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"content": "\u003cp>In the movie \u003cem>Raiders of the Lost Ark\u003c/em>, we’re made to believe that Indiana Jones teaches at an East Coast college and lives in Connecticut. But the exterior of the famed fictional archaeologist’s home was actually filmed at \u003ca href=\"https://www.google.com/maps/place/38+Alder+Ave,+San+Anselmo,+CA+94960/@37.9808915,-122.5719197,3a,75y,136.6h,93.32t/data=!3m6!1e1!3m4!1sgD311vqkCFu83S6s3NWhKQ!2e0!7i16384!8i8192!4m5!3m4!1s0x8085971aa26961af:0x4d73dd8213f98e72!8m2!3d37.9807863!4d-122.5717182\" rel=\"noopener noreferrer\" target=\"_blank\">a house in San Anselmo\u003c/a>. The modest house on Alder Avenue was one of a handful of the movie’s Marin County filming locations, which is part of what makes opening night of a new Marin County film series special. With movie theaters closed due to COVID-19, the Lark Theater in Larkspur launches a drive-in movie theater experience this month at the Village Shopping Center in Corte Madera.\u003c/p>\n\u003cp>Modeled after other parking lot pop-up drive-ins around the state, and accommodating around 100 cars each night, the \u003cem>Movies Under the Stars\u003c/em> series features classic films like \u003cem>Purple Rain, Dirty Dancing, Willy Wonka and the Chocolate Factory, Back to the Future\u003c/em> and \u003cem>Jurassic Park\u003c/em>. Tickets are $30 per car for as many people as you can legally cram inside. Screening on opening night, July 23, is \u003cem>Raiders of the Lost Ark\u003c/em>—and afterward, well, you may just want to drive the short six miles to check out Indiana Jones’ house just over the hill. \u003ca href=\"http://larktheater.net/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "Now Playing! A Barbara Lee Doc at the Drive-In and Other Inspiring Tales",
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"content": "\u003cp>These days it feels like we’re in the middle of a Hitchcock movie. Hitch’s great innovation was to shock us with evil in broad daylight, then surround and compound the horror with mass complacency. Think of the predatory Uncle Charlie (Joseph Cotten) chatting casually in a Santa Rosa sitting room in \u003cem>Shadow of a Doubt\u003c/em>, or the equally charming serial killer Robert Rusk (Barry Foster) circling a travel agent in her office while London traffic bustles obliviously one floor below in \u003cem>Frenzy\u003c/em>.\u003c/p>\n\u003cp>As they say in Whitechapel, if the metaphor fits, wear it. On the other hand, if your inclination is toward optimism, or better yet resistance, this week brings films to buoy your spirits.\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://jfi.org/summer-days\" rel=\"noopener noreferrer\" target=\"_blank\">Cinegogue Summer Days\u003c/a>\u003c/b>\u003cbr>\nJuly 16–19\u003cbr>\nWest Wind Drive-Ins, online\u003c/p>\n\u003cp>Back in mid-April, the Jewish Film Institute announced the postponement of the annual San Francisco Jewish Film Festival from late July to November. While the country steadily devolved day after idiotic day, the festival world sorted out a serviceable alternative to in-person screenings consisting of drive-ins, online viewing and live and prerecorded Q&As. \u003c/p>\n\u003cp>Cinegogue Summer Days opens July 16 with side-by-side screenings at Concord’s West Wind Solano Drive-In of Abby Ginzberg’s eagerly awaited \u003cem>Truth to Power: Barbara Lee Speaks for Me\u003c/em> and Oren Jacoby’s \u003cem>On Broadway\u003c/em>, a behind-the-curtain salute to the Great White Way and, implicitly, New York City’s resilience, (\u003cem>On Broadway\u003c/em> also plays the San Jose’s West Wind Capitol Drive-In.) Remarkably, these films and the new restoration of the 1919 Sholem Aleichem adaptation \u003cem>Broken Barriers\u003c/em> on July 18 are the only events requiring a paid ticket.\u003c/p>\n\u003cfigure id=\"attachment_13883340\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/TRUTH-TO-POWER-courtesy-Social-Action-Media_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13883340\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/TRUTH-TO-POWER-courtesy-Social-Action-Media_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/TRUTH-TO-POWER-courtesy-Social-Action-Media_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/TRUTH-TO-POWER-courtesy-Social-Action-Media_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/TRUTH-TO-POWER-courtesy-Social-Action-Media_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/TRUTH-TO-POWER-courtesy-Social-Action-Media_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Truth to Power: Barbara Lee Speaks for Me.’ \u003ccite>(Jewish Film Insitute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After a woozy opening, \u003cem>Truth to Power: Barbara Lee Speaks for Me\u003c/em> snaps into focus with an in-depth recap of the East Bay Congresswoman’s gutsy dissenting vote in the post-9/11 rush to give President George W. Bush broad war powers. Every year thereafter, Lee introduced a resolution to repeal the Authorization for Use of Military Force and in 2019—in both a validation of the rightness of her vote and a reflection of her ability to win support across the ideological spectrum—the House passed her bill.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Years earlier, though, Lee enlisted the NAACP to help change the process at San Fernando High in Southern California so the entire student body chose the cheerleaders instead of a cozy committee. (Lee tried out and made the squad, if you had any doubt.) Nonetheless, Lee comes across in the irresistible \u003cem>Truth to Power\u003c/em> neither as a firebrand nor a charismatic leader but as an Everywoman connected to her constituents and committed to achieving funding and results for the poor, the paroled and so many other Americans who don’t have Congress’ ear.\u003c/p>\n\u003cfigure id=\"attachment_13883339\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/THEPAINTEDBIRDStill2_1200.jpg\" alt=\"\" width=\"1200\" height=\"802\" class=\"size-full wp-image-13883339\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/THEPAINTEDBIRDStill2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/THEPAINTEDBIRDStill2_1200-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/THEPAINTEDBIRDStill2_1200-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/THEPAINTEDBIRDStill2_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/THEPAINTEDBIRDStill2_1200-768x513.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Painted Bird.’ \u003ccite>(IFC Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003cem>The Painted Bird\u003c/em>\u003c/b>\u003cbr>\nOpens July 17\u003cbr>\n\u003ca href=\"https://www.ifcfilms.com/films/the-painted-bird\" rel=\"noopener noreferrer\" target=\"_blank\">VOD\u003c/a>\u003c/p>\n\u003cp>For its first hour, Václav Marhoul’s stark black-and-white adaptation of Jerzy Kosiński’s novel unfolds in the unpopulated rural backwaters of an unnamed Eastern European country at some unspecified time between the Middle Ages and today. The filmmaker’s cryptic approach allows the saga of a sensitive, vulnerable boy on the road, who encounters all manner of prejudice, casual cruelty (to animals and people) and exploitation, to suggest the plight of present-day refugees. Or, for those in a COVID-19 depression or Cormac McCarthy loop, the collapse of civilization.\u003c/p>\n\u003cp>In due time soldiers from the Second World War turn up, and we gain our bearings. But the boy does not, and we experience the events as he perceives them, in fragments and snapshots like clues—or better yet, a jigsaw puzzle without the cover picture. The puzzle’s meaning doesn’t become clear until enough pieces are put together. In this regard, and in its artfulness and power, \u003cem>The Painted Bird\u003c/em> belongs with the great poetic works of children at war like \u003cem>Diamonds in the Night\u003c/em>, \u003cem>Come and See\u003c/em> and \u003cem>Run, Boy, Run\u003c/em>.\u003c/p>\n\u003cp>\u003cem>The Painted Bird\u003c/em>, which premiered last fall at Venice and was the Czech Republic’s official submission for the Academy Award for International Feature Film (it was shortlisted for the Oscar, but wasn’t nominated), presents a bleak but far from nihilistic view of human nature. To those who might find my description (and the film itself) depressing, is it not inspiring that Marhoul could raise the money, first of all, and that he was compelled to create a work of art from such darkness? That is also the boy’s challenge too, ultimately.\u003c/p>\n\u003cp>https://vimeo.com/322378827\u003c/p>\n\u003cp>\u003cb>\u003cem>We Are the Radical Monarchs\u003c/em>\u003c/b>\u003cbr>\nJuly 20\u003cbr>\n\u003ca href=\"https://www.pbs.org/video/trailer-radical-monarchs/\" rel=\"noopener noreferrer\" target=\"_blank\">\u003ci>POV\u003c/i> on KQED\u003c/a>\u003c/p>\n\u003cp>If it’s inspiration you crave, the Oakland girls of color we meet in Linda Goldstein Knowlton’s vibrant documentary will feed your fire. These tweens have developed a strong sense of self not via the typical troop’s old-school accomplishments of knot-tying and fire building but through social-justice activities and grassroots activism. \u003c/p>\n\u003cp>\u003cem>We Are the Radical Monarchs\u003c/em> follows co-founders and working moms Anayvette Martinez and Marilyn Hollinquest over three years as they develop and practice strategies to empower their group members. They are so successful, and there’s so much demand for a program to engage youth of color, that the duo is inundated with requests to start chapters around the country. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>One of the key takeaways from the doc is that a great way for young people to build confidence and skills is to guide them to think beyond themselves. Allying and collaborating with others and being part of a movement is powerful stuff. If you had any concerns about the next generation taking up the torch from Barbara Lee one day, \u003cem>We Are the Radical Monarchs\u003c/em> will make you rest easy.\u003c/p>\n\n",
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"excerpt": "If you are inclined toward optimism, or better yet resistance, this week brings films to buoy your spirits.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>These days it feels like we’re in the middle of a Hitchcock movie. Hitch’s great innovation was to shock us with evil in broad daylight, then surround and compound the horror with mass complacency. Think of the predatory Uncle Charlie (Joseph Cotten) chatting casually in a Santa Rosa sitting room in \u003cem>Shadow of a Doubt\u003c/em>, or the equally charming serial killer Robert Rusk (Barry Foster) circling a travel agent in her office while London traffic bustles obliviously one floor below in \u003cem>Frenzy\u003c/em>.\u003c/p>\n\u003cp>As they say in Whitechapel, if the metaphor fits, wear it. On the other hand, if your inclination is toward optimism, or better yet resistance, this week brings films to buoy your spirits.\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://jfi.org/summer-days\" rel=\"noopener noreferrer\" target=\"_blank\">Cinegogue Summer Days\u003c/a>\u003c/b>\u003cbr>\nJuly 16–19\u003cbr>\nWest Wind Drive-Ins, online\u003c/p>\n\u003cp>Back in mid-April, the Jewish Film Institute announced the postponement of the annual San Francisco Jewish Film Festival from late July to November. While the country steadily devolved day after idiotic day, the festival world sorted out a serviceable alternative to in-person screenings consisting of drive-ins, online viewing and live and prerecorded Q&As. \u003c/p>\n\u003cp>Cinegogue Summer Days opens July 16 with side-by-side screenings at Concord’s West Wind Solano Drive-In of Abby Ginzberg’s eagerly awaited \u003cem>Truth to Power: Barbara Lee Speaks for Me\u003c/em> and Oren Jacoby’s \u003cem>On Broadway\u003c/em>, a behind-the-curtain salute to the Great White Way and, implicitly, New York City’s resilience, (\u003cem>On Broadway\u003c/em> also plays the San Jose’s West Wind Capitol Drive-In.) Remarkably, these films and the new restoration of the 1919 Sholem Aleichem adaptation \u003cem>Broken Barriers\u003c/em> on July 18 are the only events requiring a paid ticket.\u003c/p>\n\u003cfigure id=\"attachment_13883340\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/TRUTH-TO-POWER-courtesy-Social-Action-Media_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13883340\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/TRUTH-TO-POWER-courtesy-Social-Action-Media_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/TRUTH-TO-POWER-courtesy-Social-Action-Media_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/TRUTH-TO-POWER-courtesy-Social-Action-Media_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/TRUTH-TO-POWER-courtesy-Social-Action-Media_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/TRUTH-TO-POWER-courtesy-Social-Action-Media_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Truth to Power: Barbara Lee Speaks for Me.’ \u003ccite>(Jewish Film Insitute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After a woozy opening, \u003cem>Truth to Power: Barbara Lee Speaks for Me\u003c/em> snaps into focus with an in-depth recap of the East Bay Congresswoman’s gutsy dissenting vote in the post-9/11 rush to give President George W. Bush broad war powers. Every year thereafter, Lee introduced a resolution to repeal the Authorization for Use of Military Force and in 2019—in both a validation of the rightness of her vote and a reflection of her ability to win support across the ideological spectrum—the House passed her bill.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Years earlier, though, Lee enlisted the NAACP to help change the process at San Fernando High in Southern California so the entire student body chose the cheerleaders instead of a cozy committee. (Lee tried out and made the squad, if you had any doubt.) Nonetheless, Lee comes across in the irresistible \u003cem>Truth to Power\u003c/em> neither as a firebrand nor a charismatic leader but as an Everywoman connected to her constituents and committed to achieving funding and results for the poor, the paroled and so many other Americans who don’t have Congress’ ear.\u003c/p>\n\u003cfigure id=\"attachment_13883339\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/THEPAINTEDBIRDStill2_1200.jpg\" alt=\"\" width=\"1200\" height=\"802\" class=\"size-full wp-image-13883339\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/THEPAINTEDBIRDStill2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/THEPAINTEDBIRDStill2_1200-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/THEPAINTEDBIRDStill2_1200-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/THEPAINTEDBIRDStill2_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/THEPAINTEDBIRDStill2_1200-768x513.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Painted Bird.’ \u003ccite>(IFC Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003cem>The Painted Bird\u003c/em>\u003c/b>\u003cbr>\nOpens July 17\u003cbr>\n\u003ca href=\"https://www.ifcfilms.com/films/the-painted-bird\" rel=\"noopener noreferrer\" target=\"_blank\">VOD\u003c/a>\u003c/p>\n\u003cp>For its first hour, Václav Marhoul’s stark black-and-white adaptation of Jerzy Kosiński’s novel unfolds in the unpopulated rural backwaters of an unnamed Eastern European country at some unspecified time between the Middle Ages and today. The filmmaker’s cryptic approach allows the saga of a sensitive, vulnerable boy on the road, who encounters all manner of prejudice, casual cruelty (to animals and people) and exploitation, to suggest the plight of present-day refugees. Or, for those in a COVID-19 depression or Cormac McCarthy loop, the collapse of civilization.\u003c/p>\n\u003cp>In due time soldiers from the Second World War turn up, and we gain our bearings. But the boy does not, and we experience the events as he perceives them, in fragments and snapshots like clues—or better yet, a jigsaw puzzle without the cover picture. The puzzle’s meaning doesn’t become clear until enough pieces are put together. In this regard, and in its artfulness and power, \u003cem>The Painted Bird\u003c/em> belongs with the great poetic works of children at war like \u003cem>Diamonds in the Night\u003c/em>, \u003cem>Come and See\u003c/em> and \u003cem>Run, Boy, Run\u003c/em>.\u003c/p>\n\u003cp>\u003cem>The Painted Bird\u003c/em>, which premiered last fall at Venice and was the Czech Republic’s official submission for the Academy Award for International Feature Film (it was shortlisted for the Oscar, but wasn’t nominated), presents a bleak but far from nihilistic view of human nature. To those who might find my description (and the film itself) depressing, is it not inspiring that Marhoul could raise the money, first of all, and that he was compelled to create a work of art from such darkness? That is also the boy’s challenge too, ultimately.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>\u003cem>We Are the Radical Monarchs\u003c/em>\u003c/b>\u003cbr>\nJuly 20\u003cbr>\n\u003ca href=\"https://www.pbs.org/video/trailer-radical-monarchs/\" rel=\"noopener noreferrer\" target=\"_blank\">\u003ci>POV\u003c/i> on KQED\u003c/a>\u003c/p>\n\u003cp>If it’s inspiration you crave, the Oakland girls of color we meet in Linda Goldstein Knowlton’s vibrant documentary will feed your fire. These tweens have developed a strong sense of self not via the typical troop’s old-school accomplishments of knot-tying and fire building but through social-justice activities and grassroots activism. \u003c/p>\n\u003cp>\u003cem>We Are the Radical Monarchs\u003c/em> follows co-founders and working moms Anayvette Martinez and Marilyn Hollinquest over three years as they develop and practice strategies to empower their group members. They are so successful, and there’s so much demand for a program to engage youth of color, that the duo is inundated with requests to start chapters around the country. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>One of the key takeaways from the doc is that a great way for young people to build confidence and skills is to guide them to think beyond themselves. Allying and collaborating with others and being part of a movement is powerful stuff. If you had any concerns about the next generation taking up the torch from Barbara Lee one day, \u003cem>We Are the Radical Monarchs\u003c/em> will make you rest easy.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>SFFILM, in partnership with the Kenneth Rainin Foundation, is a major funder of narrative, independent films, and its biannual grant has a proven track record of helping talented, emerging filmmakers make their breakthroughs. Boots Riley’s sci-fi social satire \u003cem>Sorry to Bother You\u003c/em>, Joe Talbot’s sentimental \u003cem>The Last Black Man in San Francisco\u003c/em> and Ryan Coogler’s tragic \u003cem>Fruitvale Station\u003c/em> all received major boosts from SFFILM and Rainin. \u003c/p>\n\u003cp>The latest list of SFFILM grant recipients also functions as a list of filmmakers to watch. Read more about the selected films from SFFILM below. \u003c/p>\n\u003cp>\u003cstrong>\u003cem>Catch the Fair One\u003c/em>\u003c/strong>\u003cbr>\nJosef Kubota Wladyka, writer/director; Kimberly Parker and Mollye Asher, producers – $45,000 for post-production\u003cbr>\n“In \u003cem>Catch the Fair One\u003c/em>, a boxer plans her own abduction in order to find her missing sister.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Estrada para Livramento (Road to Livramento)\u003c/em>\u003c/strong>\u003cbr>\nGiuliana Monteiro, writer/director/producer; Beatriz Monteiro, co-writer – $25,000 for screenwriting\u003cbr>\n“Two estranged brothers are forced together when their family home is destroyed by corporate greed. The stringent rules for financial compensation require them to embark on a long journey through the south of Brazil in search of their younger brother.