\u003c/em>, written and directed by Aaron Sorkin, for which Sacha Baron Cohen was nominated for his portrayal of Abbie Hoffman. (Great men, check. Historical figures, check. Courtroom drama, check.) Glenn Close was nominated for her heavily disguised work in the poorly reviewed \u003cem>Hillbilly Elegy\u003c/em>, which perhaps tellingly got its only other nomination for makeup.\u003c/p>\n\u003cp>As happens every year, this crop of nominees has a lot of delights: The strong showing for \u003cem>Minari\u003c/em>—including nominations for lead actor Steven Yeun, supporting actress Yuh-jung Youn, and director Lee Isaac Chung—follows its disappointing and somewhat baffling move to the foreign language film category at the Golden Globes. (It is an American-made and American-set film.) The academy doesn’t often recognize a purely, truly comedic performance—especially an extravagantly silly one—in the acting categories, but Maria Bakalova grabbed a nomination for \u003cem>Borat Subsequent Moviefilm\u003c/em>. And it’s lovely to see a nomination for \u003cem>Wolfwalkers\u003c/em>, an animated feature that’s nothing like the style of Pixar or Disney, and which sits over on Apple TV+, just waiting to be watched. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But as always, there are nominations that were expected or hoped for that didn’t come through, probably none more noted this year than Delroy Lindo, who was absent for his work in Spike Lee’s \u003cem>Da 5 Bloods\u003c/em>. Regina King, who made her feature directing debut with \u003cem>One Night In Miami\u003c/em>, wasn’t nominated, and the film missed out on best picture, although Leslie Odom Jr. was nominated as a supporting actor for playing Sam Cooke.\u003c/p>\n\u003cp>Another first that’s likely to set the tone for the awards is directly related to the pandemic that shut down theaters in many places for much of 2020: It’s the first year most of the best picture nominees, and most of the other major nominees as well, have been widely available to watch at home for at least some period of time prior to the nominations. The one exception in the best picture category is \u003cem>The Father\u003c/em>, starring nominee Anthony Hopkins, which won’t hit streaming until March 26—which is still well before the ceremony on April 25. It’s possible that by Oscar night, a lot more people than ever before will have seen all (or nearly all) of the nominees, at least in the feature categories.\u003c/p>\n\u003cp>Whether these nods please you or not, you’re probably in a better position to have strong opinions than you’ve been in past years. How pleased you’ll be with the outcomes remains to be seen.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2021 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "BAMPFA Showcases Films and Art of ‘Too-Little-Known’ Sara Kathryn Arledge",
"headTitle": "BAMPFA Showcases Films and Art of ‘Too-Little-Known’ Sara Kathryn Arledge | KQED",
"content": "\u003cp>Instead of continually bemoaning that the pandemic is denying me access to physical spaces and the stuff they hold (books, art, films, etc.), I’m trying to think of this period of intangibility as one of research for future consumption. The list of “things to read and see” is growing, but this only makes me more excited for the day when I can start checking things off. The latest (heavily underlined) addition, thanks to the Berkeley Art Museum and Pacific Film Archive’s \u003ci>Out of the Vault\u003c/i> online series, is the life and work of painter and experimental filmmaker \u003ca href=\"https://bampfa.org/event/sara-kathryn-arledge-films-and-art\" rel=\"noopener noreferrer\" target=\"_blank\">Sara Kathryn Arledge\u003c/a>. \u003c/p>\n\u003cp>\u003ci>Out of the Vault\u003c/i> highlights works in the museum’s collection and, as a result, the importance of archival care. Its current offering, a streaming package of six short videos—digitized versions of Arledge’s mesmerizing work, along with an introduction by film curator Kathy Geritz and biographical presentation by Terry Cannon—is one of the most persuasive cases for preserving strange and precarious artwork that I’ve ever heard.\u003c/p>\n\u003cp>BAMPFA holds Arledge’s films, transparencies and papers thanks to Cannon, who met the artist in 1976 when he was director of Pasadena FilmForum, and who passed away in August 2020. Arledge was in her mid-60s when they met, and while Cannon was thrilled to present her experimental films to new audiences, she was busy with another medium at the time: tiny paintings made on glass slide transparencies to which she melted fragments of colored lighting gels, manipulating the surfaces with toothpicks, Q-tips, napkins and pens.\u003c/p>\n\u003cfigure id=\"attachment_13893947\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Portrait_Sara-Kathryn-Arledge_001-800x650.jpg\" alt=\"\" width=\"800\" height=\"650\" class=\"size-medium wp-image-13893947\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Portrait_Sara-Kathryn-Arledge_001-800x650.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Portrait_Sara-Kathryn-Arledge_001-1020x828.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Portrait_Sara-Kathryn-Arledge_001-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Portrait_Sara-Kathryn-Arledge_001-768x624.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Portrait_Sara-Kathryn-Arledge_001-1536x1247.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Portrait_Sara-Kathryn-Arledge_001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sara Kathryn Arledge. \u003ccite>(Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cannon describes these small paintings, which Arledge would enlarge by projecting light through them, as having a three-dimensional “undulating sparkle effect” impossible to fully capture in reproduction. And here’s where BAMPFA’s presentation of Arledge’s work whets the palate. One video is a silent slideshow of too many of Arledge’s transparencies to count, the other a “stable” film she made to document her fragile black-and-white transparency work, \u003ci>Interior Garden II\u003c/i> (1978). Both induce the feeling of staring up at a night sky and trying to identify constellations; both filled me with an urge to learn as much as I could about Arledge’s enigmatic work. \u003c/p>\n\u003cp>I won’t spoil the nail-biter of a story Cannon tells of how he came to be in charge of Arledge’s oeuvre. She died in a Santa Cruz care facility in 1998 after living with dementia for many years. Her life story spans the state, with stints in Pasadena and the Bay Area (enjoying the local experimental film community and teaching at California College of Arts and Crafts). And her films still hold power, as evidenced by the ethereal dance-filled piece \u003ci>Introspections\u003c/i> (1941–47) and the slyly cryptic \u003ci>What is a Man?\u003c/i> (1958).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If, after watching all of the above, you feel as I did (hungry for more), you’ll be happy to know the rental of BAMPFA’s streaming package includes access to a live event on Sunday, March 14 at 5pm PST: a celebration and reading of \u003ci>\u003ca href=\"https://www.armoryarts.org/schedule/2021/arledge-book/\" rel=\"noopener noreferrer\" target=\"_blank\">Serene for the Moment\u003c/a>\u003c/i>, a new book published by Pasadena’s Armory Center for the Arts, and the first extended monograph on Arledge’s work. The event will include an illustrated presentation by the Armory’s Director of Exhibition Programs/Chief Curator Irene Georgia Tsatsos and a reading from Arledge’s memoir by filmmaker Kerry Laitala.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Sara Kathryn Arledge’s Films and Art’ is streaming on BAMPFA through April 11. \u003ca href=\"https://bampfa.org/event/sara-kathryn-arledge-films-and-art\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Instead of continually bemoaning that the pandemic is denying me access to physical spaces and the stuff they hold (books, art, films, etc.), I’m trying to think of this period of intangibility as one of research for future consumption. The list of “things to read and see” is growing, but this only makes me more excited for the day when I can start checking things off. The latest (heavily underlined) addition, thanks to the Berkeley Art Museum and Pacific Film Archive’s \u003ci>Out of the Vault\u003c/i> online series, is the life and work of painter and experimental filmmaker \u003ca href=\"https://bampfa.org/event/sara-kathryn-arledge-films-and-art\" rel=\"noopener noreferrer\" target=\"_blank\">Sara Kathryn Arledge\u003c/a>. \u003c/p>\n\u003cp>\u003ci>Out of the Vault\u003c/i> highlights works in the museum’s collection and, as a result, the importance of archival care. Its current offering, a streaming package of six short videos—digitized versions of Arledge’s mesmerizing work, along with an introduction by film curator Kathy Geritz and biographical presentation by Terry Cannon—is one of the most persuasive cases for preserving strange and precarious artwork that I’ve ever heard.\u003c/p>\n\u003cp>BAMPFA holds Arledge’s films, transparencies and papers thanks to Cannon, who met the artist in 1976 when he was director of Pasadena FilmForum, and who passed away in August 2020. Arledge was in her mid-60s when they met, and while Cannon was thrilled to present her experimental films to new audiences, she was busy with another medium at the time: tiny paintings made on glass slide transparencies to which she melted fragments of colored lighting gels, manipulating the surfaces with toothpicks, Q-tips, napkins and pens.\u003c/p>\n\u003cfigure id=\"attachment_13893947\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Portrait_Sara-Kathryn-Arledge_001-800x650.jpg\" alt=\"\" width=\"800\" height=\"650\" class=\"size-medium wp-image-13893947\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Portrait_Sara-Kathryn-Arledge_001-800x650.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Portrait_Sara-Kathryn-Arledge_001-1020x828.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Portrait_Sara-Kathryn-Arledge_001-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Portrait_Sara-Kathryn-Arledge_001-768x624.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Portrait_Sara-Kathryn-Arledge_001-1536x1247.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Portrait_Sara-Kathryn-Arledge_001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sara Kathryn Arledge. \u003ccite>(Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cannon describes these small paintings, which Arledge would enlarge by projecting light through them, as having a three-dimensional “undulating sparkle effect” impossible to fully capture in reproduction. And here’s where BAMPFA’s presentation of Arledge’s work whets the palate. One video is a silent slideshow of too many of Arledge’s transparencies to count, the other a “stable” film she made to document her fragile black-and-white transparency work, \u003ci>Interior Garden II\u003c/i> (1978). Both induce the feeling of staring up at a night sky and trying to identify constellations; both filled me with an urge to learn as much as I could about Arledge’s enigmatic work. \u003c/p>\n\u003cp>I won’t spoil the nail-biter of a story Cannon tells of how he came to be in charge of Arledge’s oeuvre. She died in a Santa Cruz care facility in 1998 after living with dementia for many years. Her life story spans the state, with stints in Pasadena and the Bay Area (enjoying the local experimental film community and teaching at California College of Arts and Crafts). And her films still hold power, as evidenced by the ethereal dance-filled piece \u003ci>Introspections\u003c/i> (1941–47) and the slyly cryptic \u003ci>What is a Man?\u003c/i> (1958).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If, after watching all of the above, you feel as I did (hungry for more), you’ll be happy to know the rental of BAMPFA’s streaming package includes access to a live event on Sunday, March 14 at 5pm PST: a celebration and reading of \u003ci>\u003ca href=\"https://www.armoryarts.org/schedule/2021/arledge-book/\" rel=\"noopener noreferrer\" target=\"_blank\">Serene for the Moment\u003c/a>\u003c/i>, a new book published by Pasadena’s Armory Center for the Arts, and the first extended monograph on Arledge’s work. The event will include an illustrated presentation by the Armory’s Director of Exhibition Programs/Chief Curator Irene Georgia Tsatsos and a reading from Arledge’s memoir by filmmaker Kerry Laitala.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Sara Kathryn Arledge’s Films and Art’ is streaming on BAMPFA through April 11. \u003ca href=\"https://bampfa.org/event/sara-kathryn-arledge-films-and-art\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>\u003cstrong>Over a span of 4 weeks, Rightnowish is looking at filmmaking in the Bay Area. \u003ca href=\"https://www.kqed.org/arts/13893541/reel-talk-filmmaking-in-the-bay-area-rightnowish\">Learn more about the series here\u003c/a>.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC4172072923&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>San Francisco State graduates \u003ca href=\"https://www.instagram.com/albogold/\" target=\"_blank\" rel=\"noopener noreferrer\">Alba Roland Mejia\u003c/a> and \u003ca href=\"https://www.instagram.com/jonharrisonsb/\" target=\"_blank\" rel=\"noopener noreferrer\">Jon Warfield Harrison\u003c/a> are in the early stages of their careers as filmmakers, but their work is already being supported by the likes of \u003ca href=\"https://www.instagram.com/j0in_the_m0vement_c0aliti0n/\" target=\"_blank\" rel=\"noopener noreferrer\">Join The Movement Coalition\u003c/a>, \u003ca href=\"https://www.instagram.com/oaklandish/\" target=\"_blank\" rel=\"noopener noreferrer\">Oaklandish,\u003c/a> Marshawn Lynch’s \u003ca href=\"https://www.instagram.com/beastmodestore/\" target=\"_blank\" rel=\"noopener noreferrer\">Beastmode\u003c/a>, and \u003ca href=\"https://www.instagram.com/p/CLXSVvPHyNL/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">Kodak\u003c/a>.\u003c/p>\n\u003cp>Alba and Jon have released a handful of short films which are artistic, a bit experimental and occasionally include a dash of science fiction.\u003c/p>\n\u003cp>https://vimeo.com/449524937\u003c/p>\n\u003cp>Their first collaboration,\u003ca href=\"https://www.myownmeccafilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem> My Own Mecca\u003c/em>\u003c/a>, looks at a day in the life of a young man at a crossroads, learning to navigate relationships, rent and the world around him. Their most recent work, \u003ca href=\"https://vimeo.com/509851626\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Blackness is Everything\u003c/em>\u003c/a>, is an experimental film that features the faces and talents of some pretty well-known Bay Area-based Black artists. The short film, made possible with the support of \u003ca href=\"https://www.baycat.org/\" target=\"_blank\" rel=\"noopener noreferrer\">BAYCAT\u003c/a>, debuted in February and made for a quality visual experience in the middle of Black History Month.\u003c/p>\n\u003cp>https://vimeo.com/509851626\u003c/p>\n\u003cp>But behind the scenes is the real story: Alba and Jon have come together to create a working relationship that’s balanced and productive, and evidently this workflow rubs off on the people around them.\u003c/p>\n\u003cp>In this episode, we discuss how the filmmakers work together to build suspense in their stories, pray to film gods that their scenes are captured correctly and collaborate with the community to create cinema.\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Alba Roland Mejia and Jon Warfield Harrison.