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"slug": "2025-sf-indiefest-independent-film-roxie-vogue-streaming",
"title": "Movies We’re Excited About at This Year’s SF IndieFest",
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"content": "\u003cp>The 27th \u003ca href=\"https://sfindie2025.eventive.org/welcome\">San Francisco Independent Film Festival\u003c/a> kicks off at the Roxie on Thursday, Feb. 6 with \u003ci>\u003ca href=\"https://sfindie2025.eventive.org/films/676c286b289d065228dc0069\">Pavements\u003c/a>\u003c/i> (an idiosyncratic ode to the legendary indie rock band), and keeps up the offbeat energy throughout its 13-day-long program.\u003c/p>\n\u003cp>Live screenings at the Roxie and Vogue theaters \u003ci>and\u003c/i> \u003ca href=\"https://watch.eventive.org/sfindie2025\">online offerings\u003c/a> mean there’s a wealth of films from around the world to choose from (a total of 80 features and shorts). We know it can be tricky to prioritize in the face of such plenty, so here are seven movies we’re excited to see in this year’s festival. \u003c/p>\n\u003cfigure id=\"attachment_13971137\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/DraftNight_2000.jpg\" alt=\"Black family members smile in house decorated for party\" width=\"2000\" height=\"1336\" class=\"size-full wp-image-13971137\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/DraftNight_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/DraftNight_2000-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/DraftNight_2000-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/DraftNight_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/DraftNight_2000-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/DraftNight_2000-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/DraftNight_2000-1920x1283.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Draft Night,’ playing in the shorts program Bay Area Tales pt 1. \u003ccite>(Dominic Bowker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sfindie2025.eventive.org/films/6771cac98417b090e1957f79\">Draft Night\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>Feb. 7, 8:45 p.m. at the Roxie and streaming\u003cbr>\nPart of \u003ca href=\"https://sfindie2025.eventive.org/schedule/6771ca750f74308d82410405\">Bay Area Tales pt 1\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Ambitious in its scope, \u003cem>Draft Night\u003c/em> captures a single, nerve-wracking evening for a young man who’s waiting to find out if he’s made it into the NBA. Filmed in Oakland with a cast and crew with deep Bay Area ties, \u003ci>Draft Night\u003c/i> explores themes around mental health, wealth and the commodification of Black athletes by white team owners. This weighty tale, told in a slim 11 minutes, is part of a program filled with locally minded shorts. \u003ci>—Rae Alexandra\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13971140\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Photo-6-GAF_still06.jpg\" alt=\"Asian women in gowns and headdresses dance on stage with props\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13971140\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Photo-6-GAF_still06.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Photo-6-GAF_still06-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Photo-6-GAF_still06-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Photo-6-GAF_still06-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Photo-6-GAF_still06-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Photo-6-GAF_still06-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Meet Me in Chinatown.’ \u003ccite>(Courtesy of SF IndieFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sfindie2025.eventive.org/films/676c286c289d065228dc00d1\">Meet Me in Chinatown\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>Feb. 8, 12 p.m. at the Roxie and streaming\u003cbr>\nPart of \u003ca href=\"https://sfindie2025.eventive.org/schedule/6772070e4b097fc265b559f7\">True Stories: Documentary Shorts\u003c/a>\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s hard to find a more charming guide to Chinatown’s nightlife of yore than Cynthia Yee. She started dancing professionally in the 1960s, joining Dorothy Toy’s dance troupe, touring around the world and winning the Miss Chinatown 1967 crown (with what sounds like a fairly risqué silhouette dance choreographed by Toy). Now in her 70s, Yee and her friends perform as the Grant Avenue Follies, dressing up in sparkles and feathers, donning serious amounts of makeup and generally having the time of their lives performing dance numbers on stage. We can only hope this is a proof of concept for a future full-length film. \u003ci>—Sarah Hotchkiss\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13971141\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Photo-8-Anxious_Still_33.jpg\" alt=\"three women dressed in hot pink, seen from below\" width=\"1920\" height=\"817\" class=\"size-full wp-image-13971141\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Photo-8-Anxious_Still_33.