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>If We Left\u003c/em>\u003c/strong>\u003cbr>\nMoon Molson, writer/director; Andrew Burrows-Trotman, writer; Miles Maker, producer – $25,000 for screenwriting\u003cbr>\n“A cook and a janitor stayed without pay to care for abandoned senior residents when their assisted living home was shut down in Castro Valley, CA. Their selfless act of friendship and heroism became the feel-good story of 2013 and led to the Residential Care for the Elderly Reform Act.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Karaoke King\u003c/em>\u003c/strong>\u003cbr>\nFederica Gianni, writer/director; Lara Costa-Calzado and Tatiana Bears, producers – $25,000 for screenwriting\u003cbr>\n“In the aftermath of an earthquake that destroys their village, a gay teenager and his ultraconservative brother are sent to live in the margins of Rome. Alone and in a big city, the brothers are forced to confront the different men they are becoming as they search to find love and work, and breathe new life in the crumbling infrastructures around them.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Madame Négritude\u003c/em>\u003c/strong>\u003cbr>\nMadeleine Hunt-Ehrlich, writer/director; Christine Sanders, producer – $25,000 for screenwriting\u003cbr>\n“\u003cem>Madame Négritude\u003c/em> is a technicolor adventure through the brilliant and mercurial mind of Martiniquan writer and political heroine Suzanne Césaire.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>On the Mat\u003c/em>\u003c/strong>\u003cbr>\nDaniel Antebi, writer/director; Alexandra Byer, Madeleine Askwith, and Michael Gottwald, producers – $25,000 for development\u003cbr>\n“Ilan, 16 and queer, must untangle himself from a secret relationship with his martial arts coach.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rolling Stone\u003c/em>\u003c/strong>\u003cbr>\nChristopher Cole, writer/director – $25,000 for screenwriting\u003cbr>\n“Doug is a disaffected music journalist who has ambitions of being an influential writer. Butcher is an egocentric superstar rapper. They look exactly alike. After Doug interviews Butcher, he haphazardly agrees to play his double in a music video. When one gig as Butcher turns into too many, Doug struggles to find his own voice while reckoning his relationship with the public, substances, and a budding romance with his new editor Ana.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>SFFILM, in partnership with the Kenneth Rainin Foundation, is a major funder of narrative, independent films, and its biannual grant has a proven track record of helping talented, emerging filmmakers make their breakthroughs. Boots Riley’s sci-fi social satire \u003cem>Sorry to Bother You\u003c/em>, Joe Talbot’s sentimental \u003cem>The Last Black Man in San Francisco\u003c/em> and Ryan Coogler’s tragic \u003cem>Fruitvale Station\u003c/em> all received major boosts from SFFILM and Rainin. \u003c/p>\n\u003cp>The latest list of SFFILM grant recipients also functions as a list of filmmakers to watch. Read more about the selected films from SFFILM below. \u003c/p>\n\u003cp>\u003cstrong>\u003cem>Catch the Fair One\u003c/em>\u003c/strong>\u003cbr>\nJosef Kubota Wladyka, writer/director; Kimberly Parker and Mollye Asher, producers – $45,000 for post-production\u003cbr>\n“In \u003cem>Catch the Fair One\u003c/em>, a boxer plans her own abduction in order to find her missing sister.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Estrada para Livramento (Road to Livramento)\u003c/em>\u003c/strong>\u003cbr>\nGiuliana Monteiro, writer/director/producer; Beatriz Monteiro, co-writer – $25,000 for screenwriting\u003cbr>\n“Two estranged brothers are forced together when their family home is destroyed by corporate greed. The stringent rules for financial compensation require them to embark on a long journey through the south of Brazil in search of their younger brother.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>If We Left\u003c/em>\u003c/strong>\u003cbr>\nMoon Molson, writer/director; Andrew Burrows-Trotman, writer; Miles Maker, producer – $25,000 for screenwriting\u003cbr>\n“A cook and a janitor stayed without pay to care for abandoned senior residents when their assisted living home was shut down in Castro Valley, CA. Their selfless act of friendship and heroism became the feel-good story of 2013 and led to the Residential Care for the Elderly Reform Act.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Kick Back With 'Palm Springs,' a Witty Romcom About Fighting Despair",
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"content": "\u003cp>There’s an argument that a review of \u003cem>Palm Springs\u003c/em>, new this weekend on Hulu, should just say, “Watch it; it’s fun. Andy Samberg, Cristin Milioti, romantic comedy hijinks—just watch it.” That’s as much as I knew about it, and I enjoyed seeing it reveal itself, and if you’re willing to take my word for it, then off with you! Watch it; it’s fun.\u003c/p>\n\u003cp>Now … what to say to the rest of you, who need a little more, or who have already seen promotion for the film that you can’t unsee. Promotion that gives away the premise.\u003c/p>\n\u003cp>“\u003cem>Groundhog Day \u003c/em>at a wedding” is a piece of shorthand that wouldn’t be a lie. More specifically: Nyles (Samberg) is trapped in a time loop, much like \u003cem>Groundhog Day\u003c/em>‘s Phil (Bill Murray). He spends every day at the same wedding at the same venue in Palm Springs, where he sees the same people (including a girlfriend he doesn’t particularly like), and then the next day, he wakes up, and he does it all over again. There’s a woman at the wedding named Sarah (Milioti), who’s the bride’s sister. Nyles is used to seeing her and talking to her; she’s part of the routine. But every version of this day is a little different, and on one of them, an unexpected event yanks her into the time loop with him. So now she’s waking up over and over again on the day of the wedding too, and she can’t get out of it either, and they have only each other to talk to about it, since everyone is blissfully at the wedding for the first and only time, every day. Just the way Sarah always was for Nyles, until this happened.\u003c/p>\n\u003cp>\u003cem>Palm Springs \u003c/em>was directed by Max Barbakow and written by Andy Siara, and while it has the stamp (literally and figuratively) of the Lonely Island, Samberg’s longtime comedy shop, it’s also a little bit of a different shading of his persona.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CpBLtXduh_k\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Particularly if you see it a second time, you pick up a cleverness in what Samberg is doing with his weary portrayal of Nyles. This is a man who has learned that nothing has consequences, and (unlike Phil) he mostly doesn’t like that (at least by the time we meet him), and he doesn’t exploit that fact to be mean; he exploits it to be weird. He can make strange wedding speeches, hook up with whomever he wants, try anything, and none of it matters. So he drifts through the day, again and again, without purpose. It’s dangerous to seek metaphors that are too literal, but if you made this a metaphor for how depression feels to some people, you wouldn’t be far off. Nobody understands what’s happening to you and nobody understands how you feel, nobody except you can see the futility of every day, so you can only sit back and wonder at the foolishness that makes people care about anything.\u003c/p>\n\u003cp>And of course, into this mess comes Sarah. Milioti is an actress who hasn’t had a lot of exactly-right roles in film and television; she can play very sunny and sweet as she did on \u003cem>How I Met Your Mother\u003c/em>, but she’s a more interesting and emotionally angular actor than that. Here, you really get her as a perfect romantic comedy lead and yet a fresh one. This is a woman who can get past her own shock and bafflement to seek a way to live in the time loop without losing herself, but she also can slice through Nyles’ self-pity and his (frankly earned) nihilism. Because it doesn’t take long for her to adopt a very different attitude toward this version of confinement than Nyles has. Hers is something more like, \u003cem>we gotta get out of here. \u003c/em>\u003c/p>\n\u003cp>\u003cem>Palm Springs \u003c/em>features a terrific supporting turn from the reliable J.K. Simmons as Roy, a man whose part in all this it would be unsporting to explain too much, except to say that the role calls on Simmons’ ability to play dry and wise observers of the world, but also his flair for pure comedy. (Nobody but me will likely care that this is a reunion of Simmons and Peter Gallagher, who plays Sarah’s father and also co-starred on Broadway in \u003cem>Guys and Dolls \u003c/em>when Gallagher was Sky Masterson and Simmons was Benny Southstreet, right? Right, right.) Simmons improves 99% of the projects he appears in, and it turns out a full-length buddy comedy featuring him with Andy Samberg is a feature film I would very much watch in the future.\u003c/p>\n\u003cp>The thing about a gimmick like time loops is that the thing itself will not sustain interest. We’ve seen that—\u003cem>Groundhog Day\u003c/em>, sure, but also in \u003cem>Edge Of Tomorrow\u003c/em>, \u003cem>Happy Death Day\u003c/em> and more. It comes down to what you do with it. The good part of \u003cem>Groundhog Day \u003c/em>for me has always been the lighter observations about what this kind of life would make possible: amazing people by predicting what was about to happen, mastering a skill through endless practice, and so forth. But the ugly part has always been the way Phil manipulates Rita (Andie MacDowell) intentionally, and the way it all winds up being about his redemption, which solves his problem and gives him everything he wants.\u003c/p>\n\u003cp>\u003cem>Palm Springs \u003c/em>is still a comedy, don’t get me wrong. But it’s using the time loop idea to think about something interesting. A time loop is a form of meaninglessness, really, and fighting that requires figuring out what you’re going to get out of bed for every day. It’s not that once Nyles is nice and is redeemed, all his problems are solved. He’s mostly pretty nice all along. It’s that both of these people have to decide how to add some kind of stakes to their own lives, because if they wanted to, they really could just float in the pool and drink at the wedding forever, and they could even have each other’s company along the way.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But that, it turns out, isn’t much of a life, staying in the same place, seeing the same people, having the same routine, even if it means nothing particularly terrible happens to you either. \u003cem>We gotta get out of here\u003c/em>, indeed.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=Kick+Back+With+%27Palm+Springs%2C%27+A+Witty+Romcom+About+Fighting+Despair&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s an argument that a review of \u003cem>Palm Springs\u003c/em>, new this weekend on Hulu, should just say, “Watch it; it’s fun. Andy Samberg, Cristin Milioti, romantic comedy hijinks—just watch it.” That’s as much as I knew about it, and I enjoyed seeing it reveal itself, and if you’re willing to take my word for it, then off with you! Watch it; it’s fun.\u003c/p>\n\u003cp>Now … what to say to the rest of you, who need a little more, or who have already seen promotion for the film that you can’t unsee. Promotion that gives away the premise.\u003c/p>\n\u003cp>“\u003cem>Groundhog Day \u003c/em>at a wedding” is a piece of shorthand that wouldn’t be a lie. More specifically: Nyles (Samberg) is trapped in a time loop, much like \u003cem>Groundhog Day\u003c/em>‘s Phil (Bill Murray). He spends every day at the same wedding at the same venue in Palm Springs, where he sees the same people (including a girlfriend he doesn’t particularly like), and then the next day, he wakes up, and he does it all over again. There’s a woman at the wedding named Sarah (Milioti), who’s the bride’s sister. Nyles is used to seeing her and talking to her; she’s part of the routine. But every version of this day is a little different, and on one of them, an unexpected event yanks her into the time loop with him. So now she’s waking up over and over again on the day of the wedding too, and she can’t get out of it either, and they have only each other to talk to about it, since everyone is blissfully at the wedding for the first and only time, every day. Just the way Sarah always was for Nyles, until this happened.\u003c/p>\n\u003cp>\u003cem>Palm Springs \u003c/em>was directed by Max Barbakow and written by Andy Siara, and while it has the stamp (literally and figuratively) of the Lonely Island, Samberg’s longtime comedy shop, it’s also a little bit of a different shading of his persona.\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/CpBLtXduh_k'\n title='//www.youtube.com/embed/CpBLtXduh_k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Particularly if you see it a second time, you pick up a cleverness in what Samberg is doing with his weary portrayal of Nyles. This is a man who has learned that nothing has consequences, and (unlike Phil) he mostly doesn’t like that (at least by the time we meet him), and he doesn’t exploit that fact to be mean; he exploits it to be weird. He can make strange wedding speeches, hook up with whomever he wants, try anything, and none of it matters. So he drifts through the day, again and again, without purpose. It’s dangerous to seek metaphors that are too literal, but if you made this a metaphor for how depression feels to some people, you wouldn’t be far off. Nobody understands what’s happening to you and nobody understands how you feel, nobody except you can see the futility of every day, so you can only sit back and wonder at the foolishness that makes people care about anything.\u003c/p>\n\u003cp>And of course, into this mess comes Sarah. Milioti is an actress who hasn’t had a lot of exactly-right roles in film and television; she can play very sunny and sweet as she did on \u003cem>How I Met Your Mother\u003c/em>, but she’s a more interesting and emotionally angular actor than that. Here, you really get her as a perfect romantic comedy lead and yet a fresh one. This is a woman who can get past her own shock and bafflement to seek a way to live in the time loop without losing herself, but she also can slice through Nyles’ self-pity and his (frankly earned) nihilism. Because it doesn’t take long for her to adopt a very different attitude toward this version of confinement than Nyles has. Hers is something more like, \u003cem>we gotta get out of here. \u003c/em>\u003c/p>\n\u003cp>\u003cem>Palm Springs \u003c/em>features a terrific supporting turn from the reliable J.K. Simmons as Roy, a man whose part in all this it would be unsporting to explain too much, except to say that the role calls on Simmons’ ability to play dry and wise observers of the world, but also his flair for pure comedy. (Nobody but me will likely care that this is a reunion of Simmons and Peter Gallagher, who plays Sarah’s father and also co-starred on Broadway in \u003cem>Guys and Dolls \u003c/em>when Gallagher was Sky Masterson and Simmons was Benny Southstreet, right? Right, right.) Simmons improves 99% of the projects he appears in, and it turns out a full-length buddy comedy featuring him with Andy Samberg is a feature film I would very much watch in the future.\u003c/p>\n\u003cp>The thing about a gimmick like time loops is that the thing itself will not sustain interest. We’ve seen that—\u003cem>Groundhog Day\u003c/em>, sure, but also in \u003cem>Edge Of Tomorrow\u003c/em>, \u003cem>Happy Death Day\u003c/em> and more. It comes down to what you do with it. The good part of \u003cem>Groundhog Day \u003c/em>for me has always been the lighter observations about what this kind of life would make possible: amazing people by predicting what was about to happen, mastering a skill through endless practice, and so forth. But the ugly part has always been the way Phil manipulates Rita (Andie MacDowell) intentionally, and the way it all winds up being about his redemption, which solves his problem and gives him everything he wants.\u003c/p>\n\u003cp>\u003cem>Palm Springs \u003c/em>is still a comedy, don’t get me wrong. But it’s using the time loop idea to think about something interesting. A time loop is a form of meaninglessness, really, and fighting that requires figuring out what you’re going to get out of bed for every day. It’s not that once Nyles is nice and is redeemed, all his problems are solved. He’s mostly pretty nice all along. It’s that both of these people have to decide how to add some kind of stakes to their own lives, because if they wanted to, they really could just float in the pool and drink at the wedding forever, and they could even have each other’s company along the way.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But that, it turns out, isn’t much of a life, staying in the same place, seeing the same people, having the same routine, even if it means nothing particularly terrible happens to you either. \u003cem>We gotta get out of here\u003c/em>, indeed.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=Kick+Back+With+%27Palm+Springs%2C%27+A+Witty+Romcom+About+Fighting+Despair&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "World War II Naval Drama 'Greyhound' Charts a Trim, Efficient Course",
"headTitle": "World War II Naval Drama ‘Greyhound’ Charts a Trim, Efficient Course | KQED",