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: What was the first piece that you two collaborated on?\u003c/em>\u003c/p>\n\u003cp>Jon: We did My Own Mecca together…\u003c/p>\n\u003cp>Alba: Basically it’s a day in the life of a young Black man in the Bay Area… how he understands who he is in his reality. It’s about the microaggressions that we don’t really talk about too much. It’s about the issues that we have within our household or within our friendships. And being in situations in which we’re supposed to feel safe and we don’t.\u003c/p>\n\u003cp>\u003cem>Pen: How do you make those moments so big and intense? Like, I’m nervous and squeamish watching ’em. How did you do that?\u003c/em>\u003c/p>\n\u003cp>Alba: [The two characters] have this tendency to battle for dominance. And there’s these subtle digs that they do with each other in order to determine who is in control of the conversation, even though they’re both friends and they both genuinely love each other.\u003c/p>\n\u003cp>Jon: If you’re just talking to somebody or in a tense situation… It’s hard to maintain that eye contact because you feel that intensity. And I feel like through the film, we’re able to really capture those moments of the glare that they have towards each other. But through the editing, we’re able to let it sit there for a few seconds and you really absorb that intensity.\u003c/p>\n\u003cp>\u003cem>Pen: Jon, why did you feel pulled to shoot on film?\u003c/em>\u003c/p>\n\u003cp>Jon: Just the fact that celluloid is like a physical thing you can hold in your hand… when it’s in the camera, it’s physically capturing that light onto it. So it’s truly there in that moment with you and it’s never going to be the same. So it’s almost like a living organism with you capturing this story and like ingraining in it physically in this earth. Through the years, it’s been getting better and better for darker skin tones as well.\u003c/p>\n\u003cp>Alba: He said it was like a living organism… I hadn’t experienced it before. When the camera is on and rolling, you can hear it breathing as if it was like a heartbeat right next to your face.\u003c/p>\n\u003cp>\u003cem>Pen: How does it feel to have a tag team partner as a director and a cinematographer… do you feel like your wide receiver and quarterback? Are you coach and offensive coordinator?\u003c/em>\u003c/p>\n\u003cp>Alba: I wouldn’t even say it’s like a quarterback and a receiver, I would say it’s like a tag team wrestling match. We both got a common goal and we take turns and we know each other’s strengths.\u003c/p>\n\u003cp>Alba: For example, this most recent project that we’re working on, \u003cem>Blackness is Everything\u003c/em>, there was something that I kind of just threw at them, like, oh, I want to shoot slow motion on film in black and white. And he did the research to make sure that he knew before coming to set how many stops the lighting needs to be to be in slow motion and in black and white, because all these things matter, all these little details matter. Something I didn’t realize. I just know what I wanted it to feel like. And John knows how to make it happen.\u003c/p>\n\u003cp>\u003cem>Pen: Was there a moment that stands out to you like that just extremely fun, chaotic thing that happened on either of the sets that you worked on together?\u003c/em>\u003c/p>\n\u003cp>Alba: Our first day of shooting My Own Mecca, we had about 30 folks and we’re in West Oakland. It’s a big group of people. So naturally, the whole community, one by one, would come out to us… stop the whole production, ask what we’re doing, introduce themselves, tell us about their life. I love that. It did stop production quite a bit, but I loved how interested and open and receptive they were to us.\u003c/p>\n\u003cp>Jon: Some of those people who came up, they ended up staying in the background of the film. And I remember I was just sitting back there, hands on my hips, watching everything. And it was just beautiful to see, like a collaboration between like 25 different humans, and then all these people in the background we didn’t even really know, just coming together to make a movie in Oakland.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Over a span of 4 weeks, Rightnowish is looking at filmmaking in the Bay Area. \u003ca href=\"https://www.kqed.org/arts/13893541/reel-talk-filmmaking-in-the-bay-area-rightnowish\">Learn more about the series here\u003c/a>.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC4172072923&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>San Francisco State graduates \u003ca href=\"https://www.instagram.com/albogold/\" target=\"_blank\" rel=\"noopener noreferrer\">Alba Roland Mejia\u003c/a> and \u003ca href=\"https://www.instagram.com/jonharrisonsb/\" target=\"_blank\" rel=\"noopener noreferrer\">Jon Warfield Harrison\u003c/a> are in the early stages of their careers as filmmakers, but their work is already being supported by the likes of \u003ca href=\"https://www.instagram.com/j0in_the_m0vement_c0aliti0n/\" target=\"_blank\" rel=\"noopener noreferrer\">Join The Movement Coalition\u003c/a>, \u003ca href=\"https://www.instagram.com/oaklandish/\" target=\"_blank\" rel=\"noopener noreferrer\">Oaklandish,\u003c/a> Marshawn Lynch’s \u003ca href=\"https://www.instagram.com/beastmodestore/\" target=\"_blank\" rel=\"noopener noreferrer\">Beastmode\u003c/a>, and \u003ca href=\"https://www.instagram.com/p/CLXSVvPHyNL/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">Kodak\u003c/a>.\u003c/p>\n\u003cp>Alba and Jon have released a handful of short films which are artistic, a bit experimental and occasionally include a dash of science fiction.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Their first collaboration,\u003ca href=\"https://www.myownmeccafilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem> My Own Mecca\u003c/em>\u003c/a>, looks at a day in the life of a young man at a crossroads, learning to navigate relationships, rent and the world around him. Their most recent work, \u003ca href=\"https://vimeo.com/509851626\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Blackness is Everything\u003c/em>\u003c/a>, is an experimental film that features the faces and talents of some pretty well-known Bay Area-based Black artists. The short film, made possible with the support of \u003ca href=\"https://www.baycat.org/\" target=\"_blank\" rel=\"noopener noreferrer\">BAYCAT\u003c/a>, debuted in February and made for a quality visual experience in the middle of Black History Month.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>But behind the scenes is the real story: Alba and Jon have come together to create a working relationship that’s balanced and productive, and evidently this workflow rubs off on the people around them.\u003c/p>\n\u003cp>In this episode, we discuss how the filmmakers work together to build suspense in their stories, pray to film gods that their scenes are captured correctly and collaborate with the community to create cinema.\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Alba Roland Mejia and Jon Warfield Harrison.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: What was the first piece that you two collaborated on?\u003c/em>\u003c/p>\n\u003cp>Jon: We did My Own Mecca together…\u003c/p>\n\u003cp>Alba: Basically it’s a day in the life of a young Black man in the Bay Area… how he understands who he is in his reality. It’s about the microaggressions that we don’t really talk about too much. It’s about the issues that we have within our household or within our friendships. And being in situations in which we’re supposed to feel safe and we don’t.\u003c/p>\n\u003cp>\u003cem>Pen: How do you make those moments so big and intense? Like, I’m nervous and squeamish watching ’em. How did you do that?\u003c/em>\u003c/p>\n\u003cp>Alba: [The two characters] have this tendency to battle for dominance. And there’s these subtle digs that they do with each other in order to determine who is in control of the conversation, even though they’re both friends and they both genuinely love each other.\u003c/p>\n\u003cp>Jon: If you’re just talking to somebody or in a tense situation… It’s hard to maintain that eye contact because you feel that intensity. And I feel like through the film, we’re able to really capture those moments of the glare that they have towards each other. But through the editing, we’re able to let it sit there for a few seconds and you really absorb that intensity.\u003c/p>\n\u003cp>\u003cem>Pen: Jon, why did you feel pulled to shoot on film?\u003c/em>\u003c/p>\n\u003cp>Jon: Just the fact that celluloid is like a physical thing you can hold in your hand… when it’s in the camera, it’s physically capturing that light onto it. So it’s truly there in that moment with you and it’s never going to be the same. So it’s almost like a living organism with you capturing this story and like ingraining in it physically in this earth. Through the years, it’s been getting better and better for darker skin tones as well.\u003c/p>\n\u003cp>Alba: He said it was like a living organism… I hadn’t experienced it before. When the camera is on and rolling, you can hear it breathing as if it was like a heartbeat right next to your face.\u003c/p>\n\u003cp>\u003cem>Pen: How does it feel to have a tag team partner as a director and a cinematographer… do you feel like your wide receiver and quarterback? Are you coach and offensive coordinator?\u003c/em>\u003c/p>\n\u003cp>Alba: I wouldn’t even say it’s like a quarterback and a receiver, I would say it’s like a tag team wrestling match. We both got a common goal and we take turns and we know each other’s strengths.\u003c/p>\n\u003cp>Alba: For example, this most recent project that we’re working on, \u003cem>Blackness is Everything\u003c/em>, there was something that I kind of just threw at them, like, oh, I want to shoot slow motion on film in black and white. And he did the research to make sure that he knew before coming to set how many stops the lighting needs to be to be in slow motion and in black and white, because all these things matter, all these little details matter. Something I didn’t realize. I just know what I wanted it to feel like. And John knows how to make it happen.\u003c/p>\n\u003cp>\u003cem>Pen: Was there a moment that stands out to you like that just extremely fun, chaotic thing that happened on either of the sets that you worked on together?\u003c/em>\u003c/p>\n\u003cp>Alba: Our first day of shooting My Own Mecca, we had about 30 folks and we’re in West Oakland. It’s a big group of people. So naturally, the whole community, one by one, would come out to us… stop the whole production, ask what we’re doing, introduce themselves, tell us about their life. I love that. It did stop production quite a bit, but I loved how interested and open and receptive they were to us.\u003c/p>\n\u003cp>Jon: Some of those people who came up, they ended up staying in the background of the film. And I remember I was just sitting back there, hands on my hips, watching everything. And it was just beautiful to see, like a collaboration between like 25 different humans, and then all these people in the background we didn’t even really know, just coming together to make a movie in Oakland.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'Raya and the Last Dragon' is Not Entirely New, But it's Refreshing Nonetheless",
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"content": "\u003cp>\u003cem>Raya and the Last Dragon\u003c/em> is a lovely, moving surprise. Its big selling point is that it’s the first Disney animated film to feature Southeast Asian characters, but like so many movies that break ground in terms of representation, it tells a story that’s actually woven from reassuringly familiar parts. I didn’t mind that in the slightest.\u003c/p>\n\u003cp>The movie, directed by the Disney veteran Don Hall and the animation newcomer Carlos López Estrada, brings us into a fantasy world that’s been beautifully visualized and populated with engaging characters, and it builds to an emotional climax that I’m still thinking about days later.\u003c/p>\n\u003cp>The story is a little complicated, as these stories tend to be. It takes place in Kumandra, an enchanted realm inspired by various Southeast Asian cultures and divided into five kingdoms named after a dragon’s body parts: Heart, Fang, Spine, Talon and Tail.\u003c/p>\n\u003cp>Before they became extinct centuries ago, dragons once roamed the land and served as friendly guardians to humanity. Their magic lives on in a jewel called the Dragon Gem, which is kept in a cave in Heart, but the other four kingdoms covet its mighty powers. One day, all five factions come together and try to reach a peace agreement, but tensions erupt, a fight breaks out and the Gem shatters into five pieces that are scattered across Kumandra. This opens the doorway to an ancient enemy called the Druun, a terrible plague that turns people to stone.\u003c/p>\n\u003cp>Naturally, a hero must rise and save the day. Her name is Raya, and she’s a young warrior princess from Heart, voiced by the excellent Kelly Marie Tran from \u003ca href=\"https://www.npr.org/2017/12/12/569085092/rollicking-star-wars-the-last-jedi-finds-nuance-in-the-force\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Star Wars: The Last Jedi\u003c/em>\u003c/a>. Raya manages to escape the Druun, though her father, her \u003cem>ba\u003c/em>, who’s the leader of Heart, isn’t so lucky. Now Raya must recover the pieces of the Dragon Gem, reverse the damage and banish the Druun for good.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1VIZ89FEjYI\u003c/p>\n\u003cp>This isn’t the first time we’ve seen a brave young character embark on a quest for magical baubles, and \u003cem>Raya and the Last Dragon\u003c/em> is rooted in traditional fantasy lore, with \u003cem>The Lord of the Rings\u003c/em> and \u003cem>Game of Thrones\u003c/em> being just the most obvious influences. The movie’s intense scenes of swordplay and hand-to-hand combat give it a tougher, more grown-up feel than most Disney animated fantasies—my own young daughter had to cover her eyes a few times. Like some other recent Disney princesses, including \u003ca href=\"https://www.npr.org/2016/11/23/503039259/disneys-moana-needs-no-prince-just-the-land-and-sea\" target=\"_blank\" rel=\"noopener noreferrer\">Moana \u003c/a>and \u003ca href=\"https://www.npr.org/2019/11/20/779284364/frozen-ii-lets-it-go-darker\" target=\"_blank\" rel=\"noopener noreferrer\">Elsa\u003c/a>, Raya has a bold, adventurous streak and isn’t all that interested in romance. Unlike them, she doesn’t even have time to sing a song.\u003c/p>\n\u003cp>That said, the movie still has plenty of lightness and humor. The screenwriters, Qui Nguyen and Adele Lim, have provided the usual Disney array of cute critters and lively supporting characters. None of them is more colorful than Sisu, a friendly water dragon who is magically resurrected during Raya’s journey. She’s the last of her kind, and she has a crucial role to play in the story. She’s voiced delightfully by \u003ca href=\"https://www.npr.org/2018/08/17/639670914/crazy-rich-asians-star-awkwafina-has-always-aggressively-been-myself\" target=\"_blank\" rel=\"noopener noreferrer\">Awkwafina\u003c/a>, doing one of her signature chatterbox comedy routines and selling every one of Sisu’s anachronistic wisecracks.\u003c/p>\n\u003cp>Raya and Sisu’s journey takes them to all five kingdoms of Kumandra, all of which are so vivid and transporting I found myself wishing they really existed—or that I could have at least seen them on a proper movie screen. There’s the town of Talon, which is built at the edge of a river, and the desert wasteland of Tail, where Raya and Sisu must enter a cave of obstacles straight out of an Indiana Jones adventure.