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Photo-8-Anxious_Still_33-800x340.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Photo-8-Anxious_Still_33-1020x434.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Photo-8-Anxious_Still_33-160x68.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Photo-8-Anxious_Still_33-768x327.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Photo-8-Anxious_Still_33-1536x654.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nida Chowdhry in ‘Anxious.’ \u003ccite>(Courtesy of SF IndieFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sfindie2025.eventive.org/films/676c286c289d065228dc0083\">Anxious.\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>Feb. 9, 4:15 p.m. at the Roxie and streaming\u003c/i>\u003c/p>\n\u003cp>Anyone who’s experienced chronic anxiety knows how the mind can force one down ever-tightening corridors once an episode begins. (Not to mention the effort to then get loose from anxiety’s grip.) If the trailer for \u003ca href=\"https://sfindie2025.eventive.org/films/676c286c289d065228dc0083\">\u003cem>Anxious\u003c/em>\u003c/a> is anything to go by, Pakistani American writer/director/actor \u003ca href=\"https://nidachowdhry.com/\">Nida Chowdhry\u003c/a> clearly understands the predicament.\u003c/p>\n\u003cp>Chowdhry’s debut feature sees her character Ruby inside an anxiety attack, wandering through the recesses of her own brain, pursued by different (exquisitely well-dressed) versions of herself. Chowdhry, who has written for children’s TV shows on \u003ca href=\"https://www.imdb.com/title/tt15050438/\">Max\u003c/a>, \u003ca href=\"https://www.netflix.com/title/81093076\">Netflix\u003c/a>, \u003ca href=\"https://tv.apple.com/us/episode/the-dandiya-dance-mystery-the-case-of-the-funky-fountain/umc.cmc.4ugplfobwe0n7msthwyynhxce\">Disney\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=6LAQPqmtf3I&t=822s\">PBS\u003c/a>, leans into surreality as a way of explaining something more clearly. \u003cem>Anxious\u003c/em> offers insights for folks who don’t suffer from the condition, and a heap of gorgeous relatability for those that do. \u003ci>—Rae Alexandra\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13971138\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/KEY-STILL_britta_hammelstein_mavie_hoerbiger_in_die_geschuetzten_maenner_spielfilm_von_irene_von_alberti_2024_c_filmgalerie_451_2000.jpg\" alt=\"two women walk arm in arm smiling down street, news anchor tries to stop them\" width=\"2000\" height=\"836\" class=\"size-full wp-image-13971138\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/KEY-STILL_britta_hammelstein_mavie_hoerbiger_in_die_geschuetzten_maenner_spielfilm_von_irene_von_alberti_2024_c_filmgalerie_451_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/KEY-STILL_britta_hammelstein_mavie_hoerbiger_in_die_geschuetzten_maenner_spielfilm_von_irene_von_alberti_2024_c_filmgalerie_451_2000-800x334.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/KEY-STILL_britta_hammelstein_mavie_hoerbiger_in_die_geschuetzten_maenner_spielfilm_von_irene_von_alberti_2024_c_filmgalerie_451_2000-1020x426.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/KEY-STILL_britta_hammelstein_mavie_hoerbiger_in_die_geschuetzten_maenner_spielfilm_von_irene_von_alberti_2024_c_filmgalerie_451_2000-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/KEY-STILL_britta_hammelstein_mavie_hoerbiger_in_die_geschuetzten_maenner_spielfilm_von_irene_von_alberti_2024_c_filmgalerie_451_2000-768x321.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/KEY-STILL_britta_hammelstein_mavie_hoerbiger_in_die_geschuetzten_maenner_spielfilm_von_irene_von_alberti_2024_c_filmgalerie_451_2000-1536x642.