"content": "\u003cp>Tom Hanks’ screen persona is …\u003c/p>\n\u003cp>One is tempted to reach for the word \u003cem>avuncular \u003c/em>here, but that doesn’t quite pin it down. He’s not America’s Uncle, after all, he’s America’s Dad. But \u003cem>paternal \u003c/em>doesn’t get you there, either, as that word has taken on an oppressive, exclusionary patina, which are two qualities that couldn’t stick to Hanks in a million years, onscreen or off. The guy’s a dependably empathetic, inviting presence, even when he’s playing someone as inscrutable as Fred Rogers (\u003cem>A Beautiful Day in the Neighborhood\u003c/em>) or as gruff-but-lovable as Jimmy Dugan (\u003cem>A League of Their Own\u003c/em>).\u003c/p>\n\u003cp>\u003cem>Affable\u003c/em>, then. Let’s go with that.\u003c/p>\n\u003cp>On those rare occasions Hanks has attempted to run from his inherent, bone-deep likability to instead play heels, in films like \u003cem>The Ladykillers\u003c/em>, \u003cem>Charlie Wilson’s War\u003c/em> and, infamously, \u003cem>The Bonfire of the Vanities\u003c/em>, audiences recoil. It’s the Jimmy Stewart Phenomenon at work. “But you’re so affable!” we collectively insist. “We love your ability to aff! So shut up and get back to affing, already!”\u003c/p>\n\u003cp>Of course, Alfred Hitchcock found a way to twist that phenomenon to his own twisted needs; he knew he could cast Jimmy Stewart as a Peeping Tom or a creep obsessed with a dead woman and audiences would blithely accept it, because it was Jimmy Stewart. Jimmy Freaking “I’ll lasso the moon for ya” Stewart.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Having not yet found his Hitchcock, Hanks has settled into a series of roles that draft on his uncanny ability to get us to deeply identify with whomever he’s playing. But in the taut World War II film \u003cem>Greyhound\u003c/em>, dropping Friday on Apple TV+, Hanks seems to have arrived at a troubling but inevitable epiphany: He no longer has to bother creating a layered character, he can just … be \u003cem>him\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-pNgAZVrf40\u003c/p>\n\u003cp>In \u003cem>Greyhound\u003c/em>, which Hanks adapted from the 1955 novel \u003cem>The Good Shepherd\u003c/em> by C. S. Forester, he plays Ernie Krause, captain of a U.S. warship leading a convoy of merchant and troop ships through a North Atlantic infested by German U-boats in February 1942. In the book, Krause possesses a rich, deeply conflicted inner life: He was a career officer about to retire when the Pearl Harbor attack officially propelled the U.S. into World War II, so he’s at once significantly older, and far less battle-tested (this being his first wartime command) than the men he’s tasked to lead. Between U-boat attacks, he broods over his failed marriage, his devout Christian faith, his previous career disappointments, and a profound case of Imposter Syndrome as he constantly second-guesses his decisions.\u003c/p>\n\u003cp>In the film, however, Krause’s backstory and personal struggles have been loaded into a torpedo tube and fired into the murky depths of Davy Jones’ Locker. This Krause is still a Christian (read: he prays a few times), and he’s not married (read: Elisabeth Shue shows up in a flashback to smile ruefully at him and deliver all of six lines). Otherwise, he’s … Tom Hanks.\u003c/p>\n\u003cp>Which, it turns out, in a film as lean (88 minutes!) and efficiently executed as this one, is enough. \u003cem>Greyhound \u003c/em>director Aaron Schneider knows what he’s doing, and he starts doing it right away, packing the film with naval action from the jump. As soon as the convoy moves out of range of U.S. air cover and begins to cross “The Black Pit”—that yawning stretch in the middle of the Atlantic when the convoy will be on its own—the sonar operator detects a U-boat. More follow. Tension rises, released in intermittent bursts by small victories and dismaying losses.\u003c/p>\n\u003cp>The film’s several battle sequences are clearly and effectively staged: They reek of CGI, but the technology is used well, as when we zoom out in virtual drone shots that show us the action from far above—so we can see just how nearly a near-miss misses as we watch a ship slooooowly steering itself out of a torpedo’s path in the nick of time. We soon come to recognize and distinguish the various U-boats descending on the convoy, as they’ve each got different symbols painted on their conning towers.\u003c/p>\n\u003cp>In that sense, the U-boats register as stronger and more distinct personalities than any Greyhound crew member manages to, as the men that surround Hanks’ Krause are called upon to do little more than look worried, sad or happy as Hanks’ script dictates. No, this is Hanks’ show, and he seems completely in his element awash in sea-spray, peering through binoculars while shouting torrents of naval jargon. (A word about said jargon: \u003cem>Greyhound \u003c/em>is the kind of movie in which there’s always a sailor on hand to translate for an audience of landlubbers by helpfully shouting in astonishment that something will soon happen, is happening, or has just happened—often all three, just to be safe.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It doesn’t much matter that Krause and the men who serve him might as well be CGI simulations like the boats around them. Like a sailing vessel, \u003cem>Greyhound \u003c/em>benefits from the sleekness of its design and its characters’ lack of baggage, both literal and emotional. As befits his status as America’s Dad, Hanks has constructed for us the ultimate Dad Movie—all the action you could ever need or want, with no annoying characters hanging around, harboring pesky needs and wants of their own.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=World+War+II+Naval+Drama+%27Greyhound%27+Charts+A+Trim%2C+Efficient+Course&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tom Hanks’ screen persona is …\u003c/p>\n\u003cp>One is tempted to reach for the word \u003cem>avuncular \u003c/em>here, but that doesn’t quite pin it down. He’s not America’s Uncle, after all, he’s America’s Dad. But \u003cem>paternal \u003c/em>doesn’t get you there, either, as that word has taken on an oppressive, exclusionary patina, which are two qualities that couldn’t stick to Hanks in a million years, onscreen or off. The guy’s a dependably empathetic, inviting presence, even when he’s playing someone as inscrutable as Fred Rogers (\u003cem>A Beautiful Day in the Neighborhood\u003c/em>) or as gruff-but-lovable as Jimmy Dugan (\u003cem>A League of Their Own\u003c/em>).\u003c/p>\n\u003cp>\u003cem>Affable\u003c/em>, then. Let’s go with that.\u003c/p>\n\u003cp>On those rare occasions Hanks has attempted to run from his inherent, bone-deep likability to instead play heels, in films like \u003cem>The Ladykillers\u003c/em>, \u003cem>Charlie Wilson’s War\u003c/em> and, infamously, \u003cem>The Bonfire of the Vanities\u003c/em>, audiences recoil. It’s the Jimmy Stewart Phenomenon at work. “But you’re so affable!” we collectively insist. “We love your ability to aff! So shut up and get back to affing, already!”\u003c/p>\n\u003cp>Of course, Alfred Hitchcock found a way to twist that phenomenon to his own twisted needs; he knew he could cast Jimmy Stewart as a Peeping Tom or a creep obsessed with a dead woman and audiences would blithely accept it, because it was Jimmy Stewart. Jimmy Freaking “I’ll lasso the moon for ya” Stewart.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Having not yet found his Hitchcock, Hanks has settled into a series of roles that draft on his uncanny ability to get us to deeply identify with whomever he’s playing. But in the taut World War II film \u003cem>Greyhound\u003c/em>, dropping Friday on Apple TV+, Hanks seems to have arrived at a troubling but inevitable epiphany: He no longer has to bother creating a layered character, he can just … be \u003cem>him\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/-pNgAZVrf40'\n title='//www.youtube.com/embed/-pNgAZVrf40'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In \u003cem>Greyhound\u003c/em>, which Hanks adapted from the 1955 novel \u003cem>The Good Shepherd\u003c/em> by C. S. Forester, he plays Ernie Krause, captain of a U.S. warship leading a convoy of merchant and troop ships through a North Atlantic infested by German U-boats in February 1942. In the book, Krause possesses a rich, deeply conflicted inner life: He was a career officer about to retire when the Pearl Harbor attack officially propelled the U.S. into World War II, so he’s at once significantly older, and far less battle-tested (this being his first wartime command) than the men he’s tasked to lead. Between U-boat attacks, he broods over his failed marriage, his devout Christian faith, his previous career disappointments, and a profound case of Imposter Syndrome as he constantly second-guesses his decisions.\u003c/p>\n\u003cp>In the film, however, Krause’s backstory and personal struggles have been loaded into a torpedo tube and fired into the murky depths of Davy Jones’ Locker. This Krause is still a Christian (read: he prays a few times), and he’s not married (read: Elisabeth Shue shows up in a flashback to smile ruefully at him and deliver all of six lines). Otherwise, he’s … Tom Hanks.\u003c/p>\n\u003cp>Which, it turns out, in a film as lean (88 minutes!) and efficiently executed as this one, is enough. \u003cem>Greyhound \u003c/em>director Aaron Schneider knows what he’s doing, and he starts doing it right away, packing the film with naval action from the jump. As soon as the convoy moves out of range of U.S. air cover and begins to cross “The Black Pit”—that yawning stretch in the middle of the Atlantic when the convoy will be on its own—the sonar operator detects a U-boat. More follow. Tension rises, released in intermittent bursts by small victories and dismaying losses.\u003c/p>\n\u003cp>The film’s several battle sequences are clearly and effectively staged: They reek of CGI, but the technology is used well, as when we zoom out in virtual drone shots that show us the action from far above—so we can see just how nearly a near-miss misses as we watch a ship slooooowly steering itself out of a torpedo’s path in the nick of time. We soon come to recognize and distinguish the various U-boats descending on the convoy, as they’ve each got different symbols painted on their conning towers.\u003c/p>\n\u003cp>In that sense, the U-boats register as stronger and more distinct personalities than any Greyhound crew member manages to, as the men that surround Hanks’ Krause are called upon to do little more than look worried, sad or happy as Hanks’ script dictates. No, this is Hanks’ show, and he seems completely in his element awash in sea-spray, peering through binoculars while shouting torrents of naval jargon. (A word about said jargon: \u003cem>Greyhound \u003c/em>is the kind of movie in which there’s always a sailor on hand to translate for an audience of landlubbers by helpfully shouting in astonishment that something will soon happen, is happening, or has just happened—often all three, just to be safe.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It doesn’t much matter that Krause and the men who serve him might as well be CGI simulations like the boats around them. Like a sailing vessel, \u003cem>Greyhound \u003c/em>benefits from the sleekness of its design and its characters’ lack of baggage, both literal and emotional. As befits his status as America’s Dad, Hanks has constructed for us the ultimate Dad Movie—all the action you could ever need or want, with no annoying characters hanging around, harboring pesky needs and wants of their own.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=World+War+II+Naval+Drama+%27Greyhound%27+Charts+A+Trim%2C+Efficient+Course&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Perhaps last week’s crescendo of amateur grassroots fireworks assuaged the hole in the soul normally filled by Hollywood’s summer explosionfests. If not, well, good luck finding escapism in these times. Let me propose an alternate strategy: Meet the beast head on, with the moral support of a stalwart guide.\u003c/p>\n\u003cp>\u003cb>\u003cem>Ai Weiwei: Yours Truly\u003c/em>\u003c/b>\u003cbr>\nStreaming now at \u003ca href=\"https://bampfa.org/event/ai-weiwei-yours-truly\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a> and the \u003ca href=\"http://larktheater.net/movie-category/special-events/aiweiwei/#\" rel=\"noopener noreferrer\" target=\"_blank\">Lark\u003c/a>\u003cbr>\nStreams starting July 17 at the \u003ca href=\"https://www.roxie.com/ai-weiwei-yours-truly/\" target=\"_blank\" rel=\"noopener noreferrer\">Roxie\u003c/a>\u003c/p>\n\u003cp>From the fall of 2014 through the following spring, close to a million people visited Ai Weiwei’s site-specific installation in the abandoned penitentiary on Alcatraz Island. “@Large” was inspired by the artist and activist’s own unwarranted incarceration, which sharpened his focus on freedom, justice and conscience. Intending to spook Ai (and everyone else) into silence, the Chinese authorities merely provoked him.\u003c/p>\n\u003cp>Cheryl Haines and Gina Leibrecht’s moving documentary provides a loose, graceful chronology of the ambitious project, augmented with entry-level summaries of Alcatraz’s and Ai’s respective histories. Ai was unable to visit the proposed site because China held his passport, a limitation that complicated his design process. Haines visited him several times to provide images and other materials, and to provide on-the-ground feedback. (There’s a quick, telltale moment in one of their meetings when Ai objects, firmly yet politely, to Haines’s interaction with a prototype of one of the pieces—that is, with his art.)\u003c/p>\n\u003cp>https://youtu.be/8kE95eSdsnc\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Ai Weiwei: Yours Truly\u003c/em>, which premiered at last year’s SFFILM Festival and begins streaming this weekend through virtual cinemas, takes its title from the individual-action aspect of the exhibition: Visitors wrote messages on post cards to political prisoners in countries from Bahrain to Vietnam to the U.S. whose colorful Lego portraits, along with those of Nelson Mandela and Rev. Dr. Martin Luther King, graced one of Ai’s pieces.\u003c/p>\n\u003cp>I was touched, over and over, by the expression—artistic and human—of idealistic, unselfish and basic principles. You might watch Ai Weiwei: Yours Truly with the windows wide open to simulate Alcatraz’s Bay breeze, and to whisk away any tears.\u003c/p>\n\u003cfigure id=\"attachment_13883137\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Mucho_Mucho_Amor__The_Legend_of_Walter_Mercado_00_07_21_06_RC_1200.jpg\" alt=\"A light-haired sits on an ornate chair in a teal satiny garment surrounded by cushions, hanging fabric, occult objects and a crown.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13883137\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Mucho_Mucho_Amor__The_Legend_of_Walter_Mercado_00_07_21_06_RC_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Mucho_Mucho_Amor__The_Legend_of_Walter_Mercado_00_07_21_06_RC_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Mucho_Mucho_Amor__The_Legend_of_Walter_Mercado_00_07_21_06_RC_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Mucho_Mucho_Amor__The_Legend_of_Walter_Mercado_00_07_21_06_RC_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Mucho_Mucho_Amor__The_Legend_of_Walter_Mercado_00_07_21_06_RC_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Walter Mercado in ‘Mucho Mucho Amor: The Legend of Walter Mercado,’ 2020. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003cem>Mucho Mucho Amor: The Legend of Walter Mercado\u003c/em>\u003c/b>\u003cbr>\n\u003ca href=\"https://www.netflix.com/title/81200204\" rel=\"noopener noreferrer\" target=\"_blank\">Netflix\u003c/a>\u003c/p>\n\u003cp>If you are one of the tens of millions in the Spanish-speaking world and beyond who revere Puerto Rican astrologer Walter Mercado, you don’t need an incentive to check out this entertaining and affectionate portrait. If not, let the beloved beacon of TV positivity turn his love light on you.\u003c/p>\n\u003cp>A handsome young dancer and actor in telenovelas in the ’60s, Mercado found himself reading horoscopes on the air. His 15-minute segments were so popular that he was given a one-hour (!) TV show in 1969. \u003ci>Walter, the Stars and You\u003c/i> was irresistibly upbeat and affirmational, exemplified by the star’s signoff-slash-catchphrase, “Mucho, mucho amor.”\u003c/p>\n\u003cp>Mercado wore wildly flamboyant capes and consistently deflected and rejected questions about his sexuality. His viewers didn’t care; he was such a powerful, comforting presence in their daily lives that they had no problem embracing and othering him at the same time. \u003c/p>\n\u003cp>A fascinating peek behind the curtain at a gay icon (“Nothing scares me and nothing stops me,” Mercado declares), \u003cem>Mucho, Mucho Amor\u003c/em> was originally slated to screen at the Castro in one of Frameline’s spotlight slots before the festival was derailed by the pandemic. Cristina Costantini and Kareem Tabsch’s documentary is just as interesting, though for what it suggests about a macho culture’s paradoxical acceptance of a nontraditional inspiration.\u003c/p>\n\u003cfigure id=\"attachment_13883138\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/twilights-kiss-film-still_1200.jpg\" alt=\"\" width=\"1200\" height=\"802\" class=\"size-full wp-image-13883138\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/twilights-kiss-film-still_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/twilights-kiss-film-still_1200-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/twilights-kiss-film-still_1200-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/twilights-kiss-film-still_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/twilights-kiss-film-still_1200-768x513.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Twilight’s Kiss.’ \u003ccite>(SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Hong Kong Cinema\u003c/strong>\u003cbr>\nJuly 12–Aug. 5 via \u003ca href=\"https://sffilm.org/year-round-programming/2020-hong-kong-cinema/\" rel=\"noopener noreferrer\" target=\"_blank\">SFFILM\u003c/a>\u003c/p>\n\u003cp>The annual showcase of new and recent films from one of the world’s most prolific movie industries returns in a trimmed-down, online format. The lineup consists of just four films, but each will be accompanied by a livestreamed conversation with the filmmaker and/or actor. Notably, all of the movies depict characters grappling with issues (physical, psychological or identity) that could push them to the margins. Indeed, that might be the universal Hong Kong condition amidst China’s clampdown.\u003c/p>\n\u003cp>\u003cem>Still Human\u003c/em>, Oliver Chan’s award-winning 2018 debut portrays the dynamic between a despairing, paralyzed man and his newly arrived Filipino caretaker. Nick Leung’s \u003cem>Lion Rock\u003c/em>, based on climber Lai Chi-wai, portrays an injured athlete’s determination to scale heights in his wheelchair. Wong Chun’s \u003cem>Mad World\u003c/em> imagines the struggle of a former stockbroker diagnosed with bipolar disorder and released to the care of his father.\u003c/p>\n\u003cp>\u003cem>Twilight’s Kiss\u003c/em> (\u003cem>Suk Suk\u003c/em>) was originally selected for this year’s pandemic-canceled SFFILM Festival, so Bay Area audiences finally have the chance to catch the acclaimed film inspired by the nonfiction book \u003cem>Oral History of Older Gay Men in Hong Kong\u003c/em> (2014). Ray Yeung’s understated drama follows two older, closeted gay men who strike up a relationship against a backdrop of conventional cultural conformity.\u003c/p>\n\u003cp>https://youtu.be/DKWq42-NIt0\u003c/p>\n\u003cp>\u003cb>\u003cem>Chisholm ’72: Unbought & Unbossed\u003c/em>\u003c/b>\u003cbr>\n\u003ca href=\"https://www.moadsf.org/event/african-diaspora-film-club-chisolm-72/\" rel=\"noopener noreferrer\" target=\"_blank\">MoAD conversation\u003c/a> July 12\u003cbr>\nStreaming now on \u003ca href=\"https://kanopy.com/video/crisholm-72\" rel=\"noopener noreferrer\" target=\"_blank\">Kanopy\u003c/a>, \u003ca href=\"https://www.amazon.com/Chisholm-72-Unbought-Unbossed-Shirley/dp/B01B6X2S7C\" rel=\"noopener noreferrer\" target=\"_blank\">Amazon Prime\u003c/a>\u003c/p>\n\u003cp>It’s a curious phenomenon that we remember the times we lived through so imperfectly and incompletely; hence the necessity of first-rate historical documentaries. Shola Lynch’s terrific 2004 film about the electrifying Shirley Chisholm, the first Black woman elected to Congress (1968) and the first Black candidate for a major party’s presidential nomination, demands to be seen in the present moment—and every election year, for that matter. (And every off year, too.)\u003c/p>\n\u003cp>In 1972, in just her second term representing a chunk of New York City, Chisholm ran for the nation’s highest office (as it used to be called and viewed). A champion of working mothers and everyone who had an uphill climb, she demanded action and embodied conscience. It’s worth noting that Chisholm said she encountered more misogyny than racism in the course of her long career.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Shola Lynch and California Newsreel co-director Cornelius Moore join the \u003ca href=\"https://www.moadsf.org/event/african-diaspora-film-club-chisolm-72/\" rel=\"noopener noreferrer\" target=\"_blank\">African Disapora Film Club\u003c/a>, a monthly program of the Museum of the African Diaspora (MoAD), in a Zoom conversation at 5pm on Sunday, July 12 to discuss Shirley Chisholm’s inspiring legacy.