\u003c/p>\n\u003cp>As the two of them search for more Dragon Gem pieces, they of course pick up a few friends along the way. There’s a street-smart boy who cooks a mean shrimp congee and a toddler pickpocket whom I found more creepy than cute. But the movie’s most intriguing character is Namaari, a rival princess from Fang who’s voiced by Gemma Chan. (As a side note, Chan and Awkwafina both appeared in \u003ca href=\"https://www.npr.org/sections/codeswitch/2018/08/15/638775885/in-crazy-rich-asians-jon-chu-directs-all-asian-cast\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Crazy Rich Asians\u003c/em>\u003c/a>, which, like this movie, was co-written by Lim.) Namaari and Raya used to be friends until the fight over the Dragon Gem ripped them apart. Now they’re bitter enemies, and their emotional dynamic is fierce and complicated in ways that relationships are rarely allowed to be in children’s animated films, especially between women.\u003c/p>\n\u003cp>By contrast, Sisu is all feel-good vibes; she’s a dragon, after all, with little understanding of how treacherous humans can be. She doesn’t get why Raya and Namaari distrust each other so, why they can’t just set their differences aside and defeat the Druun together. It’s Sisu’s sincerity and purity of heart that makes the story’s finale so unexpectedly stirring, especially now. Our fates are closely bound together, it reminds us, as it builds a case for forgiveness, reconciliation and mutual sacrifice.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The emotional power of \u003cem>Raya and the Last Dragon\u003c/em> sneaks up on you. Its lessons aren’t new, exactly, but it makes you feel like you’re learning them for the first time.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Raya+And+The+Last+Dragon%27+Is+Not+Entirely+New%2C+But+It%27s+Refreshing+Nonetheless&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Raya and the Last Dragon\u003c/em> is a lovely, moving surprise. Its big selling point is that it’s the first Disney animated film to feature Southeast Asian characters, but like so many movies that break ground in terms of representation, it tells a story that’s actually woven from reassuringly familiar parts. I didn’t mind that in the slightest.\u003c/p>\n\u003cp>The movie, directed by the Disney veteran Don Hall and the animation newcomer Carlos López Estrada, brings us into a fantasy world that’s been beautifully visualized and populated with engaging characters, and it builds to an emotional climax that I’m still thinking about days later.\u003c/p>\n\u003cp>The story is a little complicated, as these stories tend to be. It takes place in Kumandra, an enchanted realm inspired by various Southeast Asian cultures and divided into five kingdoms named after a dragon’s body parts: Heart, Fang, Spine, Talon and Tail.\u003c/p>\n\u003cp>Before they became extinct centuries ago, dragons once roamed the land and served as friendly guardians to humanity. Their magic lives on in a jewel called the Dragon Gem, which is kept in a cave in Heart, but the other four kingdoms covet its mighty powers. One day, all five factions come together and try to reach a peace agreement, but tensions erupt, a fight breaks out and the Gem shatters into five pieces that are scattered across Kumandra. This opens the doorway to an ancient enemy called the Druun, a terrible plague that turns people to stone.\u003c/p>\n\u003cp>Naturally, a hero must rise and save the day. Her name is Raya, and she’s a young warrior princess from Heart, voiced by the excellent Kelly Marie Tran from \u003ca href=\"https://www.npr.org/2017/12/12/569085092/rollicking-star-wars-the-last-jedi-finds-nuance-in-the-force\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Star Wars: The Last Jedi\u003c/em>\u003c/a>. Raya manages to escape the Druun, though her father, her \u003cem>ba\u003c/em>, who’s the leader of Heart, isn’t so lucky. Now Raya must recover the pieces of the Dragon Gem, reverse the damage and banish the Druun for good.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/1VIZ89FEjYI'\n title='//www.youtube.com/embed/1VIZ89FEjYI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This isn’t the first time we’ve seen a brave young character embark on a quest for magical baubles, and \u003cem>Raya and the Last Dragon\u003c/em> is rooted in traditional fantasy lore, with \u003cem>The Lord of the Rings\u003c/em> and \u003cem>Game of Thrones\u003c/em> being just the most obvious influences. The movie’s intense scenes of swordplay and hand-to-hand combat give it a tougher, more grown-up feel than most Disney animated fantasies—my own young daughter had to cover her eyes a few times. Like some other recent Disney princesses, including \u003ca href=\"https://www.npr.org/2016/11/23/503039259/disneys-moana-needs-no-prince-just-the-land-and-sea\" target=\"_blank\" rel=\"noopener noreferrer\">Moana \u003c/a>and \u003ca href=\"https://www.npr.org/2019/11/20/779284364/frozen-ii-lets-it-go-darker\" target=\"_blank\" rel=\"noopener noreferrer\">Elsa\u003c/a>, Raya has a bold, adventurous streak and isn’t all that interested in romance. Unlike them, she doesn’t even have time to sing a song.\u003c/p>\n\u003cp>That said, the movie still has plenty of lightness and humor. The screenwriters, Qui Nguyen and Adele Lim, have provided the usual Disney array of cute critters and lively supporting characters. None of them is more colorful than Sisu, a friendly water dragon who is magically resurrected during Raya’s journey. She’s the last of her kind, and she has a crucial role to play in the story. She’s voiced delightfully by \u003ca href=\"https://www.npr.org/2018/08/17/639670914/crazy-rich-asians-star-awkwafina-has-always-aggressively-been-myself\" target=\"_blank\" rel=\"noopener noreferrer\">Awkwafina\u003c/a>, doing one of her signature chatterbox comedy routines and selling every one of Sisu’s anachronistic wisecracks.\u003c/p>\n\u003cp>Raya and Sisu’s journey takes them to all five kingdoms of Kumandra, all of which are so vivid and transporting I found myself wishing they really existed—or that I could have at least seen them on a proper movie screen. There’s the town of Talon, which is built at the edge of a river, and the desert wasteland of Tail, where Raya and Sisu must enter a cave of obstacles straight out of an Indiana Jones adventure.\u003c/p>\n\u003cp>As the two of them search for more Dragon Gem pieces, they of course pick up a few friends along the way. There’s a street-smart boy who cooks a mean shrimp congee and a toddler pickpocket whom I found more creepy than cute. But the movie’s most intriguing character is Namaari, a rival princess from Fang who’s voiced by Gemma Chan. (As a side note, Chan and Awkwafina both appeared in \u003ca href=\"https://www.npr.org/sections/codeswitch/2018/08/15/638775885/in-crazy-rich-asians-jon-chu-directs-all-asian-cast\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Crazy Rich Asians\u003c/em>\u003c/a>, which, like this movie, was co-written by Lim.) Namaari and Raya used to be friends until the fight over the Dragon Gem ripped them apart. Now they’re bitter enemies, and their emotional dynamic is fierce and complicated in ways that relationships are rarely allowed to be in children’s animated films, especially between women.\u003c/p>\n\u003cp>By contrast, Sisu is all feel-good vibes; she’s a dragon, after all, with little understanding of how treacherous humans can be. She doesn’t get why Raya and Namaari distrust each other so, why they can’t just set their differences aside and defeat the Druun together. It’s Sisu’s sincerity and purity of heart that makes the story’s finale so unexpectedly stirring, especially now. Our fates are closely bound together, it reminds us, as it builds a case for forgiveness, reconciliation and mutual sacrifice.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The emotional power of \u003cem>Raya and the Last Dragon\u003c/em> sneaks up on you. Its lessons aren’t new, exactly, but it makes you feel like you’re learning them for the first time.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Raya+And+The+Last+Dragon%27+Is+Not+Entirely+New%2C+But+It%27s+Refreshing+Nonetheless&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>\u003cem>Over the next 4 weeks, \u003ca href=\"https://www.kqed.org/arts/13893541/reel-talk-filmmaking-in-the-bay-area-rightnowish\">Rightnowish is looking at filmmaking in the Bay Area right now\u003c/a>.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC5796405705&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://www.mayamcueva.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Maya Cueva\u003c/a> makes documentary films that cover the heavy topics: immigration, reproductive justice and xenophobia.\u003c/p>\n\u003cp>Cueva says her journey into professional storytelling began after covering current events at Youth Radio (now \u003ca href=\"https://yr.media/\" target=\"_blank\" rel=\"noopener noreferrer\">YR Media\u003c/a>) as a teen. While attending Ithaca College in New York, she began work on her first film, \u003ca href=\"http://www.theproviderfilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Provider\u003c/em>\u003c/a>, which follows Dr. Shannon Carr as she performs abortions in Texas in the midst of a heated battle for reproductive rights.\u003c/p>\n\u003cp>That film led to another, \u003cem>\u003ca href=\"https://www.mayamcueva.com/#/gipfel/\" target=\"_blank\" rel=\"noopener noreferrer\">On The Divide\u003c/a>\u003c/em>, which looks at the last abortion clinic on the U.S./Mexico border; the film is currently in production. Between creating those films, she’s produced an animated film about her father’s immigration experience to the U.S. from Peru, \u003ca href=\"https://www.mayamcueva.com/#/schwane/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Only the Moon/ Solamente La Luna\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>And earlier this month Cueva debuted \u003ca href=\"https://www.futureoffilmisfemale.com/ale-libre\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ale Libre\u003c/em>\u003c/a>. This story follows reproductive rights organizer and undocumented activist \u003ca href=\"https://keepalefree.org/about\" target=\"_blank\" rel=\"noopener noreferrer\">Alejandra Pablos\u003c/a> in her fight against deportation. The film recently debuted at the Big Sky Doc Fest, and later this month will be showing at the San Diego Latino Film Festival, Salem Film Festival and the Thin Line Fest.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZpNZm1jMjkg\u003c/p>\n\u003cp>\u003cstrong>\u003cbr>\nBelow are lightly edited excerpts of my conversation with Maya Cueva.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: What are you working on right now?\u003c/em>\u003c/p>\n\u003cp>Maya: I’m working on a feature documentary that I’ve been working on for six years, actually. It’s a film called, On The Divide. It’s following three people who are all Latinx, who are connected to the last abortion clinic on the U.S./Mexico border in McAllen,Texas.\u003c/p>\n\u003cp>\u003cem>Pen: Six years in the making, that’s a marathon. How do you stay focused on one topic for so long?\u003c/em>\u003c/p>\n\u003cp>Maya: What really keeps me focused is the idea that access is really, really dire. In a community like McAllen… for undocumented women trying to get access, it’s really hard because they have to travel through border checkpoints in order to get to the nearest clinic That’s 250 miles away from them. So if this clinic were to close, there would be virtually no access for for women or patients who are undocumented and are seeking abortion care.\u003c/p>\n\u003cp>\u003cem>Pen: You mentioned immigration and how that plays a role in covering abortion. But also you’ve done work specifically about immigration. Can you talk to me a little bit about the film, Ale Libre?\u003c/em>\u003c/p>\n\u003cp>Maya: I actually came across Ale’s story when I came across a petition asking for her release from the ICE Detention Center. I kind of just started doing research on her and I came across all of her work as an organizer. She’s a reproductive rights organizer as well as an immigrants rights organizer. And I also found that she had a web series about brujeria and witchcraft and how that intersects with organizing. And I was just like, this person is really cool. And I just wanted to know more about her.\u003c/p>\n\u003cp>Maya: So I ended up doing a radio feature about her for a Latino USA. And it was following her whole life story, but also this petition to get her released. And fortunately, she was released in March 2018 from Eloy Detention Center. And then after her release, she actually hit me up and was like, ‘hey, look, I’m actually really thinking about getting my story out there in a documentary, do you know anyone who could potentially make one?’ And I was like, ‘I am a filmmaker and I would really love to share your story in that way.’ The film is really following her after her release and her fight for political asylum.\u003c/p>\n\u003cp>\u003cem>Pen: On that note, your approach to your work. Do you see it as an art? Do you see it as activism or do you see it as a documentation of life?\u003c/em>\u003c/p>\n\u003cp>Maya: I definitely see an intersection of all 3 of those things in the work that I do. I also do feel that there is an art behind pushing those stories forward. I have been around like-minded people my whole life, and I don’t necessarily think that that pushes causes forward.\u003c/p>\n\u003cp>Maya: So for me, in general, I like to approach filmmaking and storytelling in a way that turns issues on its head or makes you think twice about someone that I might be filming.\u003c/p>\n\u003cp>Maya: For Ale, specifically, what’s really interesting is that she is a reproductive rights organizer and an immigrant rights organizer but when she was 25, she got a DUI… We’ve all made mistakes, but has it landed us two years in jail or two years in prison or two years in a detention center, like for many of us no?\u003c/p>\n\u003cp>\u003cem>Pen: … With your father and even the other stories that you’ve grown to know, how do you walk that fine line of you’re the storyteller, so you’re the power holder, if you will. And at the same time, you try to empower this person, let them tell their story. How do you balance those two things of ‘I know what story needs to be told’ versus ‘I need to let them tell their story’?\u003c/em>\u003c/p>\n\u003cp>Maya: I think it’s really hard as filmmakers to think that we can be objective, completely. The balance is when I do approach the subjects, I’m initially asking them what are stories you feel like aren’t being shared? Or how do you feel like you’re being misrepresented? Because I cannot speak for you. I can get a camera and I can interview you and ask you certain questions but ultimately, your voice is the one that needs to come through and shine through.\u003c/p>\n\u003cp>Maya: I think an example is when I was first approaching the abortion clinic that I’m following in my feature, I asked the communications director ‘I feel like a lot of news media comes in here and they want to tell a certain story but what is the story you feel is missing?’ And she was like, ‘oh, no one’s ever asked me that before.’\u003c/p>\n\u003cp>Maya: I don’t ever want to come into a space — a community that maybe I identify with, but I’m not a part of — and think that I’m an expert.