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/KEY-STILL_britta_hammelstein_mavie_hoerbiger_in_die_geschuetzten_maenner_spielfilm_von_irene_von_alberti_2024_c_filmgalerie_451_2000-1920x803.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Britta Emmelstein and Mavie Hörbiger in ‘The Protected Men.’ \u003ccite>(Filmgalerie451)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sfindie2025.eventive.org/films/676c286c289d065228dc007a\">The Protected Men\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>Feb. 11, 8:30 p.m. at the Roxie and streaming\u003c/i>\u003c/p>\n\u003cp>I’m all here for a story that takes an outlandish sci-fi concept and runs with it. What if men’s sexual violence didn’t hurt the objects of their desire, but themselves? In Irene von Alberti’s feature, men are suddenly stricken with a deadly disease brought on by their own arousal. Heads of state start dropping like flies. \u003c/p>\n\u003cp>The end of men is not a new premise by any means (see Joanna Russ’ excellent \u003ci>\u003ca href=\"https://en.wikipedia.org/wiki/The_Female_Man\">The Female Man\u003c/a>\u003c/i> and the less excellent \u003ci>Y: The Last Man\u003c/i>). This movie follows both those seeking a cure, and the leaders of a feminist political party in Germany who seize power and establish a new social order. Satirical and goofy, this may just be the psychic release we need. \u003ci>—Sarah Hotchkiss\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13971139\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Photo-2-VZFS-Jett_Shields_as_a_Vampire_Zombie.jpg\" alt=\"zombie man with arms outstretched in field\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13971139\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Photo-2-VZFS-Jett_Shields_as_a_Vampire_Zombie.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Photo-2-VZFS-Jett_Shields_as_a_Vampire_Zombie-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Photo-2-VZFS-Jett_Shields_as_a_Vampire_Zombie-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Photo-2-VZFS-Jett_Shields_as_a_Vampire_Zombie-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Photo-2-VZFS-Jett_Shields_as_a_Vampire_Zombie-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Photo-2-VZFS-Jett_Shields_as_a_Vampire_Zombie-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jett Shields as a vampire zombie in ‘Vampire Zombies…from Space!’ \u003ccite>(Courtesy of SF IndieFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sfindie2025.eventive.org/films/676c286c289d065228dc008c\">Vampire Zombies…from Space!\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>Feb. 12, 6:15 p.m. at the Roxie and streaming\u003c/i>\u003c/p>\n\u003cp>If \u003ci>\u003ca href=\"https://www.kqed.org/arts/13969867/nosferatu-movie-review-lily-rose-depp-bill-skarsgard-robert-eggers-remake-2025\">Nosferatu\u003c/a>\u003c/i> was a bit too serious for your taste, may I present this delightfully self-aware, black-and-white feature about a small town besieged by … well, the title says it all. Picture a requisite gang of misfits, including a \u003ci>Rebel Without a Cause\u003c/i>-type and a plucky young heroine, and plenty of practical effects (like rubber bats on very visible strings). An homage to — and send-up of — creature features of the 50s, this movie looks like it was exceedingly fun to make, which more often than not means it will be exceedingly fun to watch. \u003ci>—Sarah Hotchkiss\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13971146\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Among-Neighbors-main_image_2000.jpg\" alt=\"animation of angel with wings flies over rubble\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13971146\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Among-Neighbors-main_image_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Among-Neighbors-main_image_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Among-Neighbors-main_image_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Among-Neighbors-main_image_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Among-Neighbors-main_image_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Among-Neighbors-main_image_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Among-Neighbors-main_image_2000-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Among Neighbors.’ \u003ccite>(Courtesy of SF IndieFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sfindie2025.eventive.org/films/676c286b289d065228dc006b\">Among Neighbors\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>Feb. 18, 6 p.m. at the Vogue Theater\u003c/i>\u003c/p>\n\u003cp>In 2016, \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=GTzNkfgM1vE\">Tower\u003c/a>\u003c/em> — a documentary about the tragic 1966 mass shooting at the University of Texas in Austin — vividly brought an old story to life by combining enthralling first-person accounts and beautiful, low-key animation. Bay Area documentarian Yoav Potash has deployed a similar method for his film \u003cem>Among Neighbors\u003c/em>, an investigation into how neighbors in the Polish village of Gniewoszów turned on one another during World War II.\u003c/p>\n\u003cp>The addition of animation is a departure for Potash, who previously earned praise for the 2011 documentary \u003cem>Crime After Crime\u003c/em>, and 2010’s \u003cem>Food Stamped\u003c/em>. The latter movie, following Potash and his wife’s attempts to survive on food stamps, won the Grand Jury Prize at SF IndieFest that year. \u003cem>Among Neighbors\u003c/em>, meanwhile, looks to be Potash’s most powerful work yet. \u003ci>—Rae Alexandra\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13971142\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Timestalker-First-Look-Still-Credit-LUDO-ROBERTS_2000.jpg\" alt=\"man and woman in Elizabethan garb, outrageous hair\" width=\"2000\" height=\"1389\" class=\"size-full wp-image-13971142\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Timestalker-First-Look-Still-Credit-LUDO-ROBERTS_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Timestalker-First-Look-Still-Credit-LUDO-ROBERTS_2000-800x556.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Timestalker-First-Look-Still-Credit-LUDO-ROBERTS_2000-1020x708.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Timestalker-First-Look-Still-Credit-LUDO-ROBERTS_2000-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Timestalker-First-Look-Still-Credit-LUDO-ROBERTS_2000-768x533.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Timestalker-First-Look-Still-Credit-LUDO-ROBERTS_2000-1536x1067.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Timestalker-First-Look-Still-Credit-LUDO-ROBERTS_2000-1920x1333.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Timestalker.’ \u003ccite>(Courtesy of SF IndieFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sfindie2025.eventive.org/films/676c286c289d065228dc0093\">Timestalker\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>Feb. 18, 8:30 p.m. at the Vogue Theater and steaming\u003c/i>\u003c/p>\n\u003cp>In the U.K., British actor, director and writer Alice Lowe is most recognized for her work in surreal comedies (including \u003cem>The Mighty Boosh\u003c/em> and \u003cem>Garth Marenghi’s Darkplace\u003c/em>) and her role in \u003cem>Horrible Histories\u003c/em> — an educational kid’s TV show that’s so hilarious, it has a healthy following of grown-ups.\u003c/p>\n\u003cp>It makes sense, then, that with \u003cem>Timestalker\u003c/em>, Lowe has taken a gloriously bizarre concept, given it a historical backdrop and piled on layers of anarchic, dry humor. Here she plays Agnes, a woman who keeps falling for the same terrible man as the pair are repeatedly reincarnated across time periods. How many lives will it take before Agnes learns her lesson, breaks the cycle and stops sacrificing herself for love? And how transformative can an elaborate hairstyle truly be? \u003cem>Timestalker\u003c/em> has the answers — and the laughs. \u003ci>—Rae Alexandra\u003c/i>\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>The \u003ca href=\"https://sfindie2025.eventive.org/welcome\">San Francisco International Independent Film Festival\u003c/a> plays at the Roxie, Vogue and online Feb. 6–18, 2025.\u003c/i>\u003c/p>\n\n",
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"excerpt": "Your guide to the annual independent film festival, screening Feb. 6–18 at the Roxie, Vogue and online.",