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Perhaps last week’s crescendo of amateur grassroots fireworks assuaged the hole in the soul normally filled by Hollywood’s summer explosionfests. If not, well, good luck finding escapism in these times. Let me propose an alternate strategy: Meet the beast head on, with the moral support of a stalwart guide.\u003c/p>\n\u003cp>\u003cb>\u003cem>Ai Weiwei: Yours Truly\u003c/em>\u003c/b>\u003cbr>\nStreaming now at \u003ca href=\"https://bampfa.org/event/ai-weiwei-yours-truly\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a> and the \u003ca href=\"http://larktheater.net/movie-category/special-events/aiweiwei/#\" rel=\"noopener noreferrer\" target=\"_blank\">Lark\u003c/a>\u003cbr>\nStreams starting July 17 at the \u003ca href=\"https://www.roxie.com/ai-weiwei-yours-truly/\" target=\"_blank\" rel=\"noopener noreferrer\">Roxie\u003c/a>\u003c/p>\n\u003cp>From the fall of 2014 through the following spring, close to a million people visited Ai Weiwei’s site-specific installation in the abandoned penitentiary on Alcatraz Island. “@Large” was inspired by the artist and activist’s own unwarranted incarceration, which sharpened his focus on freedom, justice and conscience. Intending to spook Ai (and everyone else) into silence, the Chinese authorities merely provoked him.\u003c/p>\n\u003cp>Cheryl Haines and Gina Leibrecht’s moving documentary provides a loose, graceful chronology of the ambitious project, augmented with entry-level summaries of Alcatraz’s and Ai’s respective histories. Ai was unable to visit the proposed site because China held his passport, a limitation that complicated his design process. Haines visited him several times to provide images and other materials, and to provide on-the-ground feedback. (There’s a quick, telltale moment in one of their meetings when Ai objects, firmly yet politely, to Haines’s interaction with a prototype of one of the pieces—that is, with his art.)\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/8kE95eSdsnc'\n title='//www.youtube.com/embed/8kE95eSdsnc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Ai Weiwei: Yours Truly\u003c/em>, which premiered at last year’s SFFILM Festival and begins streaming this weekend through virtual cinemas, takes its title from the individual-action aspect of the exhibition: Visitors wrote messages on post cards to political prisoners in countries from Bahrain to Vietnam to the U.S. whose colorful Lego portraits, along with those of Nelson Mandela and Rev. Dr. Martin Luther King, graced one of Ai’s pieces.\u003c/p>\n\u003cp>I was touched, over and over, by the expression—artistic and human—of idealistic, unselfish and basic principles. You might watch Ai Weiwei: Yours Truly with the windows wide open to simulate Alcatraz’s Bay breeze, and to whisk away any tears.\u003c/p>\n\u003cfigure id=\"attachment_13883137\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Mucho_Mucho_Amor__The_Legend_of_Walter_Mercado_00_07_21_06_RC_1200.jpg\" alt=\"A light-haired sits on an ornate chair in a teal satiny garment surrounded by cushions, hanging fabric, occult objects and a crown.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13883137\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Mucho_Mucho_Amor__The_Legend_of_Walter_Mercado_00_07_21_06_RC_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Mucho_Mucho_Amor__The_Legend_of_Walter_Mercado_00_07_21_06_RC_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Mucho_Mucho_Amor__The_Legend_of_Walter_Mercado_00_07_21_06_RC_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Mucho_Mucho_Amor__The_Legend_of_Walter_Mercado_00_07_21_06_RC_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Mucho_Mucho_Amor__The_Legend_of_Walter_Mercado_00_07_21_06_RC_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Walter Mercado in ‘Mucho Mucho Amor: The Legend of Walter Mercado,’ 2020. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003cem>Mucho Mucho Amor: The Legend of Walter Mercado\u003c/em>\u003c/b>\u003cbr>\n\u003ca href=\"https://www.netflix.com/title/81200204\" rel=\"noopener noreferrer\" target=\"_blank\">Netflix\u003c/a>\u003c/p>\n\u003cp>If you are one of the tens of millions in the Spanish-speaking world and beyond who revere Puerto Rican astrologer Walter Mercado, you don’t need an incentive to check out this entertaining and affectionate portrait. If not, let the beloved beacon of TV positivity turn his love light on you.\u003c/p>\n\u003cp>A handsome young dancer and actor in telenovelas in the ’60s, Mercado found himself reading horoscopes on the air. His 15-minute segments were so popular that he was given a one-hour (!) TV show in 1969. \u003ci>Walter, the Stars and You\u003c/i> was irresistibly upbeat and affirmational, exemplified by the star’s signoff-slash-catchphrase, “Mucho, mucho amor.”\u003c/p>\n\u003cp>Mercado wore wildly flamboyant capes and consistently deflected and rejected questions about his sexuality. His viewers didn’t care; he was such a powerful, comforting presence in their daily lives that they had no problem embracing and othering him at the same time. \u003c/p>\n\u003cp>A fascinating peek behind the curtain at a gay icon (“Nothing scares me and nothing stops me,” Mercado declares), \u003cem>Mucho, Mucho Amor\u003c/em> was originally slated to screen at the Castro in one of Frameline’s spotlight slots before the festival was derailed by the pandemic. Cristina Costantini and Kareem Tabsch’s documentary is just as interesting, though for what it suggests about a macho culture’s paradoxical acceptance of a nontraditional inspiration.\u003c/p>\n\u003cfigure id=\"attachment_13883138\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/twilights-kiss-film-still_1200.jpg\" alt=\"\" width=\"1200\" height=\"802\" class=\"size-full wp-image-13883138\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/twilights-kiss-film-still_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/twilights-kiss-film-still_1200-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/twilights-kiss-film-still_1200-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/twilights-kiss-film-still_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/twilights-kiss-film-still_1200-768x513.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Twilight’s Kiss.’ \u003ccite>(SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Hong Kong Cinema\u003c/strong>\u003cbr>\nJuly 12–Aug. 5 via \u003ca href=\"https://sffilm.org/year-round-programming/2020-hong-kong-cinema/\" rel=\"noopener noreferrer\" target=\"_blank\">SFFILM\u003c/a>\u003c/p>\n\u003cp>The annual showcase of new and recent films from one of the world’s most prolific movie industries returns in a trimmed-down, online format. The lineup consists of just four films, but each will be accompanied by a livestreamed conversation with the filmmaker and/or actor. Notably, all of the movies depict characters grappling with issues (physical, psychological or identity) that could push them to the margins. Indeed, that might be the universal Hong Kong condition amidst China’s clampdown.\u003c/p>\n\u003cp>\u003cem>Still Human\u003c/em>, Oliver Chan’s award-winning 2018 debut portrays the dynamic between a despairing, paralyzed man and his newly arrived Filipino caretaker. Nick Leung’s \u003cem>Lion Rock\u003c/em>, based on climber Lai Chi-wai, portrays an injured athlete’s determination to scale heights in his wheelchair. Wong Chun’s \u003cem>Mad World\u003c/em> imagines the struggle of a former stockbroker diagnosed with bipolar disorder and released to the care of his father.\u003c/p>\n\u003cp>\u003cem>Twilight’s Kiss\u003c/em> (\u003cem>Suk Suk\u003c/em>) was originally selected for this year’s pandemic-canceled SFFILM Festival, so Bay Area audiences finally have the chance to catch the acclaimed film inspired by the nonfiction book \u003cem>Oral History of Older Gay Men in Hong Kong\u003c/em> (2014). Ray Yeung’s understated drama follows two older, closeted gay men who strike up a relationship against a backdrop of conventional cultural conformity.\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/DKWq42-NIt0'\n title='//www.youtube.com/embed/DKWq42-NIt0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>\u003cem>Chisholm ’72: Unbought & Unbossed\u003c/em>\u003c/b>\u003cbr>\n\u003ca href=\"https://www.moadsf.org/event/african-diaspora-film-club-chisolm-72/\" rel=\"noopener noreferrer\" target=\"_blank\">MoAD conversation\u003c/a> July 12\u003cbr>\nStreaming now on \u003ca href=\"https://kanopy.com/video/crisholm-72\" rel=\"noopener noreferrer\" target=\"_blank\">Kanopy\u003c/a>, \u003ca href=\"https://www.amazon.com/Chisholm-72-Unbought-Unbossed-Shirley/dp/B01B6X2S7C\" rel=\"noopener noreferrer\" target=\"_blank\">Amazon Prime\u003c/a>\u003c/p>\n\u003cp>It’s a curious phenomenon that we remember the times we lived through so imperfectly and incompletely; hence the necessity of first-rate historical documentaries. Shola Lynch’s terrific 2004 film about the electrifying Shirley Chisholm, the first Black woman elected to Congress (1968) and the first Black candidate for a major party’s presidential nomination, demands to be seen in the present moment—and every election year, for that matter. (And every off year, too.)\u003c/p>\n\u003cp>In 1972, in just her second term representing a chunk of New York City, Chisholm ran for the nation’s highest office (as it used to be called and viewed). A champion of working mothers and everyone who had an uphill climb, she demanded action and embodied conscience. It’s worth noting that Chisholm said she encountered more misogyny than racism in the course of her long career.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Shola Lynch and California Newsreel co-director Cornelius Moore join the \u003ca href=\"https://www.moadsf.org/event/african-diaspora-film-club-chisolm-72/\" rel=\"noopener noreferrer\" target=\"_blank\">African Disapora Film Club\u003c/a>, a monthly program of the Museum of the African Diaspora (MoAD), in a Zoom conversation at 5pm on Sunday, July 12 to discuss Shirley Chisholm’s inspiring legacy.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Welcome to Chechnya\u003c/em> is a grimly ironic title for a documentary that plays like a chilling undercover thriller. The camerawork is rough and ragged; the sense of menace is palpable.\u003c/p>\n\u003cp>The movie opens on a dark street in the southern Russian republic of Chechnya, where a man smokes a cigarette and arranges secret meetings and transports by phone. This is David Isteev, a crisis intervention coordinator for the \u003ca href=\"https://www.lgbtnet.org/en\" target=\"_blank\" rel=\"noopener noreferrer\">Russian LGBT Network\u003c/a>, and he spends his days helping gay and transgender Chechens flee a place where they are no longer safe.\u003c/p>\n\u003cp>Homosexuality and gender nonconformity have long been frowned upon in Chechen society. But things got much worse in early 2017, when the leader of the republic, \u003ca href=\"https://www.npr.org/sections/parallels/2016/01/28/464552123/chechnyas-strongman-praises-putin-threatens-traitors\" target=\"_blank\" rel=\"noopener noreferrer\">Ramzan Kadyrov\u003c/a>, a strongman with close ties to Russian President Vladimir Putin, began a violent purge of anyone suspected of being gay or transgender.\u003c/p>\n\u003cp>It began with a drug raid when police arrested a young man and found sexually explicit images of men on his phone. He was tortured and forced to name those men, who were then also arrested, tortured and forced to name others, setting off a horrific chain reaction. Some of the men were released—with the expectation that their own relatives would kill them, since the stigma of homosexuality runs deep in this ultra-conservative, primarily Muslim society.\u003c/p>\n\u003cp>The journalist and filmmaker \u003ca href=\"https://www.npr.org/2020/06/28/884458992/interview-with-the-director-of-welcome-to-chechnya\" target=\"_blank\" rel=\"noopener noreferrer\">David France\u003c/a> was first alerted to this crisis by Masha Gessen’s \u003ca href=\"https://www.newyorker.com/magazine/2017/07/03/the-gay-men-who-fled-chechnyas-purge\" target=\"_blank\" rel=\"noopener noreferrer\">2017 \u003cem>New Yorker\u003c/em> article\u003c/a> and decided to make it the subject of his next film. He embedded himself with Isteev and another activist, Olga Baranova, and began filming some of the young people who turned to them for help. For security reasons, these individuals are introduced with aliases, and their circumstances and whereabouts are left deliberately vague.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But as the movie tells us upfront, France took an extraordinary step to protect their identities further, using sophisticated facial-disguise technology. Many of the faces we see are actually the faces of people from outside Chechnya, who lent their likenesses to the film.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_2KMm49B6pE\u003c/p>\n\u003cp>It’s a bold gambit that may put off those who find it too duplicitous in the context of a documentary. But I found it remarkably effective in the way it lets these young men and women tell their stories and express a level of emotion that would have been lost if they had been filmed with blurred faces or in heavy shadows. Giving them different faces also makes a kind of poetic sense: It’s a reminder that to be LGBTQ in a repressive society is to never feel comfortable in your own skin.\u003c/p>\n\u003cp>One of these digitally altered subjects is a 21-year-old lesbian introduced as “Anya,” whose uncle knows her sexual orientation and demands that she sleep with him or risk being outed to her father, a powerful Chechen official. Anya decides to escape, but that isn’t so easy with the authorities soon hot on her trail. The Russian LGBT Network moves her into an apartment where she must hole up for weeks on end, waiting for a travel visa that might never arrive.\u003c/p>\n\u003cp>Similarly harrowing, but also more hopeful, is the experience of a 30-year-old Russian businessman, here called “Grisha,” who was detained and beaten for 12 days during a trip to Chechnya. The Network helps him move to an undisclosed location in Europe with his boyfriend of 10 years. Fortunately, the brave Grisha has the support of his immediate family, who decide to move with him; as his mother notes in one poignant scene, her loyalty is to her family—not to an oppressive government.\u003c/p>\n\u003cp>\u003cem>Welcome to Chechnya\u003c/em> pays important tribute to the courage of its subjects, including activists like Isteev and Baranova, who risk their own persecution and exposure. The mere presence of France’s camera might endanger their lives and their work, but it’s also crucial to drawing international attention to the Chechen government’s abuses. We see some of those abuses in the movie’s most disturbing footage, much of it secretly filmed on cell phones and spliced into the film in brief jolts.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In one video, an incarcerated man is sexually assaulted off-camera by police. In another, a woman is attacked by a relative who—it’s implied but not shown—proceeds to bludgeon her to death. These are ghastly images, and I’m not convinced the film needed all of them to convey the full horror of what’s going on. But there’s no doubting the depth of its fury and anguish on behalf of the victims and survivors we see—and the many, many more that we don’t.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=%27Welcome+To+Chechnya%27+Chronicles+Abuses+Against+Its+LGBTQ+Citizens&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Welcome to Chechnya\u003c/em> is a grimly ironic title for a documentary that plays like a chilling undercover thriller. The camerawork is rough and ragged; the sense of menace is palpable.\u003c/p>\n\u003cp>The movie opens on a dark street in the southern Russian republic of Chechnya, where a man smokes a cigarette and arranges secret meetings and transports by phone. This is David Isteev, a crisis intervention coordinator for the \u003ca href=\"https://www.lgbtnet.org/en\" target=\"_blank\" rel=\"noopener noreferrer\">Russian LGBT Network\u003c/a>, and he spends his days helping gay and transgender Chechens flee a place where they are no longer safe.\u003c/p>\n\u003cp>Homosexuality and gender nonconformity have long been frowned upon in Chechen society. But things got much worse in early 2017, when the leader of the republic, \u003ca href=\"https://www.npr.org/sections/parallels/2016/01/28/464552123/chechnyas-strongman-praises-putin-threatens-traitors\" target=\"_blank\" rel=\"noopener noreferrer\">Ramzan Kadyrov\u003c/a>, a strongman with close ties to Russian President Vladimir Putin, began a violent purge of anyone suspected of being gay or transgender.\u003c/p>\n\u003cp>It began with a drug raid when police arrested a young man and found sexually explicit images of men on his phone. He was tortured and forced to name those men, who were then also arrested, tortured and forced to name others, setting off a horrific chain reaction. Some of the men were released—with the expectation that their own relatives would kill them, since the stigma of homosexuality runs deep in this ultra-conservative, primarily Muslim society.\u003c/p>\n\u003cp>The journalist and filmmaker \u003ca href=\"https://www.npr.org/2020/06/28/884458992/interview-with-the-director-of-welcome-to-chechnya\" target=\"_blank\" rel=\"noopener noreferrer\">David France\u003c/a> was first alerted to this crisis by Masha Gessen’s \u003ca href=\"https://www.newyorker.com/magazine/2017/07/03/the-gay-men-who-fled-chechnyas-purge\" target=\"_blank\" rel=\"noopener noreferrer\">2017 \u003cem>New Yorker\u003c/em> article\u003c/a> and decided to make it the subject of his next film. He embedded himself with Isteev and another activist, Olga Baranova, and began filming some of the young people who turned to them for help. For security reasons, these individuals are introduced with aliases, and their circumstances and whereabouts are left deliberately vague.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But as the movie tells us upfront, France took an extraordinary step to protect their identities further, using sophisticated facial-disguise technology. Many of the faces we see are actually the faces of people from outside Chechnya, who lent their likenesses to the film.\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/_2KMm49B6pE'\n title='//www.youtube.com/embed/_2KMm49B6pE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s a bold gambit that may put off those who find it too duplicitous in the context of a documentary. But I found it remarkably effective in the way it lets these young men and women tell their stories and express a level of emotion that would have been lost if they had been filmed with blurred faces or in heavy shadows. Giving them different faces also makes a kind of poetic sense: It’s a reminder that to be LGBTQ in a repressive society is to never feel comfortable in your own skin.\u003c/p>\n\u003cp>One of these digitally altered subjects is a 21-year-old lesbian introduced as “Anya,” whose uncle knows her sexual orientation and demands that she sleep with him or risk being outed to her father, a powerful Chechen official. Anya decides to escape, but that isn’t so easy with the authorities soon hot on her trail. The Russian LGBT Network moves her into an apartment where she must hole up for weeks on end, waiting for a travel visa that might never arrive.\u003c/p>\n\u003cp>Similarly harrowing, but also more hopeful, is the experience of a 30-year-old Russian businessman, here called “Grisha,” who was detained and beaten for 12 days during a trip to Chechnya. The Network helps him move to an undisclosed location in Europe with his boyfriend of 10 years. Fortunately, the brave Grisha has the support of his immediate family, who decide to move with him; as his mother notes in one poignant scene, her loyalty is to her family—not to an oppressive government.\u003c/p>\n\u003cp>\u003cem>Welcome to Chechnya\u003c/em> pays important tribute to the courage of its subjects, including activists like Isteev and Baranova, who risk their own persecution and exposure. The mere presence of France’s camera might endanger their lives and their work, but it’s also crucial to drawing international attention to the Chechen government’s abuses. We see some of those abuses in the movie’s most disturbing footage, much of it secretly filmed on cell phones and spliced into the film in brief jolts.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In one video, an incarcerated man is sexually assaulted off-camera by police. In another, a woman is attacked by a relative who—it’s implied but not shown—proceeds to bludgeon her to death. These are ghastly images, and I’m not convinced the film needed all of them to convey the full horror of what’s going on. But there’s no doubting the depth of its fury and anguish on behalf of the victims and survivors we see—and the many, many more that we don’t.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=%27Welcome+To+Chechnya%27+Chronicles+Abuses+Against+Its+LGBTQ+Citizens&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Watch Tom Hanks' Message for COVID-19 Deniers: 'Do Your Part!'",