\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>\u003cem>Over the next 4 weeks, \u003ca href=\"https://www.kqed.org/arts/13893541/reel-talk-filmmaking-in-the-bay-area-rightnowish\">Rightnowish is looking at filmmaking in the Bay Area right now\u003c/a>.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC5796405705&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://www.mayamcueva.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Maya Cueva\u003c/a> makes documentary films that cover the heavy topics: immigration, reproductive justice and xenophobia.\u003c/p>\n\u003cp>Cueva says her journey into professional storytelling began after covering current events at Youth Radio (now \u003ca href=\"https://yr.media/\" target=\"_blank\" rel=\"noopener noreferrer\">YR Media\u003c/a>) as a teen. While attending Ithaca College in New York, she began work on her first film, \u003ca href=\"http://www.theproviderfilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Provider\u003c/em>\u003c/a>, which follows Dr. Shannon Carr as she performs abortions in Texas in the midst of a heated battle for reproductive rights.\u003c/p>\n\u003cp>That film led to another, \u003cem>\u003ca href=\"https://www.mayamcueva.com/#/gipfel/\" target=\"_blank\" rel=\"noopener noreferrer\">On The Divide\u003c/a>\u003c/em>, which looks at the last abortion clinic on the U.S./Mexico border; the film is currently in production. Between creating those films, she’s produced an animated film about her father’s immigration experience to the U.S. from Peru, \u003ca href=\"https://www.mayamcueva.com/#/schwane/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Only the Moon/ Solamente La Luna\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>And earlier this month Cueva debuted \u003ca href=\"https://www.futureoffilmisfemale.com/ale-libre\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ale Libre\u003c/em>\u003c/a>. This story follows reproductive rights organizer and undocumented activist \u003ca href=\"https://keepalefree.org/about\" target=\"_blank\" rel=\"noopener noreferrer\">Alejandra Pablos\u003c/a> in her fight against deportation. The film recently debuted at the Big Sky Doc Fest, and later this month will be showing at the San Diego Latino Film Festival, Salem Film Festival and the Thin Line Fest.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ZpNZm1jMjkg'\n title='//www.youtube.com/embed/ZpNZm1jMjkg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cbr>\nBelow are lightly edited excerpts of my conversation with Maya Cueva.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: What are you working on right now?\u003c/em>\u003c/p>\n\u003cp>Maya: I’m working on a feature documentary that I’ve been working on for six years, actually. It’s a film called, On The Divide. It’s following three people who are all Latinx, who are connected to the last abortion clinic on the U.S./Mexico border in McAllen,Texas.\u003c/p>\n\u003cp>\u003cem>Pen: Six years in the making, that’s a marathon. How do you stay focused on one topic for so long?\u003c/em>\u003c/p>\n\u003cp>Maya: What really keeps me focused is the idea that access is really, really dire. In a community like McAllen… for undocumented women trying to get access, it’s really hard because they have to travel through border checkpoints in order to get to the nearest clinic That’s 250 miles away from them. So if this clinic were to close, there would be virtually no access for for women or patients who are undocumented and are seeking abortion care.\u003c/p>\n\u003cp>\u003cem>Pen: You mentioned immigration and how that plays a role in covering abortion. But also you’ve done work specifically about immigration. Can you talk to me a little bit about the film, Ale Libre?\u003c/em>\u003c/p>\n\u003cp>Maya: I actually came across Ale’s story when I came across a petition asking for her release from the ICE Detention Center. I kind of just started doing research on her and I came across all of her work as an organizer. She’s a reproductive rights organizer as well as an immigrants rights organizer. And I also found that she had a web series about brujeria and witchcraft and how that intersects with organizing. And I was just like, this person is really cool. And I just wanted to know more about her.\u003c/p>\n\u003cp>Maya: So I ended up doing a radio feature about her for a Latino USA. And it was following her whole life story, but also this petition to get her released. And fortunately, she was released in March 2018 from Eloy Detention Center. And then after her release, she actually hit me up and was like, ‘hey, look, I’m actually really thinking about getting my story out there in a documentary, do you know anyone who could potentially make one?’ And I was like, ‘I am a filmmaker and I would really love to share your story in that way.’ The film is really following her after her release and her fight for political asylum.\u003c/p>\n\u003cp>\u003cem>Pen: On that note, your approach to your work. Do you see it as an art? Do you see it as activism or do you see it as a documentation of life?\u003c/em>\u003c/p>\n\u003cp>Maya: I definitely see an intersection of all 3 of those things in the work that I do. I also do feel that there is an art behind pushing those stories forward. I have been around like-minded people my whole life, and I don’t necessarily think that that pushes causes forward.\u003c/p>\n\u003cp>Maya: So for me, in general, I like to approach filmmaking and storytelling in a way that turns issues on its head or makes you think twice about someone that I might be filming.\u003c/p>\n\u003cp>Maya: For Ale, specifically, what’s really interesting is that she is a reproductive rights organizer and an immigrant rights organizer but when she was 25, she got a DUI… We’ve all made mistakes, but has it landed us two years in jail or two years in prison or two years in a detention center, like for many of us no?\u003c/p>\n\u003cp>\u003cem>Pen: … With your father and even the other stories that you’ve grown to know, how do you walk that fine line of you’re the storyteller, so you’re the power holder, if you will. And at the same time, you try to empower this person, let them tell their story. How do you balance those two things of ‘I know what story needs to be told’ versus ‘I need to let them tell their story’?\u003c/em>\u003c/p>\n\u003cp>Maya: I think it’s really hard as filmmakers to think that we can be objective, completely. The balance is when I do approach the subjects, I’m initially asking them what are stories you feel like aren’t being shared? Or how do you feel like you’re being misrepresented? Because I cannot speak for you. I can get a camera and I can interview you and ask you certain questions but ultimately, your voice is the one that needs to come through and shine through.\u003c/p>\n\u003cp>Maya: I think an example is when I was first approaching the abortion clinic that I’m following in my feature, I asked the communications director ‘I feel like a lot of news media comes in here and they want to tell a certain story but what is the story you feel is missing?’ And she was like, ‘oh, no one’s ever asked me that before.’\u003c/p>\n\u003cp>Maya: I don’t ever want to come into a space — a community that maybe I identify with, but I’m not a part of — and think that I’m an expert.\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Nobody—not even bitcoin collectors and vaccine line-jumpers—can resist a good movie about the triumph of everyday people over injustice and corruption. The through-line of history, though, is that mass struggles inevitably confront massive setbacks. That’s not the Hollywood narrative, but it’s at the core of this week’s films.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Night of the Kings\u003c/strong>\u003c/em>\u003cbr>\nNow Playing\u003cbr>\n\u003ca href=\"https://www.roxie.com/night-of-the-kings/\" rel=\"noopener noreferrer\" target=\"_blank\">Roxie\u003c/a>\u003c/p>\n\u003cp>Philippe Lacote begins his spellbinding fable with the scenic aerial vista of a Jeep making its way through a verdant landscape to a large, imposing building. The young punk in handcuffs accompanied by armed soldiers can’t admire the view or appreciate the sweet air; he’s too anxious about his destination at the end of the rutted road.\u003c/p>\n\u003cp>The lad arrives at the dank Ivory Coast prison at an auspicious time, as the inmate who runs the place—subject to the arbitrary rule of the brutish authorities, of course—is nearing the end of his reign. He christens the newcomer Roman and appoints him storyteller for the evening, which the lad (played by Bakary Koné) prolongs to dawn via a procession of centuries-spanning chapters drawn from the seemingly disparate realms of folk tales and slum reality.\u003c/p>\n\u003cp>\u003cem>Night of the Kings\u003c/em> juxtaposes the visceral threats of prison life with the sensuous appeal of fantasy and escape, to mesmerizing effect. Lacote’s camera elegantly wends from chaos to order and back, funneling historical echoes into the present-day maelstrom. His artistry serves a political message that never overtakes Roman’s story or hijacks the film, but is ingrained in every frame.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>All of the representations of power on display in the prison—that is, in the society—are a mirage; we never see the powers that be that hold the real power. The struggle within the underclass is perpetually doomed, unless and until they stop fighting each other and focus on their common enemy.\u003c/p>\n\u003cfigure id=\"attachment_13893600\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Li_Lost-Course_003-800x450.jpg\" alt=\"A still from 'Lost Course.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13893600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Li_Lost-Course_003-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Li_Lost-Course_003-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Li_Lost-Course_003-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Li_Lost-Course_003-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Li_Lost-Course_003-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Li_Lost-Course_003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Lost Course.’ \u003ccite>(Icarus Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Lost Course\u003c/strong>\u003c/em>\u003cbr>\nOpens March 5\u003cbr>\n\u003ca href=\"https://bampfa.org/event/lost-course\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a>\u003c/p>\n\u003cp>In September of 2011, the villagers of Wukan in southern China angrily protested the sale of communal land for private gain by corrupt officials. Four demonstrators were arrested; one died in custody. The 9.21 incident, as it’s known, triggered even bigger protests and the political awakening of several activists.\u003c/p>\n\u003cp>Jill Li’s brave and intimate documentary, \u003cem>Lost Course\u003c/em>, follows those incipient leaders—and the cause of democracy itself—through the heady months and difficult years that followed. The three-hour film benefits from exceptional access and remarkable candor, providing a close-up perspective on grass-roots idealism and on-the-fly strategizing.\u003c/p>\n\u003cp>The protagonists take different paths as their initial goals are thwarted: One quits politics to open a tea shop and another disappears to the United States, though several run for reelection and continue their increasingly compromised campaigns for change. \u003cem>Lost Course\u003c/em>, consequently, becomes less of a study of democracy in China and more of a mosaic of public service, ambition, ego and ethics.\u003c/p>\n\u003cp>The title refers to the wrong turns, ill-advised decisions and poor directions that gradually led the leaders of the 9.21 Wukan movement off their altruistic path. But arguably the greatest error these moderate reformers made was trusting Xi Jinping (the President of the People’s Republic of China), as well as his predecessor, to acknowledge and comply with the will of the people. \u003c/p>\n\u003cp>\u003cem>Lost Course\u003c/em> concludes at the end of 2016 and was completed in 2019, by which time China’s approach to Hong Kong had clarified beyond doubt its attitude toward democracy. This is one documentary for which spoiler alerts are superfluous.\u003c/p>\n\u003cfigure id=\"attachment_13893599\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Helicopter_spraysAgentOrange_in_VN_NARA-800x455.jpg\" alt=\"A helicopter sprays agent orange in Vietnam in a scene from 'The People vs. Agent Orange.'\" width=\"800\" height=\"455\" class=\"size-medium wp-image-13893599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Helicopter_spraysAgentOrange_in_VN_NARA-800x455.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Helicopter_spraysAgentOrange_in_VN_NARA-1020x580.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Helicopter_spraysAgentOrange_in_VN_NARA-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Helicopter_spraysAgentOrange_in_VN_NARA-768x437.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Helicopter_spraysAgentOrange_in_VN_NARA-1536x874.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Helicopter_spraysAgentOrange_in_VN_NARA.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A helicopter sprays agent orange in Vietnam in a scene from ‘The People vs. Agent Orange.’ \u003ccite>(PBS/Independent Lens)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>The People vs. Agent Orange\u003c/strong>\u003c/em>\u003cbr>\nOpens March 5\u003cbr>\n\u003ca href=\"https://rafaelfilm.cafilm.org/people-vs-agent-orange/\" rel=\"noopener noreferrer\" target=\"_blank\">Smith Rafael\u003c/a>, \u003ca href=\"https://www.cinemasf.com/events-calendar/the-people-vs-agent-orange\" rel=\"noopener noreferrer\" target=\"_blank\">Cinema SF\u003c/a> (Balboa, Vogue)\u003c/p>\n\u003cp>It’s hard to argue with those who describe the virulently toxic herbicide that was Dow Chemical’s infamous contribution to the U.S. war on Vietnam (and its neighbors) in the late ’60s and ’70s as chemical warfare. Vietnam, you say? Isn’t that ancient history? How about all the kids with birth defects and all the miscarriages, in Vietnam and the U.S., spanning decades? \u003c/p>\n\u003cp>Veteran filmmakers Alan Adelson and Kate Taverna tackle the cold case files with a measured dispassion that, I must concede, is journalistically and historically responsible. But \u003cem>The People vs. Agent Orange\u003c/em> lacks an iota of the soul-piercing anger and fiery indignation necessary to launch viewers from their complacency. “Quietly infuriating” doesn’t do the trick, in this case.\u003c/p>\n\u003cp>The subjects of the film are two older women—not the most respected or heeded demographic in our culture, it must be said—who suffered enormous losses and are still fighting the U.S. government and the chemical manufacturers. Vietnam War survivor Tran To Nga has brought suit in a Paris court (where a verdict is expected this year), while Oregon environmental activist Carol Van Strum still holds out hope that the vast trove of documents she accrued through FOIA requests and other means will help bring someone to account.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The People vs. Agent Orange\u003c/em> will air on PBS this summer, although perhaps in a shorter cut. By then a French judge may have delivered justice, instead of yet another setback.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nobody—not even bitcoin collectors and vaccine line-jumpers—can resist a good movie about the triumph of everyday people over injustice and corruption. The through-line of history, though, is that mass struggles inevitably confront massive setbacks. That’s not the Hollywood narrative, but it’s at the core of this week’s films.