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"headline": "Movies We’re Excited About at This Year’s SF IndieFest",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The 27th \u003ca href=\"https://sfindie2025.eventive.org/welcome\">San Francisco Independent Film Festival\u003c/a> kicks off at the Roxie on Thursday, Feb. 6 with \u003ci>\u003ca href=\"https://sfindie2025.eventive.org/films/676c286b289d065228dc0069\">Pavements\u003c/a>\u003c/i> (an idiosyncratic ode to the legendary indie rock band), and keeps up the offbeat energy throughout its 13-day-long program.\u003c/p>\n\u003cp>Live screenings at the Roxie and Vogue theaters \u003ci>and\u003c/i> \u003ca href=\"https://watch.eventive.org/sfindie2025\">online offerings\u003c/a> mean there’s a wealth of films from around the world to choose from (a total of 80 features and shorts). We know it can be tricky to prioritize in the face of such plenty, so here are seven movies we’re excited to see in this year’s festival. \u003c/p>\n\u003cfigure id=\"attachment_13971137\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/DraftNight_2000.jpg\" alt=\"Black family members smile in house decorated for party\" width=\"2000\" height=\"1336\" class=\"size-full wp-image-13971137\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/DraftNight_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/DraftNight_2000-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/DraftNight_2000-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/DraftNight_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/DraftNight_2000-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/DraftNight_2000-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/DraftNight_2000-1920x1283.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Draft Night,’ playing in the shorts program Bay Area Tales pt 1. \u003ccite>(Dominic Bowker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sfindie2025.eventive.org/films/6771cac98417b090e1957f79\">Draft Night\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>Feb. 7, 8:45 p.m. at the Roxie and streaming\u003cbr>\nPart of \u003ca href=\"https://sfindie2025.eventive.org/schedule/6771ca750f74308d82410405\">Bay Area Tales pt 1\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Ambitious in its scope, \u003cem>Draft Night\u003c/em> captures a single, nerve-wracking evening for a young man who’s waiting to find out if he’s made it into the NBA. Filmed in Oakland with a cast and crew with deep Bay Area ties, \u003ci>Draft Night\u003c/i> explores themes around mental health, wealth and the commodification of Black athletes by white team owners. This weighty tale, told in a slim 11 minutes, is part of a program filled with locally minded shorts. \u003ci>—Rae Alexandra\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13971140\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Photo-6-GAF_still06.jpg\" alt=\"Asian women in gowns and headdresses dance on stage with props\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13971140\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Photo-6-GAF_still06.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Photo-6-GAF_still06-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Photo-6-GAF_still06-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Photo-6-GAF_still06-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Photo-6-GAF_still06-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Photo-6-GAF_still06-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Meet Me in Chinatown.’ \u003ccite>(Courtesy of SF IndieFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sfindie2025.eventive.org/films/676c286c289d065228dc00d1\">Meet Me in Chinatown\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>Feb. 8, 12 p.m. at the Roxie and streaming\u003cbr>\nPart of \u003ca href=\"https://sfindie2025.eventive.org/schedule/6772070e4b097fc265b559f7\">True Stories: Documentary Shorts\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s hard to find a more charming guide to Chinatown’s nightlife of yore than Cynthia Yee. She started dancing professionally in the 1960s, joining Dorothy Toy’s dance troupe, touring around the world and winning the Miss Chinatown 1967 crown (with what sounds like a fairly risqué silhouette dance choreographed by Toy). Now in her 70s, Yee and her friends perform as the Grant Avenue Follies, dressing up in sparkles and feathers, donning serious amounts of makeup and generally having the time of their lives performing dance numbers on stage. We can only hope this is a proof of concept for a future full-length film. \u003ci>—Sarah Hotchkiss\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13971141\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Photo-8-Anxious_Still_33.jpg\" alt=\"three women dressed in hot pink, seen from below\" width=\"1920\" height=\"817\" class=\"size-full wp-image-13971141\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Photo-8-Anxious_Still_33.