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"content": "\u003cp>This morning, during an otherwise jovial appearance on \u003cem>The Today Show\u003c/em>, Tom Hanks went full “America’s Dad” on COVID-19 deniers. He wasn’t angry, exactly—just very, very disappointed. “There’s no law against ignorance,” Hanks said. “It’s not illegal to have opinions that are wrong. But I think you flout a number of realities when two and two don’t add up to four.”\u003c/p>\n\u003cp>After briefly discussing the daily slog he and his wife Rita endured while \u003ca href=\"https://www.kqed.org/arts/13876500/tom-hanks-wife-rita-wilson-test-positive-for-coronavirus\" rel=\"noopener noreferrer\" target=\"_blank\">battling coronavirus\u003c/a> back in March, Hanks drew a comparison between social responsibility during World War II and what we see happening now, during the pandemic.\u003c/p>\n\u003cp>“There was a sensibility that permeated all of society [in the war], which was ‘Do your part. We’re all in this together,'” he said. “And doing your part meant there was a tiny amount of stuff you could do to aid the ongoing status of an effort that had no sign of its conclusion. World War II went on for an awfully long time—a big portion of everyone’s lives. They didn’t know when it was going to come to an end and we don’t know what’s going to happen with COVID-19. The idea of doing one’s part, though, should be so simple.”\u003c/p>\n\u003cp>Hanks went on: “Wear a mask, social distance, wash your hands. That alone means you are contributing to the betterment of your house, your work, your town, your society as a whole and it’s such a small thing. It’s a mystery to me how somehow that has been wiped out of what should be ingrained in the behavior of us all. Simple things! Do your part!”\u003c/p>\n\u003cp>Then Hanks employed the most American tool at anyone’s disposal in a time of crisis: Bruce Springsteen lyrics. “There is a darkness of the edge of town here, folks,” he said, referencing the 1978 song and album. “Let’s not confuse the fact—it’s killing people… You can say ‘Well, traffic accidents kill a lot of people too.’ Yeah, and traffic accidents happen because a lot of people aren’t doing their part.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The 14-minute segment also includes friendly banter with Hoda Kotb and promotion for Hanks’ new World War II epic, \u003cem>Greyhound. \u003c/em>You can watch the interview in full, below.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bzGYqX81Wu8\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This morning, during an otherwise jovial appearance on \u003cem>The Today Show\u003c/em>, Tom Hanks went full “America’s Dad” on COVID-19 deniers. He wasn’t angry, exactly—just very, very disappointed. “There’s no law against ignorance,” Hanks said. “It’s not illegal to have opinions that are wrong. But I think you flout a number of realities when two and two don’t add up to four.”\u003c/p>\n\u003cp>After briefly discussing the daily slog he and his wife Rita endured while \u003ca href=\"https://www.kqed.org/arts/13876500/tom-hanks-wife-rita-wilson-test-positive-for-coronavirus\" rel=\"noopener noreferrer\" target=\"_blank\">battling coronavirus\u003c/a> back in March, Hanks drew a comparison between social responsibility during World War II and what we see happening now, during the pandemic.\u003c/p>\n\u003cp>“There was a sensibility that permeated all of society [in the war], which was ‘Do your part. We’re all in this together,'” he said. “And doing your part meant there was a tiny amount of stuff you could do to aid the ongoing status of an effort that had no sign of its conclusion. World War II went on for an awfully long time—a big portion of everyone’s lives. They didn’t know when it was going to come to an end and we don’t know what’s going to happen with COVID-19. The idea of doing one’s part, though, should be so simple.”\u003c/p>\n\u003cp>Hanks went on: “Wear a mask, social distance, wash your hands. That alone means you are contributing to the betterment of your house, your work, your town, your society as a whole and it’s such a small thing. It’s a mystery to me how somehow that has been wiped out of what should be ingrained in the behavior of us all. Simple things! Do your part!”\u003c/p>\n\u003cp>Then Hanks employed the most American tool at anyone’s disposal in a time of crisis: Bruce Springsteen lyrics. “There is a darkness of the edge of town here, folks,” he said, referencing the 1978 song and album. “Let’s not confuse the fact—it’s killing people… You can say ‘Well, traffic accidents kill a lot of people too.’ Yeah, and traffic accidents happen because a lot of people aren’t doing their part.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Film Composer Ennio Morricone, Genius of Film Scores, Dies at 91",
"headTitle": "Film Composer Ennio Morricone, Genius of Film Scores, Dies at 91 | KQED",
"content": "\u003cp>Ennio Morricone, the Oscar-winning Italian composer who created the coyote-howl theme for the iconic Spaghetti Western \u003cem>The Good, the Bad and the Ugly\u003c/em> and often haunting soundtracks for such classic Hollywood gangster movies as \u003cem>The Untouchables\u003c/em> and the epic \u003cem>Once Upon A Time In America\u003c/em>, died Monday. He was 91.\u003c/p>\n\u003cp>Morricone’s longtime lawyer, Giorgio Assumma, said “the Maestro,” as he was known, died in a Rome hospital of complications following surgery after a recent fall in which he broke a leg bone.\u003c/p>\n\u003cp>Outside the hospital, Assumma read a farewell message from Morricone.\u003c/p>\n\u003cp>“I am Ennio Morricone, and I am dead,” began the message. In the greeting, the composer went on to explain that the only reason he was saying goodbye this way and had requested a private funeral was: “I don’t want to bother anyone.”\u003c/p>\n\u003cp>During a career that spanned decades and earned him an Oscar for lifetime achievement in 2007, Morricone collaborated with some of Hollywood’s and Italy’s top directors, including on \u003cem>The Untouchables\u003c/em> by Brian de Palma, \u003cem>The Hateful Eight\u003c/em> by Quentin Tarantino , \u003cem>The Battle of Algiers\u003c/em> by Gillo Pontecorvo and \u003cem>Nuovo Cinema Paradiso\u003c/em>, a nostalgic ode to the importance of movie houses in Italian small town life, by Giuseppe Tornatore.\u003c/p>\n\u003cp>The Tarantino film would win him the Oscar for best original score in 2016. In accepting that award, Morricone told the audience at the ceremony: “There is no great music without a great film that inspires it.”\u003c/p>\n\u003cp>In total, he produced more than 400 original scores for feature films.\u003c/p>\n\u003cfigure id=\"attachment_13882932\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Ennio.Clint_-800x606.jpg\" alt=\"Ennio Morricone, left, accepts an honorary Oscar for his contributions to the art of film music as director Clint Eastwood looks on during the 79th Academy Awards in Los Angeles, in 2007.\" width=\"800\" height=\"606\" class=\"size-medium wp-image-13882932\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Ennio.Clint_-800x606.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Ennio.Clint_-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Ennio.Clint_-768x581.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Ennio.Clint_.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ennio Morricone, left, accepts an honorary Oscar for his contributions to the art of film music as director Clint Eastwood looks on during the 79th Academy Awards in Los Angeles, in 2007. \u003ccite>(AP Photo/Mark J. Terrill)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His iconic so-called Spaghetti Western movies saw him work closely with the late Italian film director Sergio Leone, a former classmate.\u003c/p>\n\u003cp>Morricone practically reinvented music for Western genre movies through his partnership with Leone. Their partnership included the \u003cem>Dollars\u003c/em> trilogy starring Clint Eastwood as a quick-shooting, lonesome gunman: \u003cem>A Fistful of Dollars\u003c/em> in 1964, \u003cem>For a Few Dollars More\u003c/em> in 1965 and \u003cem>The Good, the Bad and the Ugly\u003c/em> a year later.\u003c/p>\n\u003cp>Morricone was celebrated for crafting just a few notes — like those played on a harmonica in Leone’s 1984 movie \u003cem>Once Upon A Time in America\u003c/em> — that would instantly become a film’s highly memorable motif.\u003c/p>\n\u003cp>That movie is a saga about Jewish gangsters in New York that explores themes of friendship, lost love and the passing of time, starring Robert De Niro and James Wood. It is considered by some to be Leone’s masterpiece, thanks in part to Morricone’s evocative score, including a lush section played on string instruments.\u003c/p>\n\u003cp>“Inspiration does not exist,” Morricone said in a 2004 interview with The Associated Press. “What exists is an idea, a minimal idea that the composer develops at the desk, and that small idea becomes something important.”\u003c/p>\n\u003cp>In a later interview, with Italian state TV, Morricone cited “study, discipline and curiosity” as the keys to his creative genius. “Writing music, like all creative arts, comes from a long path” along life’s experiences, he said.\u003c/p>\n\u003cp>“A great phenomenon of world music” was how Italian film director Dario Argento described Morricone, who scored five of his films.\u003c/p>\n\u003cfigure id=\"attachment_13882933\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Ennio.Conduct-800x560.jpg\" alt=\"Ennio Morricone conducts with the Budapest Symphonic Orchestra - Gyor in 2009.\" width=\"800\" height=\"560\" class=\"size-medium wp-image-13882933\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Ennio.Conduct-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Ennio.Conduct-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Ennio.Conduct-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Ennio.Conduct.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ennio Morricone conducts with the Budapest Symphonic Orchestra – Gyor in 2009. \u003ccite>(AP Photo/Boris Grdanoski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In his late 80s, Morricone provided the score for \u003cem>The Hateful Eight\u003c/em>, Tarantino’s 2015 70-mm epic and the first time in decades that he had composed new music for a Western. It was also the first time Tarantino had used an original score.\u003c/p>\n\u003cp>In accepting Morricone’s Golden Globe for the music in his place, Tarantino called him his favorite composer.\u003c/p>\n\u003cp>“When I say ‘favorite composer,’ I don’t mean movie composer. … I’m talking about Mozart, I’m talking about Beethoven, I’m talking about Schubert,” Tarantino said.\u003c/p>\n\u003cp>Italy’s head of state, President Sergio Mattarella, in a condolence message to the composer’s family, wrote: “Both a refined and popular musician, he left a deep footprint on the musical history of the second half of the 1900s.”\u003c/p>\n\u003cp>Morricone’s sound tracks, Mattarella said, “contributed greatly to spreading and reinforcing the prestige of Italy in the world.”\u003c/p>\n\u003cp>Morricone’s style was sparse, made of memorable tunes and unusual instruments and arrangements, and often stirred deep emotions.\u003c/p>\n\u003cp>His music punctuated the long silences typical of the Spaghetti Westerns, with the characters locked in close-ups, staring at each other and waiting for their next moves. The coyote howl, harmonicas and eerie whistling of \u003cem>The Good, the Bad and the Ugly\u003c/em> became Morricone’s trademark and one of the most easily recognizable soundtracks in cinema.\u003c/p>\n\u003cp>Minutes before handing Morricone the Oscar for lifetime achievement in 2007, Eastwood recalled hearing for the first time the score of \u003cem>A Fistful of Dollars\u003c/em> and thinking: “What actor wouldn’t want to ride into town with that kind of music playing behind him?”\u003c/p>\n\u003cp>It was a night to remember for Morricone, who had been nominated for Oscars five times (\u003cem>The Hateful Eight\u003c/em> was his sixth) but until then had never won.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Born in Rome on Nov. 10, 1928, Morricone was the oldest of the five children. His father was a trumpet player.\u003c/p>\n\u003cp>After studying trumpet and composition at the Conservatory of the Accademia Nazionale di Santa Cecilia in the Italian capital, he started working as a trumpeter and then as an arranger for record companies.\u003c/p>\n\u003cp>“I started working on very easy kinds of music pieces for the radio, for television and then for the theater, and then little by little I started to compose the film scores,” he told the AP in 2016.\u003c/p>\n\u003cp>In 1961 he wrote his first score for a movie, a bittersweet comedy set in the final moments of Fascism called \u003cem>Il Federale\u003c/em> (known in English as \u003cem>The Fascist\u003c/em>). That decade also saw Morricone cooperate with Pontecorvo, first on \u003cem>The Battle of Algiers\u003c/em>, the black-and-white classic depicting the Algerian uprising against the French; and later on \u003cem>Queimada\u003c/em>, a tale of colonialism starring Marlon Brando.\u003c/p>\n\u003cp>Morricone received his first Oscar nomination for original score with \u003cem>Days Of Heaven\u003c/em>, a 1978 movie by U.S. director Terence Malick. Beside \u003cem>The Hateful Eight\u003c/em>, the others were for \u003cem>The Mission\u003c/em> (1986), \u003cem>The Untouchables\u003c/em> (1987), \u003cem>Bugsy\u003c/em> (1991) and \u003cem>Malena\u003c/em> (2000).\u003c/p>\n\u003cp>Shortly before his lifetime Oscar, Morricone joked that he would have been happy without the coveted statuette, saying “I would have remained in the company of illustrious non-winners.”\u003c/p>\n\u003cp>But he also made no secret that he thought \u003cem>The Mission\u003c/em>, with its memorably sweet theme of “Gabriel’s Oboe,” deserved the Academy Award. That year, he lost to Herbie Hancock’s \u003cem>Round Midnight\u003c/em>.\u003c/p>\n\u003cp>Morricone had recently composed music to be performed in Genoa’s Carlo Felice Theater later this summer in honor of the 43 victims of that city’s 2018 Morandi Bridge collapse, Genoa Mayor Marco Bucci said. The music will be performed on the eve of a ceremony inaugurating the bridge’s replacement, the mayor said.\u003c/p>\n\u003cp>Highly versatile, Morricone also orchestrated Italian pop tunes that include enduring classics, like one version of an eternal summer hit, “Sapore di Sale” (“Taste of Salt”), which was written by famed Italian troubadour Gino Paoli.\u003c/p>\n\u003cp>Another renowned maestro, Riccardo Muti, cited his “friendship and admiration″ for Morricone. Muti on Monday recalled that when he directed the composer’s piece “Voci dal Silenzio” (“Voices from the Silence”) the work elicited “true emotion” from the audience, both in Chicago, where Muti directs the symphony orchestra, as well as during a performance in Ravenna, Italy.\u003c/p>\n\u003cp>Muti called Morricone an “extraordinary” composer both for films and in classical music.\u003c/p>\n\u003cp>Asked by Italian state TV a few years ago if there was one director he would have liked to have worked with but didn’t, Morricone said Stanley Kubrick had asked him to work on \u003cem>A Clockwork Orange\u003c/em>. But that collaboration didn’t happen because of a commitment to Leone, Morricone recalled.\u003c/p>\n\u003cp>Morricone is survived by his wife Maria Travia, whom he cited when accepting his 2016 Oscar. Married in 1956, the couple had four children, Marco, Alessandra, Andrea and Giovanni.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003cem>Biographical material for this report was contributed by former AP correspondent Alessandra Rizzo.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ennio Morricone, the Oscar-winning Italian composer who created the coyote-howl theme for the iconic Spaghetti Western \u003cem>The Good, the Bad and the Ugly\u003c/em> and often haunting soundtracks for such classic Hollywood gangster movies as \u003cem>The Untouchables\u003c/em> and the epic \u003cem>Once Upon A Time In America\u003c/em>, died Monday. He was 91.\u003c/p>\n\u003cp>Morricone’s longtime lawyer, Giorgio Assumma, said “the Maestro,” as he was known, died in a Rome hospital of complications following surgery after a recent fall in which he broke a leg bone.\u003c/p>\n\u003cp>Outside the hospital, Assumma read a farewell message from Morricone.\u003c/p>\n\u003cp>“I am Ennio Morricone, and I am dead,” began the message. In the greeting, the composer went on to explain that the only reason he was saying goodbye this way and had requested a private funeral was: “I don’t want to bother anyone.”\u003c/p>\n\u003cp>During a career that spanned decades and earned him an Oscar for lifetime achievement in 2007, Morricone collaborated with some of Hollywood’s and Italy’s top directors, including on \u003cem>The Untouchables\u003c/em> by Brian de Palma, \u003cem>The Hateful Eight\u003c/em> by Quentin Tarantino , \u003cem>The Battle of Algiers\u003c/em> by Gillo Pontecorvo and \u003cem>Nuovo Cinema Paradiso\u003c/em>, a nostalgic ode to the importance of movie houses in Italian small town life, by Giuseppe Tornatore.\u003c/p>\n\u003cp>The Tarantino film would win him the Oscar for best original score in 2016. In accepting that award, Morricone told the audience at the ceremony: “There is no great music without a great film that inspires it.”\u003c/p>\n\u003cp>In total, he produced more than 400 original scores for feature films.\u003c/p>\n\u003cfigure id=\"attachment_13882932\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Ennio.Clint_-800x606.jpg\" alt=\"Ennio Morricone, left, accepts an honorary Oscar for his contributions to the art of film music as director Clint Eastwood looks on during the 79th Academy Awards in Los Angeles, in 2007.\" width=\"800\" height=\"606\" class=\"size-medium wp-image-13882932\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Ennio.Clint_-800x606.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Ennio.Clint_-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Ennio.Clint_-768x581.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Ennio.Clint_.