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Night of the Kings\u003c/strong>\u003c/em>\u003cbr>\nNow Playing\u003cbr>\n\u003ca href=\"https://www.roxie.com/night-of-the-kings/\" rel=\"noopener noreferrer\" target=\"_blank\">Roxie\u003c/a>\u003c/p>\n\u003cp>Philippe Lacote begins his spellbinding fable with the scenic aerial vista of a Jeep making its way through a verdant landscape to a large, imposing building. The young punk in handcuffs accompanied by armed soldiers can’t admire the view or appreciate the sweet air; he’s too anxious about his destination at the end of the rutted road.\u003c/p>\n\u003cp>The lad arrives at the dank Ivory Coast prison at an auspicious time, as the inmate who runs the place—subject to the arbitrary rule of the brutish authorities, of course—is nearing the end of his reign. He christens the newcomer Roman and appoints him storyteller for the evening, which the lad (played by Bakary Koné) prolongs to dawn via a procession of centuries-spanning chapters drawn from the seemingly disparate realms of folk tales and slum reality.\u003c/p>\n\u003cp>\u003cem>Night of the Kings\u003c/em> juxtaposes the visceral threats of prison life with the sensuous appeal of fantasy and escape, to mesmerizing effect. Lacote’s camera elegantly wends from chaos to order and back, funneling historical echoes into the present-day maelstrom. His artistry serves a political message that never overtakes Roman’s story or hijacks the film, but is ingrained in every frame.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>All of the representations of power on display in the prison—that is, in the society—are a mirage; we never see the powers that be that hold the real power. The struggle within the underclass is perpetually doomed, unless and until they stop fighting each other and focus on their common enemy.\u003c/p>\n\u003cfigure id=\"attachment_13893600\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Li_Lost-Course_003-800x450.jpg\" alt=\"A still from 'Lost Course.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13893600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Li_Lost-Course_003-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Li_Lost-Course_003-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Li_Lost-Course_003-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Li_Lost-Course_003-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Li_Lost-Course_003-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Li_Lost-Course_003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Lost Course.’ \u003ccite>(Icarus Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Lost Course\u003c/strong>\u003c/em>\u003cbr>\nOpens March 5\u003cbr>\n\u003ca href=\"https://bampfa.org/event/lost-course\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a>\u003c/p>\n\u003cp>In September of 2011, the villagers of Wukan in southern China angrily protested the sale of communal land for private gain by corrupt officials. Four demonstrators were arrested; one died in custody. The 9.21 incident, as it’s known, triggered even bigger protests and the political awakening of several activists.\u003c/p>\n\u003cp>Jill Li’s brave and intimate documentary, \u003cem>Lost Course\u003c/em>, follows those incipient leaders—and the cause of democracy itself—through the heady months and difficult years that followed. The three-hour film benefits from exceptional access and remarkable candor, providing a close-up perspective on grass-roots idealism and on-the-fly strategizing.\u003c/p>\n\u003cp>The protagonists take different paths as their initial goals are thwarted: One quits politics to open a tea shop and another disappears to the United States, though several run for reelection and continue their increasingly compromised campaigns for change. \u003cem>Lost Course\u003c/em>, consequently, becomes less of a study of democracy in China and more of a mosaic of public service, ambition, ego and ethics.\u003c/p>\n\u003cp>The title refers to the wrong turns, ill-advised decisions and poor directions that gradually led the leaders of the 9.21 Wukan movement off their altruistic path. But arguably the greatest error these moderate reformers made was trusting Xi Jinping (the President of the People’s Republic of China), as well as his predecessor, to acknowledge and comply with the will of the people. \u003c/p>\n\u003cp>\u003cem>Lost Course\u003c/em> concludes at the end of 2016 and was completed in 2019, by which time China’s approach to Hong Kong had clarified beyond doubt its attitude toward democracy. This is one documentary for which spoiler alerts are superfluous.\u003c/p>\n\u003cfigure id=\"attachment_13893599\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Helicopter_spraysAgentOrange_in_VN_NARA-800x455.jpg\" alt=\"A helicopter sprays agent orange in Vietnam in a scene from 'The People vs. Agent Orange.'\" width=\"800\" height=\"455\" class=\"size-medium wp-image-13893599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Helicopter_spraysAgentOrange_in_VN_NARA-800x455.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Helicopter_spraysAgentOrange_in_VN_NARA-1020x580.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Helicopter_spraysAgentOrange_in_VN_NARA-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Helicopter_spraysAgentOrange_in_VN_NARA-768x437.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Helicopter_spraysAgentOrange_in_VN_NARA-1536x874.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Helicopter_spraysAgentOrange_in_VN_NARA.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A helicopter sprays agent orange in Vietnam in a scene from ‘The People vs. Agent Orange.’ \u003ccite>(PBS/Independent Lens)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>The People vs. Agent Orange\u003c/strong>\u003c/em>\u003cbr>\nOpens March 5\u003cbr>\n\u003ca href=\"https://rafaelfilm.cafilm.org/people-vs-agent-orange/\" rel=\"noopener noreferrer\" target=\"_blank\">Smith Rafael\u003c/a>, \u003ca href=\"https://www.cinemasf.com/events-calendar/the-people-vs-agent-orange\" rel=\"noopener noreferrer\" target=\"_blank\">Cinema SF\u003c/a> (Balboa, Vogue)\u003c/p>\n\u003cp>It’s hard to argue with those who describe the virulently toxic herbicide that was Dow Chemical’s infamous contribution to the U.S. war on Vietnam (and its neighbors) in the late ’60s and ’70s as chemical warfare. Vietnam, you say? Isn’t that ancient history? How about all the kids with birth defects and all the miscarriages, in Vietnam and the U.S., spanning decades? \u003c/p>\n\u003cp>Veteran filmmakers Alan Adelson and Kate Taverna tackle the cold case files with a measured dispassion that, I must concede, is journalistically and historically responsible. But \u003cem>The People vs. Agent Orange\u003c/em> lacks an iota of the soul-piercing anger and fiery indignation necessary to launch viewers from their complacency. “Quietly infuriating” doesn’t do the trick, in this case.\u003c/p>\n\u003cp>The subjects of the film are two older women—not the most respected or heeded demographic in our culture, it must be said—who suffered enormous losses and are still fighting the U.S. government and the chemical manufacturers. Vietnam War survivor Tran To Nga has brought suit in a Paris court (where a verdict is expected this year), while Oregon environmental activist Carol Van Strum still holds out hope that the vast trove of documents she accrued through FOIA requests and other means will help bring someone to account.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The People vs. Agent Orange\u003c/em> will air on PBS this summer, although perhaps in a shorter cut. By then a French judge may have delivered justice, instead of yet another setback.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>At this point, Ava DuVernay is a household name, having directed such films as \u003cem>Selma\u003c/em>, \u003cem>13th\u003c/em> and \u003cem>A Wrinkle in Time\u003c/em>. So I was surprised to learn recently that I heard DuVernay’s voice long before I ever saw her movies. It was on a 1995 album called \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=X2n3sf9ZePY&list=PLADGP63QuBum58OBO9Pq3H-GiVBGcEpJq\" rel=\"noopener noreferrer\" target=\"_blank\">Project Blowed\u003c/a>\u003c/em>, when she appeared on a track called “Don’t Get it Twisted” with her hip-hop duo Figures of Speech.\u003c/p>\n\u003cp>Figures of Speech sprung from a fertile group of rappers and DJs that coalesced around the Good Life Cafe, a health food restaurant in Los Angeles that held weekly open mics attracting the city’s underground hip-hop talent. The songs, stories and synergy of the Good Life are at the center of one of DuVernay’s earliest documentaries, \u003cem>This Is The Life\u003c/em>, which has finally just hit Netflix. \u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/225235608\" width=\"640\" height=\"480\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The Good Life’s era spanned the 1990s, and its syncopated, jazzy and uber-lyrical music stood as a foil to popular street-oriented artists of the day like Dr. Dre and N.W.A. Hip-hop obsessives watching the film will find gold here—early footage of artists like Freestyle Fellowship, Jurassic 5 and C.V.E.; backyard parties; rappers breaking the cafe’s rule of no swearing on the mic; and fond, funny remembrances by those who were there.\u003c/p>\n\u003cp>But even a casual viewer of \u003cem>This is the Life\u003c/em> will get a sense of something bigger: namely, the way great art can grow and cross-pollinate in a tight-knit scene. The tiny cafe packed in men and women from an array of racial and religious backgrounds, and the ripple effect (on national groups like Outkast and Bone Thugs-n-Harmony) is an object lesson in the power of a diverse community working together.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As DuVernay herself says in the documentary: “The only equalizer was being dope.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This is the Life is \u003ca href=\"https://www.netflix.com/title/80151952\" rel=\"noopener noreferrer\" target=\"_blank\">streaming on Netflix now\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At this point, Ava DuVernay is a household name, having directed such films as \u003cem>Selma\u003c/em>, \u003cem>13th\u003c/em> and \u003cem>A Wrinkle in Time\u003c/em>. So I was surprised to learn recently that I heard DuVernay’s voice long before I ever saw her movies. It was on a 1995 album called \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=X2n3sf9ZePY&list=PLADGP63QuBum58OBO9Pq3H-GiVBGcEpJq\" rel=\"noopener noreferrer\" target=\"_blank\">Project Blowed\u003c/a>\u003c/em>, when she appeared on a track called “Don’t Get it Twisted” with her hip-hop duo Figures of Speech.\u003c/p>\n\u003cp>Figures of Speech sprung from a fertile group of rappers and DJs that coalesced around the Good Life Cafe, a health food restaurant in Los Angeles that held weekly open mics attracting the city’s underground hip-hop talent. The songs, stories and synergy of the Good Life are at the center of one of DuVernay’s earliest documentaries, \u003cem>This Is The Life\u003c/em>, which has finally just hit Netflix. \u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/225235608\" width=\"640\" height=\"480\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The Good Life’s era spanned the 1990s, and its syncopated, jazzy and uber-lyrical music stood as a foil to popular street-oriented artists of the day like Dr. Dre and N.W.A. Hip-hop obsessives watching the film will find gold here—early footage of artists like Freestyle Fellowship, Jurassic 5 and C.V.E.; backyard parties; rappers breaking the cafe’s rule of no swearing on the mic; and fond, funny remembrances by those who were there.\u003c/p>\n\u003cp>But even a casual viewer of \u003cem>This is the Life\u003c/em> will get a sense of something bigger: namely, the way great art can grow and cross-pollinate in a tight-knit scene. The tiny cafe packed in men and women from an array of racial and religious backgrounds, and the ripple effect (on national groups like Outkast and Bone Thugs-n-Harmony) is an object lesson in the power of a diverse community working together.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As DuVernay herself says in the documentary: “The only equalizer was being dope.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This is the Life is \u003ca href=\"https://www.netflix.com/title/80151952\" rel=\"noopener noreferrer\" target=\"_blank\">streaming on Netflix now\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Not Even Amy Poehler and Tina Fey Could Save This Year's Snoozy Golden Globes",
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"content": "\u003cp>In any given year, awards-season viewers are doing some combination of reveling in the booze-filled loosie-goosey nature of the Golden Globes while bemoaning the ostensible arbitrariness of many of its nominees and winners. Do \u003cem>you \u003c/em>recall the movie \u003cem>Salmon Fishing in the Yemen\u003c/em>? (Three nods in 2012, including best picture.) And really, \u003cem>The Kominsky Method \u003c/em>beat out shows like \u003cem>Barry \u003c/em>and \u003cem>The Good Place\u003c/em> for best TV drama in 2019? How?!\u003c/p>\n\u003cp>The mood going into this year’s Globes ceremony was different, however, and not just because the producers had Covid-related logistics to work out for a mostly virtual event. Just a few days earlier, the \u003cem>Los Angeles Times \u003c/em>published \u003ca href=\"https://www.latimes.com/entertainment-arts/business/story/2021-02-21/hfpa-golden-globes-2021-who-are-the-members\" target=\"_blank\" rel=\"noopener noreferrer\">two\u003c/a> \u003ca href=\"https://www.latimes.com/entertainment-arts/business/story/2021-02-21/hfpa-golden-globes-2021\" target=\"_blank\" rel=\"noopener noreferrer\">investigations\u003c/a> looking into the inner workings of the mysterious Hollywood Foreign Press Association, an organization of 87 “journalists” who vote on the awards. Those exposés unveiled a number of details which suggest the Globes are more frivolous (and corrupt) than even the most cynical among us may have considered. Among the reveals: a number of HFPA members were fabulously flown in to France and wined and dined for a set visit to \u003cem>Emily in Paris\u003c/em>, the wildly popular but critically reviled show which received three head-scratching nominations. Also, there are currently zero Black members in the HFPA.\u003c/p>\n\u003cp>On Sunday night, the ceremony addressed the diversity PR nightmare head-on, first via the opening banter between returning co-hosts Amy Poehler and Tina Fey, who were broadcast from the Beverly Hilton in Beverly Hills and the Rainbow Room in New York City, respectively. Sprinkled in between jokes about the differences between movies and television and an acknowledgement of the pandemic first responders in the audience, were cracks about the HFPA’s membership (“around 90 international—no Black—journalists,” a couple of whom “might be ghosts”) and a more serious admission that worthy Black performances and creators were overlooked this year.\u003c/p>\n\u003cp>And a bit later in the evening, three members of the HFPA emerged from obscurity to pledge that the organization felt bad about all the negative publicity and would commit to doing better about inclusion going forward. (There was no mention of whether or not all-expenses paid trips to fancy cities on a Hollywood studio’s dime was also being reconsidered.)