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ennio Morricone, left, accepts an honorary Oscar for his contributions to the art of film music as director Clint Eastwood looks on during the 79th Academy Awards in Los Angeles, in 2007. \u003ccite>(AP Photo/Mark J. Terrill)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His iconic so-called Spaghetti Western movies saw him work closely with the late Italian film director Sergio Leone, a former classmate.\u003c/p>\n\u003cp>Morricone practically reinvented music for Western genre movies through his partnership with Leone. Their partnership included the \u003cem>Dollars\u003c/em> trilogy starring Clint Eastwood as a quick-shooting, lonesome gunman: \u003cem>A Fistful of Dollars\u003c/em> in 1964, \u003cem>For a Few Dollars More\u003c/em> in 1965 and \u003cem>The Good, the Bad and the Ugly\u003c/em> a year later.\u003c/p>\n\u003cp>Morricone was celebrated for crafting just a few notes — like those played on a harmonica in Leone’s 1984 movie \u003cem>Once Upon A Time in America\u003c/em> — that would instantly become a film’s highly memorable motif.\u003c/p>\n\u003cp>That movie is a saga about Jewish gangsters in New York that explores themes of friendship, lost love and the passing of time, starring Robert De Niro and James Wood. It is considered by some to be Leone’s masterpiece, thanks in part to Morricone’s evocative score, including a lush section played on string instruments.\u003c/p>\n\u003cp>“Inspiration does not exist,” Morricone said in a 2004 interview with The Associated Press. “What exists is an idea, a minimal idea that the composer develops at the desk, and that small idea becomes something important.”\u003c/p>\n\u003cp>In a later interview, with Italian state TV, Morricone cited “study, discipline and curiosity” as the keys to his creative genius. “Writing music, like all creative arts, comes from a long path” along life’s experiences, he said.\u003c/p>\n\u003cp>“A great phenomenon of world music” was how Italian film director Dario Argento described Morricone, who scored five of his films.\u003c/p>\n\u003cfigure id=\"attachment_13882933\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Ennio.Conduct-800x560.jpg\" alt=\"Ennio Morricone conducts with the Budapest Symphonic Orchestra - Gyor in 2009.\" width=\"800\" height=\"560\" class=\"size-medium wp-image-13882933\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Ennio.Conduct-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Ennio.Conduct-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Ennio.Conduct-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Ennio.Conduct.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ennio Morricone conducts with the Budapest Symphonic Orchestra – Gyor in 2009. \u003ccite>(AP Photo/Boris Grdanoski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In his late 80s, Morricone provided the score for \u003cem>The Hateful Eight\u003c/em>, Tarantino’s 2015 70-mm epic and the first time in decades that he had composed new music for a Western. It was also the first time Tarantino had used an original score.\u003c/p>\n\u003cp>In accepting Morricone’s Golden Globe for the music in his place, Tarantino called him his favorite composer.\u003c/p>\n\u003cp>“When I say ‘favorite composer,’ I don’t mean movie composer. … I’m talking about Mozart, I’m talking about Beethoven, I’m talking about Schubert,” Tarantino said.\u003c/p>\n\u003cp>Italy’s head of state, President Sergio Mattarella, in a condolence message to the composer’s family, wrote: “Both a refined and popular musician, he left a deep footprint on the musical history of the second half of the 1900s.”\u003c/p>\n\u003cp>Morricone’s sound tracks, Mattarella said, “contributed greatly to spreading and reinforcing the prestige of Italy in the world.”\u003c/p>\n\u003cp>Morricone’s style was sparse, made of memorable tunes and unusual instruments and arrangements, and often stirred deep emotions.\u003c/p>\n\u003cp>His music punctuated the long silences typical of the Spaghetti Westerns, with the characters locked in close-ups, staring at each other and waiting for their next moves. The coyote howl, harmonicas and eerie whistling of \u003cem>The Good, the Bad and the Ugly\u003c/em> became Morricone’s trademark and one of the most easily recognizable soundtracks in cinema.\u003c/p>\n\u003cp>Minutes before handing Morricone the Oscar for lifetime achievement in 2007, Eastwood recalled hearing for the first time the score of \u003cem>A Fistful of Dollars\u003c/em> and thinking: “What actor wouldn’t want to ride into town with that kind of music playing behind him?”\u003c/p>\n\u003cp>It was a night to remember for Morricone, who had been nominated for Oscars five times (\u003cem>The Hateful Eight\u003c/em> was his sixth) but until then had never won.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Born in Rome on Nov. 10, 1928, Morricone was the oldest of the five children. His father was a trumpet player.\u003c/p>\n\u003cp>After studying trumpet and composition at the Conservatory of the Accademia Nazionale di Santa Cecilia in the Italian capital, he started working as a trumpeter and then as an arranger for record companies.\u003c/p>\n\u003cp>“I started working on very easy kinds of music pieces for the radio, for television and then for the theater, and then little by little I started to compose the film scores,” he told the AP in 2016.\u003c/p>\n\u003cp>In 1961 he wrote his first score for a movie, a bittersweet comedy set in the final moments of Fascism called \u003cem>Il Federale\u003c/em> (known in English as \u003cem>The Fascist\u003c/em>). That decade also saw Morricone cooperate with Pontecorvo, first on \u003cem>The Battle of Algiers\u003c/em>, the black-and-white classic depicting the Algerian uprising against the French; and later on \u003cem>Queimada\u003c/em>, a tale of colonialism starring Marlon Brando.\u003c/p>\n\u003cp>Morricone received his first Oscar nomination for original score with \u003cem>Days Of Heaven\u003c/em>, a 1978 movie by U.S. director Terence Malick. Beside \u003cem>The Hateful Eight\u003c/em>, the others were for \u003cem>The Mission\u003c/em> (1986), \u003cem>The Untouchables\u003c/em> (1987), \u003cem>Bugsy\u003c/em> (1991) and \u003cem>Malena\u003c/em> (2000).\u003c/p>\n\u003cp>Shortly before his lifetime Oscar, Morricone joked that he would have been happy without the coveted statuette, saying “I would have remained in the company of illustrious non-winners.”\u003c/p>\n\u003cp>But he also made no secret that he thought \u003cem>The Mission\u003c/em>, with its memorably sweet theme of “Gabriel’s Oboe,” deserved the Academy Award. That year, he lost to Herbie Hancock’s \u003cem>Round Midnight\u003c/em>.\u003c/p>\n\u003cp>Morricone had recently composed music to be performed in Genoa’s Carlo Felice Theater later this summer in honor of the 43 victims of that city’s 2018 Morandi Bridge collapse, Genoa Mayor Marco Bucci said. The music will be performed on the eve of a ceremony inaugurating the bridge’s replacement, the mayor said.\u003c/p>\n\u003cp>Highly versatile, Morricone also orchestrated Italian pop tunes that include enduring classics, like one version of an eternal summer hit, “Sapore di Sale” (“Taste of Salt”), which was written by famed Italian troubadour Gino Paoli.\u003c/p>\n\u003cp>Another renowned maestro, Riccardo Muti, cited his “friendship and admiration″ for Morricone. Muti on Monday recalled that when he directed the composer’s piece “Voci dal Silenzio” (“Voices from the Silence”) the work elicited “true emotion” from the audience, both in Chicago, where Muti directs the symphony orchestra, as well as during a performance in Ravenna, Italy.\u003c/p>\n\u003cp>Muti called Morricone an “extraordinary” composer both for films and in classical music.\u003c/p>\n\u003cp>Asked by Italian state TV a few years ago if there was one director he would have liked to have worked with but didn’t, Morricone said Stanley Kubrick had asked him to work on \u003cem>A Clockwork Orange\u003c/em>. But that collaboration didn’t happen because of a commitment to Leone, Morricone recalled.\u003c/p>\n\u003cp>Morricone is survived by his wife Maria Travia, whom he cited when accepting his 2016 Oscar. Married in 1956, the couple had four children, Marco, Alessandra, Andrea and Giovanni.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003cem>Biographical material for this report was contributed by former AP correspondent Alessandra Rizzo.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "‘The Truth’ Taps Our Nostalgia for Deneuve, Binoche and Their On-Screen Personas",
"headTitle": "‘The Truth’ Taps Our Nostalgia for Deneuve, Binoche and Their On-Screen Personas | KQED",
"content": "\u003cp>Sweating through their underwear, a couple eats cold noodles on the floor of their living room. Between bites, the man compliments the woman’s new bra. She pauses, appraises it herself, then approaches his side of the table. Their first kiss is tentative. They haven’t had sex for a while. As they begin to lose their inhibitions, the camera leaves the room to give them some privacy. When it returns, the director closes in on a shot of noodles, spilled from a bowl, dripping down the side of the table.\u003c/p>\n\u003cp>That’s just one of a hundred intimate details the director Hirokazu Kore-eda captures in \u003ci>Shoplifters\u003c/i>, his shrewd, moving and thoughtful feature from 2018. In his latest film, \u003ci>The Truth\u003c/i>, he’s traded away such evocative visual metaphors—and their corresponding emotional intensity—for the opportunity to work with two French acting icons, Catherine Deneuve and Juliette Binoche. \u003c/p>\n\u003cp>And who can blame him? We all feel the draw of these stars. In the days leading up to the movie’s release, the American distributor, IFC Films, has launched a \u003ca href=\"https://www.instagram.com/p/CCB3c_upu8C/\" rel=\"noopener noreferrer\" target=\"_blank\">social media campaign\u003c/a> that capitalizes on the affection and sense of nostalgia we feel for the careers of both actresses.\u003c/p>\n\u003cfigure id=\"attachment_13882854\" class=\"wp-caption aligncenter\" style=\"max-width: 1866px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Screen-Shot-2020-07-02-at-9.54.54-AM.png\" alt=\"\" width=\"1866\" height=\"898\" class=\"size-full wp-image-13882854\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Screen-Shot-2020-07-02-at-9.54.54-AM.png 1866w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Screen-Shot-2020-07-02-at-9.54.54-AM-800x385.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Screen-Shot-2020-07-02-at-9.54.54-AM-1020x491.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Screen-Shot-2020-07-02-at-9.54.54-AM-160x77.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Screen-Shot-2020-07-02-at-9.54.54-AM-768x370.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Screen-Shot-2020-07-02-at-9.54.54-AM-1536x739.png 1536w\" sizes=\"(max-width: 1866px) 100vw, 1866px\">\u003cfigcaption class=\"wp-caption-text\">An IFC Films Instagram post featuring Catherine Deneuve in Jacques Demy’s ‘The Umbrellas of Cherbourg’ (1964).\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>The Truth\u003c/i> is essentially a two-hour extension of that advertising campaign. As Fabienne Dangeville (that surname translates as “from the city of angels”), Deneuve plays, of all things, an actress who’s just published her memoir. To emphasize her primary character flaw—a perpetual feeling of dissatisfaction—the director repeats her disappointed response to the temperature of her tea. Her devoted manservant (a little less creepy than \u003cem>Sunset Boulevard’\u003c/em>s Max von Mayerling) serves it “lukewarm.” That adjective also encapsulates Fabienne’s attitude toward this phase of her career. She’s still receiving scripts and getting work in films. But when a journalist asks her about an upcoming project, she dismisses it as having no inherent artistic value. Nothing compares to the films she worked on in her heyday.\u003c/p>\n\u003cp>Shortly after Fabienne sniffs petulantly at another inadequate cup of tea, her daughter, granddaughter and son-in-law (Ethan Hawke, miscast and awkward) arrive at her charming suburban home. Binoche is Lumir (an abbreviated form of the French word for “light”), the daughter who moved to California to escape the long reach of her mother’s shadow. As far as mothers and daughters go, Deneuve and Binoche look nothing alike. But the real problem with accepting them as blood relatives is how far apart their temperaments are. When Binoche is at her best, critics praise her for being natural and authentic. Whereas Deneuve’s beauty and remote affect once seemed like some god’s divine creation. She was born—no, destined—to be a movie star.\u003c/p>\n\u003cfigure id=\"attachment_13882848\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/TheTruth_2.jpg\" alt=\"\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13882848\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/TheTruth_2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/TheTruth_2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/TheTruth_2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/TheTruth_2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/TheTruth_2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/TheTruth_2-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Juliette Binoche as Lumir, Catherine Deneuve as Fabienne, Ethan Hawke as Hank, and Clémentine Grenier as Charlotte in Hirokazu Kore-eda’s ‘The Truth’. \u003ccite>(IFC Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They were cast opposite each other to embody these obvious tensions: opposing character traits and differing generational approaches to acting. But the makeshift family in \u003ci>Shoplifters\u003c/i> looks and feels much more like a group of people who sleep, eat and steal things together on a daily basis. It may be a deliberate aspect of Kore-eda’s realistic approach to filmmaking, but you seldom believe that either actress in \u003ci>The Truth\u003c/i> is either in character or developing one. The director hired them because he knows the audience loves to see their established personas. We know what will happen as the film progresses: Deneuve’s froideur will slowly melt away; Binoche’s easy tears will streak her face and her voice will break in sorrow.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Where Kore-eda does succeed in creating a heartfelt exchange is on the artificial set of Fabienne’s new film. This film-within-a-film is based on Ken Liu’s short story “Memories of My Mother.” And it’s Liu’s sci-fi story that Kore-eda finds more affecting than his own script. A young dying mother (Manon Clavel) leaves her family to live in outer space, or some other dimension, where she won’t age or get ill. She returns to Earth every seven years to visit her family. The key relationship—between the aging daughter (Fabienne’s role) and the mother who remains forever young—is meant to reflect back on the dynamic between Lumir and her mother, and their failure to connect. Instead, our attention is drawn to Manon Clavel’s alluring performance.\u003c/p>\n\u003cp>Intent on demystifying both Deneuve’s and Binoche’s artistry, Kore-eda focuses on their ordinary human foibles and frailties. Binoche has never been this demure and mousy. And is Deneuve really this petty and self-absorbed? Of course not. They’re acting—but they’re also generously passing the torch to Clavel. She waltzes on and off the screen, retaining the mystique that her celebrated co-stars seem happy to relinquish.\u003c/p>\n\u003cfigure id=\"attachment_13882846\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/TheTruth_4.jpg\" alt=\"\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13882846\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/TheTruth_4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/TheTruth_4-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/TheTruth_4-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/TheTruth_4-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/TheTruth_4-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/TheTruth_4-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Ethan Hawke as Hank, Juliette Binoche as Lumir, Catherine Deneuve as Fabienne, and Clémentine Grenier as Charlotte in Hirokazu Kore-eda’s ‘The Truth’. \u003ccite>(IFC Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kore-eda is right though to draw upon our nostalgic associations with films from both actresses’ oeuvres, many of which include family melodramas and difficult mother-daughter dynamics. It’s pleasurable to watch both actresses on screen, no matter what they’re doing. For the length of the film, we’re casually in their presence, hanging out like with them as if they’re old familiar friends. And the nostalgia is compounded by simply watching a family gather, even such an artificial one, because we haven’t been able to do so with our own families for months.\u003c/p>\n\u003cp>Early in \u003ci>The Truth\u003c/i>, Fabienne turns down a role because, she says, the script lacks poetry. When Kore-eda takes a close-up shot of Clavel’s character returning to her own daughter, \u003ci>The Truth\u003c/i> lifts up, momentarily, to those longed-for poetic heights. We see the emotion on her face. With each explanatory line of banal dialogue, Deneuve and Binoche leave nothing unsaid for the audience’s imagination. As characters in a film, they’re at once weightless and without gravity. The director removes their screen idol sheen and plants their elegant, elevated feet firmly on the ground.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"alignright size-full 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>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘The Truth’ opens Friday, July on streaming platforms. \u003ca href=\"https://www.ifcfilms.com/films/the-truth\" 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>Sweating through their underwear, a couple eats cold noodles on the floor of their living room. Between bites, the man compliments the woman’s new bra. She pauses, appraises it herself, then approaches his side of the table. Their first kiss is tentative. They haven’t had sex for a while. As they begin to lose their inhibitions, the camera leaves the room to give them some privacy. When it returns, the director closes in on a shot of noodles, spilled from a bowl, dripping down the side of the table.\u003c/p>\n\u003cp>That’s just one of a hundred intimate details the director Hirokazu Kore-eda captures in \u003ci>Shoplifters\u003c/i>, his shrewd, moving and thoughtful feature from 2018. In his latest film, \u003ci>The Truth\u003c/i>, he’s traded away such evocative visual metaphors—and their corresponding emotional intensity—for the opportunity to work with two French acting icons, Catherine Deneuve and Juliette Binoche. \u003c/p>\n\u003cp>And who can blame him? We all feel the draw of these stars. In the days leading up to the movie’s release, the American distributor, IFC Films, has launched a \u003ca href=\"https://www.instagram.com/p/CCB3c_upu8C/\" rel=\"noopener noreferrer\" target=\"_blank\">social media campaign\u003c/a> that capitalizes on the affection and sense of nostalgia we feel for the careers of both actresses.\u003c/p>\n\u003cfigure id=\"attachment_13882854\" class=\"wp-caption aligncenter\" style=\"max-width: 1866px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Screen-Shot-2020-07-02-at-9.54.54-AM.png\" alt=\"\" width=\"1866\" height=\"898\" class=\"size-full wp-image-13882854\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Screen-Shot-2020-07-02-at-9.54.54-AM.png 1866w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Screen-Shot-2020-07-02-at-9.54.54-AM-800x385.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Screen-Shot-2020-07-02-at-9.54.54-AM-1020x491.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Screen-Shot-2020-07-02-at-9.54.54-AM-160x77.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Screen-Shot-2020-07-02-at-9.54.54-AM-768x370.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Screen-Shot-2020-07-02-at-9.54.54-AM-1536x739.png 1536w\" sizes=\"(max-width: 1866px) 100vw, 1866px\">\u003cfigcaption class=\"wp-caption-text\">An IFC Films Instagram post featuring Catherine Deneuve in Jacques Demy’s ‘The Umbrellas of Cherbourg’ (1964).\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>The Truth\u003c/i> is essentially a two-hour extension of that advertising campaign. As Fabienne Dangeville (that surname translates as “from the city of angels”), Deneuve plays, of all things, an actress who’s just published her memoir. To emphasize her primary character flaw—a perpetual feeling of dissatisfaction—the director repeats her disappointed response to the temperature of her tea. Her devoted manservant (a little less creepy than \u003cem>Sunset Boulevard’\u003c/em>s Max von Mayerling) serves it “lukewarm.” That adjective also encapsulates Fabienne’s attitude toward this phase of her career. She’s still receiving scripts and getting work in films. But when a journalist asks her about an upcoming project, she dismisses it as having no inherent artistic value. Nothing compares to the films she worked on in her heyday.\u003c/p>\n\u003cp>Shortly after Fabienne sniffs petulantly at another inadequate cup of tea, her daughter, granddaughter and son-in-law (Ethan Hawke, miscast and awkward) arrive at her charming suburban home. Binoche is Lumir (an abbreviated form of the French word for “light”), the daughter who moved to California to escape the long reach of her mother’s shadow. As far as mothers and daughters go, Deneuve and Binoche look nothing alike. But the real problem with accepting them as blood relatives is how far apart their temperaments are. When Binoche is at her best, critics praise her for being natural and authentic. Whereas Deneuve’s beauty and remote affect once seemed like some god’s divine creation. She was born—no, destined—to be a movie star.\u003c/p>\n\u003cfigure id=\"attachment_13882848\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/TheTruth_2.jpg\" alt=\"\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13882848\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/TheTruth_2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/TheTruth_2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/TheTruth_2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/TheTruth_2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/TheTruth_2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/TheTruth_2-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Juliette Binoche as Lumir, Catherine Deneuve as Fabienne, Ethan Hawke as Hank, and Clémentine Grenier as Charlotte in Hirokazu Kore-eda’s ‘The Truth’. \u003ccite>(IFC Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They were cast opposite each other to embody these obvious tensions: opposing character traits and differing generational approaches to acting. But the makeshift family in \u003ci>Shoplifters\u003c/i> looks and feels much more like a group of people who sleep, eat and steal things together on a daily basis. It may be a deliberate aspect of Kore-eda’s realistic approach to filmmaking, but you seldom believe that either actress in \u003ci>The Truth\u003c/i> is either in character or developing one. The director hired them because he knows the audience loves to see their established personas. We know what will happen as the film progresses: Deneuve’s froideur will slowly melt away; Binoche’s easy tears will streak her face and her voice will break in sorrow.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Where Kore-eda does succeed in creating a heartfelt exchange is on the artificial set of Fabienne’s new film. This film-within-a-film is based on Ken Liu’s short story “Memories of My Mother.” And it’s Liu’s sci-fi story that Kore-eda finds more affecting than his own script. A young dying mother (Manon Clavel) leaves her family to live in outer space, or some other dimension, where she won’t age or get ill. She returns to Earth every seven years to visit her family. The key relationship—between the aging daughter (Fabienne’s role) and the mother who remains forever young—is meant to reflect back on the dynamic between Lumir and her mother, and their failure to connect. Instead, our attention is drawn to Manon Clavel’s alluring performance.\u003c/p>\n\u003cp>Intent on demystifying both Deneuve’s and Binoche’s artistry, Kore-eda focuses on their ordinary human foibles and frailties. Binoche has never been this demure and mousy. And is Deneuve really this petty and self-absorbed? Of course not. They’re acting—but they’re also generously passing the torch to Clavel. She waltzes on and off the screen, retaining the mystique that her celebrated co-stars seem happy to relinquish.\u003c/p>\n\u003cfigure id=\"attachment_13882846\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/TheTruth_4.jpg\" alt=\"\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13882846\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/TheTruth_4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/TheTruth_4-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/TheTruth_4-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/TheTruth_4-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/TheTruth_4-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/TheTruth_4-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Ethan Hawke as Hank, Juliette Binoche as Lumir, Catherine Deneuve as Fabienne, and Clémentine Grenier as Charlotte in Hirokazu Kore-eda’s ‘The Truth’. \u003ccite>(IFC Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kore-eda is right though to draw upon our nostalgic associations with films from both actresses’ oeuvres, many of which include family melodramas and difficult mother-daughter dynamics. It’s pleasurable to watch both actresses on screen, no matter what they’re doing. For the length of the film, we’re casually in their presence, hanging out like with them as if they’re old familiar friends. And the nostalgia is compounded by simply watching a family gather, even such an artificial one, because we haven’t been able to do so with our own families for months.\u003c/p>\n\u003cp>Early in \u003ci>The Truth\u003c/i>, Fabienne turns down a role because, she says, the script lacks poetry. When Kore-eda takes a close-up shot of Clavel’s character returning to her own daughter, \u003ci>The Truth\u003c/i> lifts up, momentarily, to those longed-for poetic heights. We see the emotion on her face. With each explanatory line of banal dialogue, Deneuve and Binoche leave nothing unsaid for the audience’s imagination. As characters in a film, they’re at once weightless and without gravity. The director removes their screen idol sheen and plants their elegant, elevated feet firmly on the ground.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"alignright size-full 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>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Truth’ opens Friday, July on streaming platforms. \u003ca href=\"https://www.ifcfilms.com/films/the-truth\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Academy of Motion Picture Arts and Sciences Invites More Women, Minorities",
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"content": "\u003cp>After longstanding criticism over its lack of diversity, The Academy of Motion Picture Arts and Sciences is continuing to invite more women and minorities to its membership.\u003c/p>\n\u003cp>Of the 819 artists and executives invited to join in 2020, the Academy says 45 percent are women and 36 percent are from underrepresented ethnic and racial communities. Among those invited to join are actors Awkwafina, Cynthia Erivo and Eva Longoria, Native American director Sterlin Harjo and executive Ozzie Areu who, along with his brother Will, are the \u003ca href=\"https://www.gpbnews.org/post/atlantas-areu-bros-open-first-latinx-owned-studios-us\" target=\"_blank\" rel=\"noopener noreferrer\">first\u003c/a> Latinxs to own and operate a film and TV studio in the United States.\u003c/p>\n\u003cp>In 2019, of the 842 invited to join the Academy, 50 percent were women and 29 percent were minorities.\u003c/p>\n\u003cp>In a statement, Academy President David Rubin says, “The Academy is delighted to welcome these distinguished fellow travelers in the motion picture arts and sciences. We have always embraced extraordinary talent that reflects the rich variety of our global film community, and never more so than now.”\u003c/p>\n\u003cp>“Always” is a bit of a stretch. Eddie Murphy joked about the Oscars’ lack of recognition of Black people as far back as 1988. Kim Basinger called it out in 1990. Halle Berry in 2002. In 2012, the \u003cem>Los Angeles Times\u003c/em> surveyed some 5,000 Academy members and \u003ca href=\"https://www.latimes.com/entertainment/movies/moviesnow/la-et-mn-diversity-oscar-academy-members-20131221-story.html#ixzz2uqvZKl10\" target=\"_blank\" rel=\"noopener noreferrer\">discovered\u003c/a> that 93 percent were white, 76 percent were male and the average age was 63 years old.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Five years ago, calls to boycott the Oscars and the #OscarsSoWhite campaign seemed to be the tipping point for the Academy to face the glaring disparity. In 2016, the Hollywood institution announced an initiative to double the number of women and underrepresented ethnic/racial communities by 2020. While this week’s announcement moves the Academy closer to that goal, it remains largely white and male overall. According to the \u003ca href=\"https://www.nytimes.com/2020/06/30/movies/academy-oscars-new-members.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>New York Times\u003c/em>\u003c/a>, “only 19 percent of the current members are people of color while just 33 percent of Oscar voters are female.”\u003c/p>\n\u003cp>April Reign, the founder of #OscarsSoWhite, says that despite having five years “to show meaningful commitment to issues of inclusion and diversity, the Oscars nomination and voting process still results in little more than a popularity contest amongst older white men.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>One of the Academy’s new members, writer, director and producer Lulu Wang \u003ca href=\"https://twitter.com/thumbelulu/status/1278092929072951296?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">tweeted\u003c/a> that she is “honored” to join the Academy. “Though there is still much work to be done,” Wang writes, “this class looks more like an actual jury of our PEERS than ever before.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Academy+Of+Motion+Picture+Arts+And+Sciences+Invites+More+Women%2C+Minorities&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After longstanding criticism over its lack of diversity, The Academy of Motion Picture Arts and Sciences is continuing to invite more women and minorities to its membership.\u003c/p>\n\u003cp>Of the 819 artists and executives invited to join in 2020, the Academy says 45 percent are women and 36 percent are from underrepresented ethnic and racial communities. Among those invited to join are actors Awkwafina, Cynthia Erivo and Eva Longoria, Native American director Sterlin Harjo and executive Ozzie Areu who, along with his brother Will, are the \u003ca href=\"https://www.gpbnews.org/post/atlantas-areu-bros-open-first-latinx-owned-studios-us\" target=\"_blank\" rel=\"noopener noreferrer\">first\u003c/a> Latinxs to own and operate a film and TV studio in the United States.\u003c/p>\n\u003cp>In 2019, of the 842 invited to join the Academy, 50 percent were women and 29 percent were minorities.\u003c/p>\n\u003cp>In a statement, Academy President David Rubin says, “The Academy is delighted to welcome these distinguished fellow travelers in the motion picture arts and sciences. We have always embraced extraordinary talent that reflects the rich variety of our global film community, and never more so than now.”\u003c/p>\n\u003cp>“Always” is a bit of a stretch. Eddie Murphy joked about the Oscars’ lack of recognition of Black people as far back as 1988. Kim Basinger called it out in 1990. Halle Berry in 2002. In 2012, the \u003cem>Los Angeles Times\u003c/em> surveyed some 5,000 Academy members and \u003ca href=\"https://www.latimes.com/entertainment/movies/moviesnow/la-et-mn-diversity-oscar-academy-members-20131221-story.html#ixzz2uqvZKl10\" target=\"_blank\" rel=\"noopener noreferrer\">discovered\u003c/a> that 93 percent were white, 76 percent were male and the average age was 63 years old.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Five years ago, calls to boycott the Oscars and the #OscarsSoWhite campaign seemed to be the tipping point for the Academy to face the glaring disparity. In 2016, the Hollywood institution announced an initiative to double the number of women and underrepresented ethnic/racial communities by 2020. While this week’s announcement moves the Academy closer to that goal, it remains largely white and male overall. According to the \u003ca href=\"https://www.nytimes.com/2020/06/30/movies/academy-oscars-new-members.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>New York Times\u003c/em>\u003c/a>, “only 19 percent of the current members are people of color while just 33 percent of Oscar voters are female.”\u003c/p>\n\u003cp>April Reign, the founder of #OscarsSoWhite, says that despite having five years “to show meaningful commitment to issues of inclusion and diversity, the Oscars nomination and voting process still results in little more than a popularity contest amongst older white men.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>One of the Academy’s new members, writer, director and producer Lulu Wang \u003ca href=\"https://twitter.com/thumbelulu/status/1278092929072951296?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">tweeted\u003c/a> that she is “honored” to join the Academy. “Though there is still much work to be done,” Wang writes, “this class looks more like an actual jury of our PEERS than ever before.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Academy+Of+Motion+Picture+Arts+And+Sciences+Invites+More+Women%2C+Minorities&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Hamilton' Comes Home, Just in Time For the Fourth of July",
"headTitle": "‘Hamilton’ Comes Home, Just in Time For the Fourth of July | KQED",
"content": "\u003cblockquote>\u003cp>We committed the unpardonable crime of being mavericks who were successful, and everybody hated us. It would’ve been fine if we’d been just hacks and made a lot of money, that’s okay. Or to be really original and starve, that’s okay. But it’s not okay to do both, and they didn’t forgive us.\u003c/p>\u003c/blockquote>\n\u003cp>That’s what Stephen Sondheim says in the 2016 documentary \u003cem>Best Worst Thing That Ever Could’ve Happened\u003c/em>. He’s speaking about the glee and meanness in the press and elsewhere over the commercial failure and quick closure of the 1981 musical \u003cem>Merrily We Roll Along\u003c/em>, which he created with producer and director Hal Prince after the successes they’d had with \u003cem>Follies \u003c/em>and especially \u003cem>Sweeney Todd\u003c/em>. Sondheim isn’t saying that’s why people didn’t like the show; he’s saying that’s why they took such pleasure in not liking it.\u003c/p>\n\u003cp>Talking about \u003cem>Hamilton \u003c/em>now can, if Sondheim is right, provoke a similar reaction. The film version of \u003cem>Hamilton\u003c/em> that arrives Friday on Disney+ is a film of the stage musical, assembled from three days of performances when the show was at its hottest, in June 2016, just before the original cast began to leave. \u003cem>Hamilton\u003c/em> was a juggernaut by then, and it’s a Disney movie now, but it was also “really original” and, let’s be honest: pretty high-risk.\u003c/p>\n\u003cp>It’s not just that it’s a race-bent hip-hop musical about the Founding Fathers. It’s almost entirely sung-through, meaning there’s little dialogue to flesh out the story. The company, outside the main characters, dresses in plain white and cream in what often looks like underwear. The staging plays with time, both by spinning it backward and forward and by stopping it entirely. And arguably its most humane, deeply felt performance is by Leslie Odom Jr. playing Aaron Burr, the man who kills the title character. And who reminds you in the opening number that that’s how this all ends: “I’m the damn fool that shot him.”\u003c/p>\n\u003cp>It’s easy to forget now how much people struggled with what to make of it. In a \u003ca href=\"https://www.youtube.com/watch?v=WNFf7nMIGnE\" target=\"_blank\" rel=\"noopener noreferrer\">now-famous clip from 2009\u003c/a>, filmed when Barack Obama had been president only a few months, 29-year-old Lin-Manuel Miranda appears at a White House event called “An Evening of Poetry, Music & the Spoken Word.” He announces, in front of an audience that is not terribly different from the big-ticket Broadway audience he’ll one day have to impress, that he’s working on a hip-hop concept album about Alexander Hamilton, and they laugh at him. Gently, appreciatively, but they laugh. Even by the end, though they give him a big ovation, they don’t seem entirely sure it’s not a joke.\u003c/p>\n\u003cp>Can you imagine what it must have been like to continue working on this for another \u003cem>five years\u003c/em>, having taken something you see as an epic American tragedy for a spin at the White House and having them laugh? And continuing, and persuading your collaborators to continue, in the conviction that this was your \u003cem>Sweeney Todd\u003c/em>, and not your \u003cem>Merrily We Roll Along\u003c/em>?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But here we are, 11 years later, and the film adaptation is a marvelous and welcome addition to the show’s legacy in spite of a few imperfections. Even for those who know the celebrated cast album backward and forward. Even for those who have seen it live. Even for those who have seen it live with this cast.\u003c/p>\n\u003cp>A few basics: This is not a full film adaptation such as the movie versions of \u003cem>Grease \u003c/em>or \u003cem>Rent \u003c/em>or whatever. It’s a high-quality recording of the stage production, like the ones they would show on PBS’ \u003cem>Great Performances \u003c/em>(where some of us thought this might end up when they announced they were filming the show back in 2016). It’s directed by Thomas Kail, who also directed the musical onstage, and for the most part, it does a good job of translating the show for a home audience.\u003c/p>\n\u003cp>One reason to watch the film is to better appreciate the acting. Close-ups of theater actors can be a little distracting because acting for theater is sometimes exaggerated for the benefit of an audience that’s far away. When you see it from a foot away, it can look a little much. (Miranda is probably the performer who’s most negatively affected by that problem in this film. Well, Miranda and Jonathan Groff, whose tendency to spit is legendary. You shall see.) Fortunately, in most cases, the opportunity to see the actors up close brings out nuance and performance choices that aren’t discernible on the cast album \u003cem>and \u003c/em>wouldn’t even be fully obvious live. Phillipa Soo, playing Eliza, brings great warmth to some scenes that could be hard to take given the long-suffering nature of the character, and you get more of that when you see it up close.