\u003c/p>\n\u003cp>Once the awards-giving kicked off, it was often a bumpy ride. While presenters appeared in person in either New York or L.A., nominees attended remotely from their respective homes. The potential for technical chaos was realized almost immediately, when Daniel Kaluuya, who won the first award of the night for his role as Fred Hampton in \u003cem>Judas and the Black Messiah\u003c/em>, couldn’t be heard while giving his acceptance speech. After a few moments, presenter Laura Dern noted the difficulties and attempted to quickly wrap up and move to the next segment; luckily, Kaluuya was able to jump back in, this time with sound in check, and deliver typically charming remarks.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4FgS6q-xSoY\u003c/p>\n\u003cp>There were many more awkward sound-related issues, merely irritating and occasionally chaotic—was that acceptance speech where Catherine O’Hara, who took home an award for \u003cem>Schitt’s Creek\u003c/em>, kept being interrupted by her husband Bo Welch’s phone, a planned bit or a kerfluffle-turned-on-the-fly bit? I’m not sure, but whatever it was, it was a rare highlight in an otherwise dull night. The producers padded the run time with skits which, even in normal times, would feel forced—save for a perfectly weird skit involving Maya Rudolph and Kenan Thompson donning faux French accents, anything not directly related to the presentation of awards was superfluous.\u003c/p>\n\u003cp>The big winners of the night were a mixed bag of the surprising and predictable. \u003cem>Nomadland \u003c/em>won best motion picture, drama, and its director Chloe Zhao became the first Asian woman to win the best director award—and first woman since Barbra Streisand won for \u003cem>Yentl \u003c/em>nearly 40 years ago. Chadwick Boseman received a posthumous honor for \u003cem>Ma Rainey’s Black Bottom \u003c/em>in the best actor, drama category; his widow, Taylor Simone Ledward gave a stirring, heartbreaking speech on his behalf. Andra Day triumphed for her first feature starring role in \u003cem>The United States vs. Billie Holiday \u003c/em>in a stacked category that included Viola Davis and Frances McDormand.\u003c/p>\n\u003cp>While \u003cem>Emily In Paris \u003c/em>went home empty-handed—Netflix must be wondering, was that all-expenses paid set visit for all those HFPA members worth it after all?—crowd-pleaser \u003cem>The Queen’s Gambit\u003c/em> beat out Steve McQueen’s transformative\u003cem> Small Axe \u003c/em>for best limited series, drama. (Though John Boyega earned his first Globe win for his role in \u003cem>Red, White and Blue\u003c/em>, one of the films in \u003cem>Small Axe.\u003c/em>)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VG58uqZPWsU\u003c/p>\n\u003cp>The show was at its best when the veterans were involved. The 98-year-old Norman Lear was given the Carol Burnett Award for “outstanding contributions to television,” and, perhaps because it was coordinated ahead of time, the TV titan had by far the sharpest audio and visual set-up of all the remote celebrities. He kept his remarks short and sweet, proving yet again that he is a national treasure. Ditto Jane Fonda, who appeared in-person at the Rainbow Room to accept the other honorary award of the evening, the Cecil B. DeMille award. In one of the most riveting moments of the night, she gave a shout out to the recent works that inspired her, including \u003cem>Nomadland, Judas and the Black Messiah\u003c/em>, \u003cem>Minari\u003c/em> (which won after being controversially nominated in the Best Foreign Language category) and \u003cem>I May Destroy You\u003c/em> (which was notably shut out from any nominations despite its critical acclaim).\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Perhaps the one saving grace of this snooze fest was that it ended under three and a half hours. But considering how much time the producers had to execute a smooth and relatively painless event—and that they could have looked to last fall’s comparatively successful \u003ca href=\"https://www.npr.org/2020/09/21/915132850/the-emmys-pull-off-a-good-show-as-schitt-s-creek-and-watchmen-shine\" target=\"_blank\" rel=\"noopener noreferrer\">virtual Emmy Awards\u003c/a> for guidance—this year’s Golden Globes only further solidified the event’s irrelevance, for everyone to witness.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Nomadland%27+And+Chadwick+Boseman+Win+Big+During+A+Mostly+Snoozy+Golden+Globes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In any given year, awards-season viewers are doing some combination of reveling in the booze-filled loosie-goosey nature of the Golden Globes while bemoaning the ostensible arbitrariness of many of its nominees and winners. Do \u003cem>you \u003c/em>recall the movie \u003cem>Salmon Fishing in the Yemen\u003c/em>? (Three nods in 2012, including best picture.) And really, \u003cem>The Kominsky Method \u003c/em>beat out shows like \u003cem>Barry \u003c/em>and \u003cem>The Good Place\u003c/em> for best TV drama in 2019? How?!\u003c/p>\n\u003cp>The mood going into this year’s Globes ceremony was different, however, and not just because the producers had Covid-related logistics to work out for a mostly virtual event. Just a few days earlier, the \u003cem>Los Angeles Times \u003c/em>published \u003ca href=\"https://www.latimes.com/entertainment-arts/business/story/2021-02-21/hfpa-golden-globes-2021-who-are-the-members\" target=\"_blank\" rel=\"noopener noreferrer\">two\u003c/a> \u003ca href=\"https://www.latimes.com/entertainment-arts/business/story/2021-02-21/hfpa-golden-globes-2021\" target=\"_blank\" rel=\"noopener noreferrer\">investigations\u003c/a> looking into the inner workings of the mysterious Hollywood Foreign Press Association, an organization of 87 “journalists” who vote on the awards. Those exposés unveiled a number of details which suggest the Globes are more frivolous (and corrupt) than even the most cynical among us may have considered. Among the reveals: a number of HFPA members were fabulously flown in to France and wined and dined for a set visit to \u003cem>Emily in Paris\u003c/em>, the wildly popular but critically reviled show which received three head-scratching nominations. Also, there are currently zero Black members in the HFPA.\u003c/p>\n\u003cp>On Sunday night, the ceremony addressed the diversity PR nightmare head-on, first via the opening banter between returning co-hosts Amy Poehler and Tina Fey, who were broadcast from the Beverly Hilton in Beverly Hills and the Rainbow Room in New York City, respectively. Sprinkled in between jokes about the differences between movies and television and an acknowledgement of the pandemic first responders in the audience, were cracks about the HFPA’s membership (“around 90 international—no Black—journalists,” a couple of whom “might be ghosts”) and a more serious admission that worthy Black performances and creators were overlooked this year.\u003c/p>\n\u003cp>And a bit later in the evening, three members of the HFPA emerged from obscurity to pledge that the organization felt bad about all the negative publicity and would commit to doing better about inclusion going forward. (There was no mention of whether or not all-expenses paid trips to fancy cities on a Hollywood studio’s dime was also being reconsidered.)\u003c/p>\n\u003cp>Once the awards-giving kicked off, it was often a bumpy ride. While presenters appeared in person in either New York or L.A., nominees attended remotely from their respective homes. The potential for technical chaos was realized almost immediately, when Daniel Kaluuya, who won the first award of the night for his role as Fred Hampton in \u003cem>Judas and the Black Messiah\u003c/em>, couldn’t be heard while giving his acceptance speech. After a few moments, presenter Laura Dern noted the difficulties and attempted to quickly wrap up and move to the next segment; luckily, Kaluuya was able to jump back in, this time with sound in check, and deliver typically charming remarks.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"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/4FgS6q-xSoY'\n title='//www.youtube.com/embed/4FgS6q-xSoY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There were many more awkward sound-related issues, merely irritating and occasionally chaotic—was that acceptance speech where Catherine O’Hara, who took home an award for \u003cem>Schitt’s Creek\u003c/em>, kept being interrupted by her husband Bo Welch’s phone, a planned bit or a kerfluffle-turned-on-the-fly bit? I’m not sure, but whatever it was, it was a rare highlight in an otherwise dull night. The producers padded the run time with skits which, even in normal times, would feel forced—save for a perfectly weird skit involving Maya Rudolph and Kenan Thompson donning faux French accents, anything not directly related to the presentation of awards was superfluous.\u003c/p>\n\u003cp>The big winners of the night were a mixed bag of the surprising and predictable. \u003cem>Nomadland \u003c/em>won best motion picture, drama, and its director Chloe Zhao became the first Asian woman to win the best director award—and first woman since Barbra Streisand won for \u003cem>Yentl \u003c/em>nearly 40 years ago. Chadwick Boseman received a posthumous honor for \u003cem>Ma Rainey’s Black Bottom \u003c/em>in the best actor, drama category; his widow, Taylor Simone Ledward gave a stirring, heartbreaking speech on his behalf. Andra Day triumphed for her first feature starring role in \u003cem>The United States vs. Billie Holiday \u003c/em>in a stacked category that included Viola Davis and Frances McDormand.\u003c/p>\n\u003cp>While \u003cem>Emily In Paris \u003c/em>went home empty-handed—Netflix must be wondering, was that all-expenses paid set visit for all those HFPA members worth it after all?—crowd-pleaser \u003cem>The Queen’s Gambit\u003c/em> beat out Steve McQueen’s transformative\u003cem> Small Axe \u003c/em>for best limited series, drama. (Though John Boyega earned his first Globe win for his role in \u003cem>Red, White and Blue\u003c/em>, one of the films in \u003cem>Small Axe.\u003c/em>)\u003c/p>\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/VG58uqZPWsU'\n title='//www.youtube.com/embed/VG58uqZPWsU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The show was at its best when the veterans were involved. The 98-year-old Norman Lear was given the Carol Burnett Award for “outstanding contributions to television,” and, perhaps because it was coordinated ahead of time, the TV titan had by far the sharpest audio and visual set-up of all the remote celebrities. He kept his remarks short and sweet, proving yet again that he is a national treasure. Ditto Jane Fonda, who appeared in-person at the Rainbow Room to accept the other honorary award of the evening, the Cecil B. DeMille award. In one of the most riveting moments of the night, she gave a shout out to the recent works that inspired her, including \u003cem>Nomadland, Judas and the Black Messiah\u003c/em>, \u003cem>Minari\u003c/em> (which won after being controversially nominated in the Best Foreign Language category) and \u003cem>I May Destroy You\u003c/em> (which was notably shut out from any nominations despite its critical acclaim).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Perhaps the one saving grace of this snooze fest was that it ended under three and a half hours. But considering how much time the producers had to execute a smooth and relatively painless event—and that they could have looked to last fall’s comparatively successful \u003ca href=\"https://www.npr.org/2020/09/21/915132850/the-emmys-pull-off-a-good-show-as-schitt-s-creek-and-watchmen-shine\" target=\"_blank\" rel=\"noopener noreferrer\">virtual Emmy Awards\u003c/a> for guidance—this year’s Golden Globes only further solidified the event’s irrelevance, for everyone to witness.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Nomadland%27+And+Chadwick+Boseman+Win+Big+During+A+Mostly+Snoozy+Golden+Globes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'We Don't Know What's Coming': Anthony Hopkins Plays 'The Father' With Dementia",
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"content": "\u003cp>Writer and director Florian Zeller was very close to his grandmother. “She was like my mother in a way,” he says. “She was very important in my life.”\u003c/p>\n\u003cp>But when Zeller was 15, his grandmother started to experience dementia. It was “a painful process … to suddenly be impotent,” he says. “You know, you can love someone and you discover that love is not enough.”\u003c/p>\n\u003cp>Zeller drew on this personal experience in his 2012 play \u003cem>Le Père. \u003c/em>The new film \u003cem>The Father \u003c/em>is based on that play, and unfolds from the perspective of Anthony, who has dementia. Anthony is played by Anthony Hopkins, and Olivia Colman co-stars as his daughter.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4TZb7YfK-JI\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On the effort to make the film mirror the experience of dementia\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Zeller: \u003c/strong>There are so many films about dementia. … I wanted that journey [in this film] to be more uncertain, more complex. For example, the film starts as if it was like a thriller in a way. And we go through that labyrinth, you know, without being absolutely aware of where we are going. I said that the film was like a puzzle, but a piece is always missing in that puzzle, you know, and it was a way for me to play with that feeling of disorientation. Because I wanted \u003cem>The Father\u003c/em> to be not only a story, but also like an experience of what it could mean to lose everything, including your own identity.\u003c/p>\n\u003cp>\u003cstrong>On taking on the role of someone living with dementia\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Hopkins: \u003c/strong>My initial reaction when I read the script was an immediate ‘Yes.’ Same reaction I had to \u003cem>Silence of the Lambs,\u003c/em> it was one of those scripts that I just thought: ‘I’m so lucky to be offered this.’ Phoned my agent immediately, said: ‘Yes, I would love to do it.’ And so here we are. And my reaction to it all from the word go was one of confidence and a sense of, I knew how to do it because I’m that old now. I’m 83 and I just had a sense of it. It was easy to play.\u003c/p>\n\u003cp>\u003cstrong>On wanting the audience to relate to Colman’s character—a daughter trying to care for her father\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13893430\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13893430\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/9_custom-b5a5f75dd4f51e3b33f3ee1c91d6002b11d07196.jpg\" alt=\"Hopkins talks with director Florian Zeller on set of 'The Father.'\" width=\"200\" height=\"127\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/9_custom-b5a5f75dd4f51e3b33f3ee1c91d6002b11d07196.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/9_custom-b5a5f75dd4f51e3b33f3ee1c91d6002b11d07196-160x102.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Hopkins talks with director Florian Zeller on set of ‘The Father.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Zeller: \u003c/strong>With someone like Olivia Colman … she has something magical; as soon as you see her, you love her and you feel empathy with her. It’s a painful situation because there is no absolute answer. You know, what do you do when the people you love start to lose their bearings? Are you allowed to live your own life? … Is it the moment to take painful decisions such as going into an institution? And there is no clear answer. … Art and especially cinema is not a place for answers, it’s just a place for questions.\u003c/p>\n\u003cp>\u003cstrong>Hopkins:\u003c/strong> There’s one moment after Olivia leaves the hospital … She says goodbye, she gets into the taxi, and she’s got to face her life now. And she’s going to face the inevitability of her own demise and her own mortality. And there’s something really heartbreaking about that.\u003c/p>\n\u003cp>\u003cstrong>On the freedom of not being in control\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Hopkins: \u003c/strong>I remember standing at my father’s bedside after he died … my mother was with him, with his body. … And I remember thinking to myself, ‘Yeah, you’re not so hot either, because one day it’ll happen to you.’ This is life. And when death presents itself to you in those moments … well, we have no control and we don’t know what’s coming. We have no means of predicting anything. And there’s a great freedom in that—in realizing that we are inadequate, really. So, for me to play this—part of it was easy and in a way, yes, life-changing. It’s made me think even deeper.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Danny Hajek and Simone Popperl produced and edited this interview for broadcast. Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27We+Don%27t+Know+What%27s+Coming%27%3A+Anthony+Hopkins+Plays+%27The+Father%27+With+Dementia&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Writer and director Florian Zeller was very close to his grandmother. “She was like my mother in a way,” he says. “She was very important in my life.”\u003c/p>\n\u003cp>But when Zeller was 15, his grandmother started to experience dementia. It was “a painful process … to suddenly be impotent,” he says. “You know, you can love someone and you discover that love is not enough.”\u003c/p>\n\u003cp>Zeller drew on this personal experience in his 2012 play \u003cem>Le Père. \u003c/em>The new film \u003cem>The Father \u003c/em>is based on that play, and unfolds from the perspective of Anthony, who has dementia. Anthony is played by Anthony Hopkins, and Olivia Colman co-stars as his daughter.\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/4TZb7YfK-JI'\n title='//www.youtube.com/embed/4TZb7YfK-JI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On the effort to make the film mirror the experience of dementia\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Zeller: \u003c/strong>There are so many films about dementia. … I wanted that journey [in this film] to be more uncertain, more complex. For example, the film starts as if it was like a thriller in a way. And we go through that labyrinth, you know, without being absolutely aware of where we are going. I said that the film was like a puzzle, but a piece is always missing in that puzzle, you know, and it was a way for me to play with that feeling of disorientation. Because I wanted \u003cem>The Father\u003c/em> to be not only a story, but also like an experience of what it could mean to lose everything, including your own identity.\u003c/p>\n\u003cp>\u003cstrong>On taking on the role of someone living with dementia\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Hopkins: \u003c/strong>My initial reaction when I read the script was an immediate ‘Yes.’ Same reaction I had to \u003cem>Silence of the Lambs,\u003c/em> it was one of those scripts that I just thought: ‘I’m so lucky to be offered this.’ Phoned my agent immediately, said: ‘Yes, I would love to do it.’ And so here we are. And my reaction to it all from the word go was one of confidence and a sense of, I knew how to do it because I’m that old now. I’m 83 and I just had a sense of it. It was easy to play.\u003c/p>\n\u003cp>\u003cstrong>On wanting the audience to relate to Colman’s character—a daughter trying to care for her father\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13893430\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13893430\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/9_custom-b5a5f75dd4f51e3b33f3ee1c91d6002b11d07196.jpg\" alt=\"Hopkins talks with director Florian Zeller on set of 'The Father.'\" width=\"200\" height=\"127\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/9_custom-b5a5f75dd4f51e3b33f3ee1c91d6002b11d07196.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/9_custom-b5a5f75dd4f51e3b33f3ee1c91d6002b11d07196-160x102.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Hopkins talks with director Florian Zeller on set of ‘The Father.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Zeller: \u003c/strong>With someone like Olivia Colman … she has something magical; as soon as you see her, you love her and you feel empathy with her. It’s a painful situation because there is no absolute answer. You know, what do you do when the people you love start to lose their bearings? Are you allowed to live your own life? … Is it the moment to take painful decisions such as going into an institution? And there is no clear answer. … Art and especially cinema is not a place for answers, it’s just a place for questions.\u003c/p>\n\u003cp>\u003cstrong>Hopkins:\u003c/strong> There’s one moment after Olivia leaves the hospital … She says goodbye, she gets into the taxi, and she’s got to face her life now. And she’s going to face the inevitability of her own demise and her own mortality. And there’s something really heartbreaking about that.\u003c/p>\n\u003cp>\u003cstrong>On the freedom of not being in control\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Hopkins: \u003c/strong>I remember standing at my father’s bedside after he died … my mother was with him, with his body. … And I remember thinking to myself, ‘Yeah, you’re not so hot either, because one day it’ll happen to you.’ This is life. And when death presents itself to you in those moments … well, we have no control and we don’t know what’s coming. We have no means of predicting anything. And there’s a great freedom in that—in realizing that we are inadequate, really. So, for me to play this—part of it was easy and in a way, yes, life-changing. It’s made me think even deeper.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Danny Hajek and Simone Popperl produced and edited this interview for broadcast. Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27We+Don%27t+Know+What%27s+Coming%27%3A+Anthony+Hopkins+Plays+%27The+Father%27+With+Dementia&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! Blues for Billie, Lawrence and Tiny Tim",
"headTitle": "Now Playing! Blues for Billie, Lawrence and Tiny Tim | KQED",
"content": "\u003cp>We can tally all the reasons why we’re eager for movie theaters to reopen and film festivals to get back on a normal schedule (including those that permanently adopt a hybrid in-person/online program). One that’s rarely mentioned is restoring the feeling of knowing where we are on the calendar.\u003c/p>\n\u003cp>Holidays serve that function for most people. For film buffs, though, film festivals are our holidays. January historically meant Noir City and Berlin & Beyond. Not this year. But as the vaccine rollout accelerates, the picture for the rest of 2020 will slowly, gradually start to come into focus. Let’s be careful, not cocky, and cautiously optimistic.\u003c/p>\n\u003cp>\u003ca href=\"https://jfi.org/winterfest-2021\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cstrong>WinterFest\u003c/strong>\u003c/a>\u003cbr>\nFeb. 25-28\u003cbr>\nOnline\u003c/p>\n\u003cp>The Jewish Film Institute’s offseason mini-fest serves up an eclectic baker’s dozen, including nonfiction portraits of Prague-to-Paramount director Milos Forman (\u003cem>Amadeus\u003c/em>), Circuit Court Judge Harry Pregerson, Florida plastic surgeon Dr. Michael Salzhauer, lovelorn New Jersey defense attorney Harley Breite and ukulele star Herbert Khaury.\u003c/p>\n\u003cp>If that last name rings no bells, it’s because Herbert transformed into the ’60s falsetto phenomenon Tiny Tim. The densely packed Scandinavian documentary \u003cem>Tiny Tim: King for a Day\u003c/em> (which returns in April for a theatrical run at the Rafael) examines the unlikely fame and unhappy life of a man whose unusual take on gender roles and mass entertainment made the world ready for Leon Redbone, David Bowie, John Waters, Pee Wee Herman and countless others.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The fiction lineup includes \u003cem>Asia\u003c/em>, an intimate mother-daughter drama that is Israel’s submission for the International Feature Oscar. Ruthy Pribar’s frill-free feature debut begins in familiar territory, with rebellious-but-shy teenager Vika (Shira Haas of \u003cem>Shtisel\u003c/em> and \u003cem>Unorthodox\u003c/em>) drinking in skate parks while her overworked mom Asia (Alena Yiv) racks up shifts as a hospital nurse. Their loneliness, and romantic frustrations, play out in parallel—\u003cem>Asia\u003c/em> is strewn with pauses and silences—until Vika develops a degenerative disease, rekindling their bond.\u003c/p>\n\u003cfigure id=\"attachment_13893297\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/BillieHoliday_1200.jpg\" alt=\"\" width=\"1200\" height=\"798\" class=\"size-full wp-image-13893297\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/BillieHoliday_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/BillieHoliday_1200-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/BillieHoliday_1200-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/BillieHoliday_1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/BillieHoliday_1200-768x511.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The United States vs. Billie Holiday.’ \u003ccite>(Courtesy California Film Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>The United States vs. Billie Holiday\u003c/strong>\u003c/em>\u003cbr>\nFeb. 26\u003cbr>\n\u003ca href=\"https://www.hulu.com/movie/the-united-states-vs-billie-holiday-6f7be3b0-69c5-49ab-8472-2b5b1dabcfe8\" rel=\"noopener noreferrer\" target=\"_blank\">Hulu\u003c/a>\u003c/p>\n\u003cp>Suzan Lori-Parks’s biting adaptation of Johan Hari’s book \u003cem>Chasing the Scream\u003c/em>, about the great jazz singer Billie Holiday, wrestles with an age-old dilemma: How to reconcile the artist and the junkie, the visionary and the victim, the independent spirit with the self-destructive impulse. The determining factor, in this case, is the outside influence and pressure—legal and extralegal—brought to bear by government spooks.\u003c/p>\n\u003cp>Holiday’s yearslong persecution, the movie tells us, had nothing to do with drugs (although that’s the line the media swallowed) but rather with her insistence on performing \u003cem>Strange Fruit\u003c/em>, her mesmerizing 1939 signature song about lynchings. To the Feds, delivering disturbing headlines to affluent white people in downtown clubs was a subversive act with potentially disastrous consequences, apparently.\u003c/p>\n\u003cp>Director Lee Daniels (\u003cem>The Butler\u003c/em>) delivers his most ambitious and lushest work to date—\u003cem>The United States vs. Billie Holiday\u003c/em> was destined for big screens everywhere until pandemic-panicked Paramount sold it to Hulu—and every choice is in tune with Andra Day’s smoldering, no-holds-barred performance. It’s a film very much worth seeing, not least for the way it allows Billie’s self-loathing to coexist with her courageous moral authority. Was Billie Holiday a threat on par with Muhammad Ali, Dr. Martin Luther King and Fred Hampton, whom the government also tried, tormented or murdered? A better question is, what do they have in common?\u003c/p>\n\u003cp>https://youtu.be/6-FeqquMpPs\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Ferlinghetti: A Rebirth of Wonder\u003c/strong>\u003c/em>\u003cbr>\n\u003ca href=\"https://www.fandor.com/films/ferlinghetti_a_rebirth_of_wonder\" rel=\"noopener noreferrer\" target=\"_blank\">Fandor\u003c/a>\u003c/p>\n\u003cp>One of the great wonders of Lawrence Ferlinghetti’s long life is that for half a century he evaded Beat pigeonholing, nostalgia, irrelevance, parody, self-parody and the assault of 24/7 corporate/media amnesia. The great poet and intellectual ringleader—he authored more than a dozen volumes, cofounded City Lights Bookstore and published Allen Ginsberg’s \u003cem>Howl\u003c/em>—was, ultimately, just another denizen of North Beach. \u003c/p>\n\u003cp>Instead of maintaining a myth or perpetuating a flamboyant San Francisco character, Ferlinghetti was a familiar, accessible figure. That was consistent with his belief that a poet must be immersed in everyday life. Consequently, it encouraged the rest of us to see the poetry in the everyday. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Christopher Felver’s loving 2013 portrait, \u003cem>Ferlinghetti: A Rebirth of Wonder\u003c/em>, is streaming on Fandor (subscription required) and available on DVD at the SF Public Library. Click on the video above to hear Ferlinghetti reading the immortal “I Am Waiting” from his 1999 CD \u003cem>A Coney Island of the Mind\u003c/em>. Somehow the line “And I am waiting for the storms of life to be over” doesn’t hit me today as introspective or candid or refreshing or brave but simply sad.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We can tally all the reasons why we’re eager for movie theaters to reopen and film festivals to get back on a normal schedule (including those that permanently adopt a hybrid in-person/online program). One that’s rarely mentioned is restoring the feeling of knowing where we are on the calendar.\u003c/p>\n\u003cp>Holidays serve that function for most people. For film buffs, though, film festivals are our holidays. January historically meant Noir City and Berlin & Beyond. Not this year. But as the vaccine rollout accelerates, the picture for the rest of 2020 will slowly, gradually start to come into focus. Let’s be careful, not cocky, and cautiously optimistic.\u003c/p>\n\u003cp>\u003ca href=\"https://jfi.org/winterfest-2021\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cstrong>WinterFest\u003c/strong>\u003c/a>\u003cbr>\nFeb. 25-28\u003cbr>\nOnline\u003c/p>\n\u003cp>The Jewish Film Institute’s offseason mini-fest serves up an eclectic baker’s dozen, including nonfiction portraits of Prague-to-Paramount director Milos Forman (\u003cem>Amadeus\u003c/em>), Circuit Court Judge Harry Pregerson, Florida plastic surgeon Dr. Michael Salzhauer, lovelorn New Jersey defense attorney Harley Breite and ukulele star Herbert Khaury.\u003c/p>\n\u003cp>If that last name rings no bells, it’s because Herbert transformed into the ’60s falsetto phenomenon Tiny Tim. The densely packed Scandinavian documentary \u003cem>Tiny Tim: King for a Day\u003c/em> (which returns in April for a theatrical run at the Rafael) examines the unlikely fame and unhappy life of a man whose unusual take on gender roles and mass entertainment made the world ready for Leon Redbone, David Bowie, John Waters, Pee Wee Herman and countless others.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The fiction lineup includes \u003cem>Asia\u003c/em>, an intimate mother-daughter drama that is Israel’s submission for the International Feature Oscar. Ruthy Pribar’s frill-free feature debut begins in familiar territory, with rebellious-but-shy teenager Vika (Shira Haas of \u003cem>Shtisel\u003c/em> and \u003cem>Unorthodox\u003c/em>) drinking in skate parks while her overworked mom Asia (Alena Yiv) racks up shifts as a hospital nurse. Their loneliness, and romantic frustrations, play out in parallel—\u003cem>Asia\u003c/em> is strewn with pauses and silences—until Vika develops a degenerative disease, rekindling their bond.