\u003c/p>\n\u003cp>Another reason is that the staging has a tendency to bring out different elements—additional elements—of what a song represents in a scene. One example is “My Shot.” On the album, it’s a song where Hamilton is bonding with John Laurens (Anthony Ramos), Lafayette (Daveed Diggs) and Hercules Mulligan (Okieriete Odaodowan). But in the film, you can more easily see how it serves to introduce Hamilton’s magnetism; it’s not only his new friends who are persuaded; he’s pulling in a whole bar full of listeners while Aaron Burr (Odom) sits, disapproving, nearby.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DSCKfXpAGHc&feature=emb_logo\u003c/p>\n\u003cp>You also really have to see it to appreciate the quality of the very best performances in it, particularly the work of Odom and Diggs. Aaron Burr is a confounding, complicated character, and seeing Odom operate in different parts of the stage and in clearly different performance modes reminds you that just like Diggs is playing Jefferson and also Lafayette and Ramos is playing Laurens and also Hamilton’s son Philip, Odom is also really playing two roles. He’s playing Burr in the moment, as Hamilton’s contemporary. But he’s also playing an older, reflective Burr—the one who’s able to explain at the end the profound effects of his having shot Hamilton. This older Burr is an intimately involved narrator, almost like the Leading Player in \u003cem>Pippin \u003c/em>or the narrator in \u003cem>Into the Woods \u003c/em>(or, for the matter, the Emcee in \u003cem>Cabaret\u003c/em>), and his performance there swells to “The World Was Wide Enough,” which contains the duel and Hamilton’s death.\u003c/p>\n\u003cp>But Odom’s performance as that contemporary Burr centers on two of the show’s best songs: “Wait For It” and “The Room Where it Happens.”\u003c/p>\n\u003cp>In the first, he’s a study in stillness, in the projection of restrained, coiled-spring tension. It’s a song of both great energy and enormous discipline, and seeing him perform it gives a better idea of how he holds those performance notes in balance. In “The Room Where it Happens,” you see that energy overwhelm him. This is where he abandons his existing ideas of patience, and the physicality of the performance—this is really the first time he fully joins in a dance—brings home the moment of transformation in a way that the music certainly supports but doesn’t fully communicate. When you see the performance, it is jazz, it’s Cab Calloway, it’s ecstatic, it’s church. It’s thrilling, and he’s losing himself.\u003c/p>\n\u003cp>As for Diggs, a true fact might say more than any description I can muster: I couldn’t stop watching his entrance as Lafayette in the song “Guns and Ships.” I kept rewinding it. I’ve heard the cast album more times than I can count (my phone might know, but I’m afraid to ask), and I still was so blown away by the charismatic sonic boom of that Lafayette entrance that I replayed those 45 seconds or so probably 10 times before I moved on, and then 10 more times at the end of the movie, and then 10 more times since.\u003c/p>\n\u003cp>There is something about a perfect marriage of writing and performance—that’s not to say there haven’t been and won’t be lots and lots of good Lafayettes, but it’s pretty hard to hear anybody else sing \u003ca href=\"https://www.youtube.com/watch?v=uQEeTe6nPX4\" target=\"_blank\" rel=\"noopener noreferrer\">“Blow, Gabriel, Blow”\u003c/a> after you hear Ethel Merman do it, you know? The same could be said about Diggs’ little hopping dance when he first enters as Jefferson, in his gaudy and somehow perfect purple suit, flapping the tails while he dances to “What’d I Miss?” He is an electric, charismatic, athletic performer, and when you see the physical choices, you get closer to understanding the full weight of the work he did.\u003c/p>\n\u003cp>It’s also worth seeing the film, as an effort to document the live show, because the musical performances are a little less polished. A cast album is … well, it’s a cast album, meant to be listenable by the broadest possible audience without reference to the action. And because that’s the case, the live performances of the music tend to be a little more ragged—more raucous, to use a more positive adjective—while the ones on the album are neater. Specifically with hip-hop and rap, the cast album documents those elements with the most rigorous adherence to the beat, while in the live show, there’s a little bit more of a tendency for the performers to bend the vocal a bit more around the rhythms, sometimes a bit more ahead of the beat or behind it, which you also hear in the performance of “My Shot” credited to the Roots that plays over the end credits. [aside postid='arts_13882671']\u003c/p>\n\u003cp>The last thing I’d mention that comes into focus much better when you see how it’s staged is the creative use of the company. There’s a relatively small ensemble outside the main cast, and they have to represent armies and wedding guests, and they provide the chorus, and they are the dancers. The way they’re used is both sparing and imaginative, with limited but emphatic costuming changes transforming them between scenes. And similarly, it’s worth noticing how the members of the main cast linger on the catwalk above the stage, sometimes singing or speaking from there and sometimes simply observing, often augmenting the ensemble. It’s a clever and sometimes quite touching way to continue the theme, which begins in the double-casting, of connections between the people in a life, how they are in the background at one time and prominent at another.\u003c/p>\n\u003cp>I do think there are a couple of missteps: Rather than simply showing the unconventional staging of “Satisfied,” which is the most creatively staged number—alongside perhaps the duel in the finale—Kail seems to have tried to come up with a filming technique that would provide, via filming and editing, the disorienting effect that staging had. They should’ve just filmed it, with its tremendous performance by Renée Elise Goldsberry; you lose something here that’s special. I would say the same about the side-by-side two-chair staging of “Dear Theodosia,” in that I’d have messed with it a little less.\u003c/p>\n\u003cp>But these are small nitpicks. On the whole, absolutely, positively, there is new insight and new excitement here for people who already know that they love this show, and even for those who have stayed away from the album. \u003cem>Hamilton\u003c/em> is a piece whose status as art is constantly threatened by its status as a phenomenon and a status symbol; the cultural exhaustion has been, at times, very real and beyond understandable. This is a good reset, and a good chance to put a fresh eye on it. You will notice new things (there are a few clever stage tricks I don’t want to spoil), you will marvel at little wonders like the perfectly still way Groff holds his head when he sings, and you will likely not be bothered by a couple of f-bombs that are garbled to avoid an R rating. (Most aren’t. But the rules are strict, so a couple had to be.)\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And if Sondheim is right, there will be plenty of people waiting for the next Lin-Manuel Miranda musical to go over like \u003cem>Merrily We Roll Along\u003c/em>. The film, I think, will not.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=%27Hamilton%27+Comes+Home%2C+Just+In+Time+For+The+Fourth+Of+July&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cblockquote>\u003cp>We committed the unpardonable crime of being mavericks who were successful, and everybody hated us. It would’ve been fine if we’d been just hacks and made a lot of money, that’s okay. Or to be really original and starve, that’s okay. But it’s not okay to do both, and they didn’t forgive us.\u003c/p>\u003c/blockquote>\n\u003cp>That’s what Stephen Sondheim says in the 2016 documentary \u003cem>Best Worst Thing That Ever Could’ve Happened\u003c/em>. He’s speaking about the glee and meanness in the press and elsewhere over the commercial failure and quick closure of the 1981 musical \u003cem>Merrily We Roll Along\u003c/em>, which he created with producer and director Hal Prince after the successes they’d had with \u003cem>Follies \u003c/em>and especially \u003cem>Sweeney Todd\u003c/em>. Sondheim isn’t saying that’s why people didn’t like the show; he’s saying that’s why they took such pleasure in not liking it.\u003c/p>\n\u003cp>Talking about \u003cem>Hamilton \u003c/em>now can, if Sondheim is right, provoke a similar reaction. The film version of \u003cem>Hamilton\u003c/em> that arrives Friday on Disney+ is a film of the stage musical, assembled from three days of performances when the show was at its hottest, in June 2016, just before the original cast began to leave. \u003cem>Hamilton\u003c/em> was a juggernaut by then, and it’s a Disney movie now, but it was also “really original” and, let’s be honest: pretty high-risk.\u003c/p>\n\u003cp>It’s not just that it’s a race-bent hip-hop musical about the Founding Fathers. It’s almost entirely sung-through, meaning there’s little dialogue to flesh out the story. The company, outside the main characters, dresses in plain white and cream in what often looks like underwear. The staging plays with time, both by spinning it backward and forward and by stopping it entirely. And arguably its most humane, deeply felt performance is by Leslie Odom Jr. playing Aaron Burr, the man who kills the title character. And who reminds you in the opening number that that’s how this all ends: “I’m the damn fool that shot him.”\u003c/p>\n\u003cp>It’s easy to forget now how much people struggled with what to make of it. In a \u003ca href=\"https://www.youtube.com/watch?v=WNFf7nMIGnE\" target=\"_blank\" rel=\"noopener noreferrer\">now-famous clip from 2009\u003c/a>, filmed when Barack Obama had been president only a few months, 29-year-old Lin-Manuel Miranda appears at a White House event called “An Evening of Poetry, Music & the Spoken Word.” He announces, in front of an audience that is not terribly different from the big-ticket Broadway audience he’ll one day have to impress, that he’s working on a hip-hop concept album about Alexander Hamilton, and they laugh at him. Gently, appreciatively, but they laugh. Even by the end, though they give him a big ovation, they don’t seem entirely sure it’s not a joke.\u003c/p>\n\u003cp>Can you imagine what it must have been like to continue working on this for another \u003cem>five years\u003c/em>, having taken something you see as an epic American tragedy for a spin at the White House and having them laugh? And continuing, and persuading your collaborators to continue, in the conviction that this was your \u003cem>Sweeney Todd\u003c/em>, and not your \u003cem>Merrily We Roll Along\u003c/em>?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But here we are, 11 years later, and the film adaptation is a marvelous and welcome addition to the show’s legacy in spite of a few imperfections. Even for those who know the celebrated cast album backward and forward. Even for those who have seen it live. Even for those who have seen it live with this cast.\u003c/p>\n\u003cp>A few basics: This is not a full film adaptation such as the movie versions of \u003cem>Grease \u003c/em>or \u003cem>Rent \u003c/em>or whatever. It’s a high-quality recording of the stage production, like the ones they would show on PBS’ \u003cem>Great Performances \u003c/em>(where some of us thought this might end up when they announced they were filming the show back in 2016). It’s directed by Thomas Kail, who also directed the musical onstage, and for the most part, it does a good job of translating the show for a home audience.\u003c/p>\n\u003cp>One reason to watch the film is to better appreciate the acting. Close-ups of theater actors can be a little distracting because acting for theater is sometimes exaggerated for the benefit of an audience that’s far away. When you see it from a foot away, it can look a little much. (Miranda is probably the performer who’s most negatively affected by that problem in this film. Well, Miranda and Jonathan Groff, whose tendency to spit is legendary. You shall see.) Fortunately, in most cases, the opportunity to see the actors up close brings out nuance and performance choices that aren’t discernible on the cast album \u003cem>and \u003c/em>wouldn’t even be fully obvious live. Phillipa Soo, playing Eliza, brings great warmth to some scenes that could be hard to take given the long-suffering nature of the character, and you get more of that when you see it up close.\u003c/p>\n\u003cp>Another reason is that the staging has a tendency to bring out different elements—additional elements—of what a song represents in a scene. One example is “My Shot.” On the album, it’s a song where Hamilton is bonding with John Laurens (Anthony Ramos), Lafayette (Daveed Diggs) and Hercules Mulligan (Okieriete Odaodowan). But in the film, you can more easily see how it serves to introduce Hamilton’s magnetism; it’s not only his new friends who are persuaded; he’s pulling in a whole bar full of listeners while Aaron Burr (Odom) sits, disapproving, nearby.\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/DSCKfXpAGHc'\n title='//www.youtube.com/embed/DSCKfXpAGHc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>You also really have to see it to appreciate the quality of the very best performances in it, particularly the work of Odom and Diggs. Aaron Burr is a confounding, complicated character, and seeing Odom operate in different parts of the stage and in clearly different performance modes reminds you that just like Diggs is playing Jefferson and also Lafayette and Ramos is playing Laurens and also Hamilton’s son Philip, Odom is also really playing two roles. He’s playing Burr in the moment, as Hamilton’s contemporary. But he’s also playing an older, reflective Burr—the one who’s able to explain at the end the profound effects of his having shot Hamilton. This older Burr is an intimately involved narrator, almost like the Leading Player in \u003cem>Pippin \u003c/em>or the narrator in \u003cem>Into the Woods \u003c/em>(or, for the matter, the Emcee in \u003cem>Cabaret\u003c/em>), and his performance there swells to “The World Was Wide Enough,” which contains the duel and Hamilton’s death.\u003c/p>\n\u003cp>But Odom’s performance as that contemporary Burr centers on two of the show’s best songs: “Wait For It” and “The Room Where it Happens.”\u003c/p>\n\u003cp>In the first, he’s a study in stillness, in the projection of restrained, coiled-spring tension. It’s a song of both great energy and enormous discipline, and seeing him perform it gives a better idea of how he holds those performance notes in balance. In “The Room Where it Happens,” you see that energy overwhelm him. This is where he abandons his existing ideas of patience, and the physicality of the performance—this is really the first time he fully joins in a dance—brings home the moment of transformation in a way that the music certainly supports but doesn’t fully communicate. When you see the performance, it is jazz, it’s Cab Calloway, it’s ecstatic, it’s church. It’s thrilling, and he’s losing himself.\u003c/p>\n\u003cp>As for Diggs, a true fact might say more than any description I can muster: I couldn’t stop watching his entrance as Lafayette in the song “Guns and Ships.” I kept rewinding it. I’ve heard the cast album more times than I can count (my phone might know, but I’m afraid to ask), and I still was so blown away by the charismatic sonic boom of that Lafayette entrance that I replayed those 45 seconds or so probably 10 times before I moved on, and then 10 more times at the end of the movie, and then 10 more times since.\u003c/p>\n\u003cp>There is something about a perfect marriage of writing and performance—that’s not to say there haven’t been and won’t be lots and lots of good Lafayettes, but it’s pretty hard to hear anybody else sing \u003ca href=\"https://www.youtube.com/watch?v=uQEeTe6nPX4\" target=\"_blank\" rel=\"noopener noreferrer\">“Blow, Gabriel, Blow”\u003c/a> after you hear Ethel Merman do it, you know? The same could be said about Diggs’ little hopping dance when he first enters as Jefferson, in his gaudy and somehow perfect purple suit, flapping the tails while he dances to “What’d I Miss?” He is an electric, charismatic, athletic performer, and when you see the physical choices, you get closer to understanding the full weight of the work he did.\u003c/p>\n\u003cp>It’s also worth seeing the film, as an effort to document the live show, because the musical performances are a little less polished. A cast album is … well, it’s a cast album, meant to be listenable by the broadest possible audience without reference to the action. And because that’s the case, the live performances of the music tend to be a little more ragged—more raucous, to use a more positive adjective—while the ones on the album are neater. Specifically with hip-hop and rap, the cast album documents those elements with the most rigorous adherence to the beat, while in the live show, there’s a little bit more of a tendency for the performers to bend the vocal a bit more around the rhythms, sometimes a bit more ahead of the beat or behind it, which you also hear in the performance of “My Shot” credited to the Roots that plays over the end credits. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The last thing I’d mention that comes into focus much better when you see how it’s staged is the creative use of the company. There’s a relatively small ensemble outside the main cast, and they have to represent armies and wedding guests, and they provide the chorus, and they are the dancers. The way they’re used is both sparing and imaginative, with limited but emphatic costuming changes transforming them between scenes. And similarly, it’s worth noticing how the members of the main cast linger on the catwalk above the stage, sometimes singing or speaking from there and sometimes simply observing, often augmenting the ensemble. It’s a clever and sometimes quite touching way to continue the theme, which begins in the double-casting, of connections between the people in a life, how they are in the background at one time and prominent at another.\u003c/p>\n\u003cp>I do think there are a couple of missteps: Rather than simply showing the unconventional staging of “Satisfied,” which is the most creatively staged number—alongside perhaps the duel in the finale—Kail seems to have tried to come up with a filming technique that would provide, via filming and editing, the disorienting effect that staging had. They should’ve just filmed it, with its tremendous performance by Renée Elise Goldsberry; you lose something here that’s special. I would say the same about the side-by-side two-chair staging of “Dear Theodosia,” in that I’d have messed with it a little less.\u003c/p>\n\u003cp>But these are small nitpicks. On the whole, absolutely, positively, there is new insight and new excitement here for people who already know that they love this show, and even for those who have stayed away from the album. \u003cem>Hamilton\u003c/em> is a piece whose status as art is constantly threatened by its status as a phenomenon and a status symbol; the cultural exhaustion has been, at times, very real and beyond understandable. This is a good reset, and a good chance to put a fresh eye on it. You will notice new things (there are a few clever stage tricks I don’t want to spoil), you will marvel at little wonders like the perfectly still way Groff holds his head when he sings, and you will likely not be bothered by a couple of f-bombs that are garbled to avoid an R rating. (Most aren’t. But the rules are strict, so a couple had to be.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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