\u003c/p>\n\u003cfigure id=\"attachment_13893297\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/BillieHoliday_1200.jpg\" alt=\"\" width=\"1200\" height=\"798\" class=\"size-full wp-image-13893297\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/BillieHoliday_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/BillieHoliday_1200-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/BillieHoliday_1200-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/BillieHoliday_1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/BillieHoliday_1200-768x511.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The United States vs. Billie Holiday.’ \u003ccite>(Courtesy California Film Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>The United States vs. Billie Holiday\u003c/strong>\u003c/em>\u003cbr>\nFeb. 26\u003cbr>\n\u003ca href=\"https://www.hulu.com/movie/the-united-states-vs-billie-holiday-6f7be3b0-69c5-49ab-8472-2b5b1dabcfe8\" rel=\"noopener noreferrer\" target=\"_blank\">Hulu\u003c/a>\u003c/p>\n\u003cp>Suzan Lori-Parks’s biting adaptation of Johan Hari’s book \u003cem>Chasing the Scream\u003c/em>, about the great jazz singer Billie Holiday, wrestles with an age-old dilemma: How to reconcile the artist and the junkie, the visionary and the victim, the independent spirit with the self-destructive impulse. The determining factor, in this case, is the outside influence and pressure—legal and extralegal—brought to bear by government spooks.\u003c/p>\n\u003cp>Holiday’s yearslong persecution, the movie tells us, had nothing to do with drugs (although that’s the line the media swallowed) but rather with her insistence on performing \u003cem>Strange Fruit\u003c/em>, her mesmerizing 1939 signature song about lynchings. To the Feds, delivering disturbing headlines to affluent white people in downtown clubs was a subversive act with potentially disastrous consequences, apparently.\u003c/p>\n\u003cp>Director Lee Daniels (\u003cem>The Butler\u003c/em>) delivers his most ambitious and lushest work to date—\u003cem>The United States vs. Billie Holiday\u003c/em> was destined for big screens everywhere until pandemic-panicked Paramount sold it to Hulu—and every choice is in tune with Andra Day’s smoldering, no-holds-barred performance. It’s a film very much worth seeing, not least for the way it allows Billie’s self-loathing to coexist with her courageous moral authority. Was Billie Holiday a threat on par with Muhammad Ali, Dr. Martin Luther King and Fred Hampton, whom the government also tried, tormented or murdered? A better question is, what do they have in common?\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/6-FeqquMpPs'\n title='//www.youtube.com/embed/6-FeqquMpPs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>\u003cstrong>Ferlinghetti: A Rebirth of Wonder\u003c/strong>\u003c/em>\u003cbr>\n\u003ca href=\"https://www.fandor.com/films/ferlinghetti_a_rebirth_of_wonder\" rel=\"noopener noreferrer\" target=\"_blank\">Fandor\u003c/a>\u003c/p>\n\u003cp>One of the great wonders of Lawrence Ferlinghetti’s long life is that for half a century he evaded Beat pigeonholing, nostalgia, irrelevance, parody, self-parody and the assault of 24/7 corporate/media amnesia. The great poet and intellectual ringleader—he authored more than a dozen volumes, cofounded City Lights Bookstore and published Allen Ginsberg’s \u003cem>Howl\u003c/em>—was, ultimately, just another denizen of North Beach. \u003c/p>\n\u003cp>Instead of maintaining a myth or perpetuating a flamboyant San Francisco character, Ferlinghetti was a familiar, accessible figure. That was consistent with his belief that a poet must be immersed in everyday life. Consequently, it encouraged the rest of us to see the poetry in the everyday. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Christopher Felver’s loving 2013 portrait, \u003cem>Ferlinghetti: A Rebirth of Wonder\u003c/em>, is streaming on Fandor (subscription required) and available on DVD at the SF Public Library. Click on the video above to hear Ferlinghetti reading the immortal “I Am Waiting” from his 1999 CD \u003cem>A Coney Island of the Mind\u003c/em>. Somehow the line “And I am waiting for the storms of life to be over” doesn’t hit me today as introspective or candid or refreshing or brave but simply sad.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Minari' Follows a Family's Immigration With Humor, Humanity and Hope",
"headTitle": "‘Minari’ Follows a Family’s Immigration With Humor, Humanity and Hope | KQED",
"content": "\u003cp>The history of film is inseparable from immigration. Newcomers to America didn’t merely pack the nickelodeons and movie palaces, they invented Hollywood. Ever since silent film days, filmmakers have sought to chronicle our vast immigrant experience—from the Sicilian Corleones gaining power through crime in \u003ca href=\"https://www.npr.org/2016/11/15/502250244/to-make-the-godfather-his-way-francis-ford-coppola-waged-a-studio-battle\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Godfather\u003c/em>\u003c/a> to Pakistani-born \u003ca href=\"https://www.npr.org/2017/07/12/536822055/how-a-medically-induced-coma-led-to-love-marriage-and-the-big-sick\" target=\"_blank\" rel=\"noopener noreferrer\">Kumail Nanjiani\u003c/a> alienating his Muslim parents by falling for a white American girl in \u003ca href=\"https://www.npr.org/2017/06/22/533639952/the-big-sick-is-a-tonic-for-what-ails-you\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Big Sick\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The travails of immigrant life take a quietly beguiling form in \u003cem>Minari\u003c/em>, a semi-autobiographical film by Lee Isaac Chung that brims with humor, humanity and hope. Showing us characters new to American screens, the story centers on a South Korean family named Yi who hope to make a go of farming in rural Arkansas during the Reagan years. \u003cem>Minari\u003c/em> takes its title from the name of a spicy Asian plant that’s known for its hardiness and ability to grow seemingly anywhere. The question is, will the same prove true of the Yi family?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KQ0gFidlro8\u003c/p>\n\u003cp>The action begins with the four of them arriving in the Ozarks from California. The new farm’s dark soil thrills the father, Jacob (\u003ca href=\"https://www.npr.org/2018/11/14/667811926/steven-yeun-wont-say-whether-or-not-his-burning-character-is-a-psychopath\" target=\"_blank\" rel=\"noopener noreferrer\">Steven Yeun\u003c/a>) who plans to grow Korean vegetables to sell in the city. In contrast, his wife Monica (Yeri Han) is aghast to be living in an unalluring mobile home out in the boonies. Somewhere in the middle are their kids—impish 7-year David (Alan Kim), who suffers from a heart condition, and his older sister, Anne (Noel Kate Cho), who’s stuck being the responsible one.\u003c/p>\n\u003cp>Farming proves tricky for Jacob who takes on a friendly, war-damaged farmhand (Will Patton), yet makes a mess of the irrigation system. Sensing Monica’s loneliness, he sends to Korea for her mother, played by the fantastically good Yuh-jung Youn, whose sly, foul-mouthed brio gives the house—and the whole movie—a happy boost, even if young David thinks she smells. Watching this freewheeling grandma win over her equally unruly grandson is one of the film’s many pleasures.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lee fills \u003cem>Minari\u003c/em> with countless details that shimmer with the specificity of the authentically lived: the huge bottles of Mountain Dew that are guzzled like water; grandma’s delight in playing cards and watching TV wrestling; the kids writing “Don’t fight” on paper-airplanes as their folks shout at each other; Monica and Jacob spending their days sorting chickens by sex at a local poultry farm. (The male chicks are destroyed—they don’t lay eggs.)\u003c/p>\n\u003cp>Although Chung doesn’t ignore life’s catastrophes, he spares us the grinding misery that’s a staple of so many immigrant tales. The Yis \u003cem>do\u003c/em> struggle financially, but only like millions of others in this country. And even when they encounter racism it seems to resolve benignly, as when a local kid asks David why his face is “so flat” and the two soon become friends. The Yis are Christians and the local church welcomes its Korean-speaking new parishioners with a warmth that is genuinely Christian. [aside postid='arts_13304169']\u003c/p>\n\u003cp>The more painful troubles lie at home where Monica and Jacob engage in a battle about how to live. Fearing that her husband cares more about the farm than his family, she yearns to return to an orderly sort of life back in California where she can be close to her culture, attend her familiar Korean church, and they can find secure, steady work sorting chickens. Jacob has lived that life and doesn’t want it. At once proud and ambitious, dreamy and angry—all this percolates beneath Yeun’s good looks—he’s prepared to take big risks to be his own boss, even if he makes mistakes doing it. He’s becoming more American.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I promise that if you see \u003cem>Minari\u003c/em>, you’ll be happy you did. Yet I don’t want to oversell it. It’s too gentle, conventional and modest for that. Yet shining through the film’s modesty is Chung’s faith that what appears to be a small story can, in human terms, be bigger than a blockbuster. He reminds us that the deepest truths of immigration are found, not in statistics or abstractions, but in the countless small stories of individuals and families fighting to find a new place to call home.\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=%27Minari%27+Follows+A+Family%27s+Immigration+With+Humor%2C+Humanity+And+Hope&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The history of film is inseparable from immigration. Newcomers to America didn’t merely pack the nickelodeons and movie palaces, they invented Hollywood. Ever since silent film days, filmmakers have sought to chronicle our vast immigrant experience—from the Sicilian Corleones gaining power through crime in \u003ca href=\"https://www.npr.org/2016/11/15/502250244/to-make-the-godfather-his-way-francis-ford-coppola-waged-a-studio-battle\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Godfather\u003c/em>\u003c/a> to Pakistani-born \u003ca href=\"https://www.npr.org/2017/07/12/536822055/how-a-medically-induced-coma-led-to-love-marriage-and-the-big-sick\" target=\"_blank\" rel=\"noopener noreferrer\">Kumail Nanjiani\u003c/a> alienating his Muslim parents by falling for a white American girl in \u003ca href=\"https://www.npr.org/2017/06/22/533639952/the-big-sick-is-a-tonic-for-what-ails-you\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Big Sick\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The travails of immigrant life take a quietly beguiling form in \u003cem>Minari\u003c/em>, a semi-autobiographical film by Lee Isaac Chung that brims with humor, humanity and hope. Showing us characters new to American screens, the story centers on a South Korean family named Yi who hope to make a go of farming in rural Arkansas during the Reagan years. \u003cem>Minari\u003c/em> takes its title from the name of a spicy Asian plant that’s known for its hardiness and ability to grow seemingly anywhere. The question is, will the same prove true of the Yi family?\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>The action begins with the four of them arriving in the Ozarks from California. The new farm’s dark soil thrills the father, Jacob (\u003ca href=\"https://www.npr.org/2018/11/14/667811926/steven-yeun-wont-say-whether-or-not-his-burning-character-is-a-psychopath\" target=\"_blank\" rel=\"noopener noreferrer\">Steven Yeun\u003c/a>) who plans to grow Korean vegetables to sell in the city. In contrast, his wife Monica (Yeri Han) is aghast to be living in an unalluring mobile home out in the boonies. Somewhere in the middle are their kids—impish 7-year David (Alan Kim), who suffers from a heart condition, and his older sister, Anne (Noel Kate Cho), who’s stuck being the responsible one.\u003c/p>\n\u003cp>Farming proves tricky for Jacob who takes on a friendly, war-damaged farmhand (Will Patton), yet makes a mess of the irrigation system. Sensing Monica’s loneliness, he sends to Korea for her mother, played by the fantastically good Yuh-jung Youn, whose sly, foul-mouthed brio gives the house—and the whole movie—a happy boost, even if young David thinks she smells. Watching this freewheeling grandma win over her equally unruly grandson is one of the film’s many pleasures.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lee fills \u003cem>Minari\u003c/em> with countless details that shimmer with the specificity of the authentically lived: the huge bottles of Mountain Dew that are guzzled like water; grandma’s delight in playing cards and watching TV wrestling; the kids writing “Don’t fight” on paper-airplanes as their folks shout at each other; Monica and Jacob spending their days sorting chickens by sex at a local poultry farm. (The male chicks are destroyed—they don’t lay eggs.)\u003c/p>\n\u003cp>Although Chung doesn’t ignore life’s catastrophes, he spares us the grinding misery that’s a staple of so many immigrant tales. The Yis \u003cem>do\u003c/em> struggle financially, but only like millions of others in this country. And even when they encounter racism it seems to resolve benignly, as when a local kid asks David why his face is “so flat” and the two soon become friends. The Yis are Christians and the local church welcomes its Korean-speaking new parishioners with a warmth that is genuinely Christian. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The more painful troubles lie at home where Monica and Jacob engage in a battle about how to live. Fearing that her husband cares more about the farm than his family, she yearns to return to an orderly sort of life back in California where she can be close to her culture, attend her familiar Korean church, and they can find secure, steady work sorting chickens. Jacob has lived that life and doesn’t want it. At once proud and ambitious, dreamy and angry—all this percolates beneath Yeun’s good looks—he’s prepared to take big risks to be his own boss, even if he makes mistakes doing it. He’s becoming more American.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I promise that if you see \u003cem>Minari\u003c/em>, you’ll be happy you did. Yet I don’t want to oversell it. It’s too gentle, conventional and modest for that. Yet shining through the film’s modesty is Chung’s faith that what appears to be a small story can, in human terms, be bigger than a blockbuster. He reminds us that the deepest truths of immigration are found, not in statistics or abstractions, but in the countless small stories of individuals and families fighting to find a new place to call home.\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=%27Minari%27+Follows+A+Family%27s+Immigration+With+Humor%2C+Humanity+And+Hope&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"planet-money": {
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"politicalbreakdown": {
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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.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
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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",
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"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.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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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
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
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