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Photo-8-Anxious_Still_33-800x340.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Photo-8-Anxious_Still_33-1020x434.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Photo-8-Anxious_Still_33-160x68.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Photo-8-Anxious_Still_33-768x327.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Photo-8-Anxious_Still_33-1536x654.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nida Chowdhry in ‘Anxious.’ \u003ccite>(Courtesy of SF IndieFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sfindie2025.eventive.org/films/676c286c289d065228dc0083\">Anxious.\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>Feb. 9, 4:15 p.m. at the Roxie and streaming\u003c/i>\u003c/p>\n\u003cp>Anyone who’s experienced chronic anxiety knows how the mind can force one down ever-tightening corridors once an episode begins. (Not to mention the effort to then get loose from anxiety’s grip.) If the trailer for \u003ca href=\"https://sfindie2025.eventive.org/films/676c286c289d065228dc0083\">\u003cem>Anxious\u003c/em>\u003c/a> is anything to go by, Pakistani American writer/director/actor \u003ca href=\"https://nidachowdhry.com/\">Nida Chowdhry\u003c/a> clearly understands the predicament.\u003c/p>\n\u003cp>Chowdhry’s debut feature sees her character Ruby inside an anxiety attack, wandering through the recesses of her own brain, pursued by different (exquisitely well-dressed) versions of herself. Chowdhry, who has written for children’s TV shows on \u003ca href=\"https://www.imdb.com/title/tt15050438/\">Max\u003c/a>, \u003ca href=\"https://www.netflix.com/title/81093076\">Netflix\u003c/a>, \u003ca href=\"https://tv.apple.com/us/episode/the-dandiya-dance-mystery-the-case-of-the-funky-fountain/umc.cmc.4ugplfobwe0n7msthwyynhxce\">Disney\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=6LAQPqmtf3I&t=822s\">PBS\u003c/a>, leans into surreality as a way of explaining something more clearly. \u003cem>Anxious\u003c/em> offers insights for folks who don’t suffer from the condition, and a heap of gorgeous relatability for those that do. \u003ci>—Rae Alexandra\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13971138\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/KEY-STILL_britta_hammelstein_mavie_hoerbiger_in_die_geschuetzten_maenner_spielfilm_von_irene_von_alberti_2024_c_filmgalerie_451_2000.jpg\" alt=\"two women walk arm in arm smiling down street, news anchor tries to stop them\" width=\"2000\" height=\"836\" class=\"size-full wp-image-13971138\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/KEY-STILL_britta_hammelstein_mavie_hoerbiger_in_die_geschuetzten_maenner_spielfilm_von_irene_von_alberti_2024_c_filmgalerie_451_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/KEY-STILL_britta_hammelstein_mavie_hoerbiger_in_die_geschuetzten_maenner_spielfilm_von_irene_von_alberti_2024_c_filmgalerie_451_2000-800x334.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/KEY-STILL_britta_hammelstein_mavie_hoerbiger_in_die_geschuetzten_maenner_spielfilm_von_irene_von_alberti_2024_c_filmgalerie_451_2000-1020x426.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/KEY-STILL_britta_hammelstein_mavie_hoerbiger_in_die_geschuetzten_maenner_spielfilm_von_irene_von_alberti_2024_c_filmgalerie_451_2000-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/KEY-STILL_britta_hammelstein_mavie_hoerbiger_in_die_geschuetzten_maenner_spielfilm_von_irene_von_alberti_2024_c_filmgalerie_451_2000-768x321.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/KEY-STILL_britta_hammelstein_mavie_hoerbiger_in_die_geschuetzten_maenner_spielfilm_von_irene_von_alberti_2024_c_filmgalerie_451_2000-1536x642.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/KEY-STILL_britta_hammelstein_mavie_hoerbiger_in_die_geschuetzten_maenner_spielfilm_von_irene_von_alberti_2024_c_filmgalerie_451_2000-1920x803.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Britta Emmelstein and Mavie Hörbiger in ‘The Protected Men.’ \u003ccite>(Filmgalerie451)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sfindie2025.eventive.org/films/676c286c289d065228dc007a\">The Protected Men\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>Feb. 11, 8:30 p.m. at the Roxie and streaming\u003c/i>\u003c/p>\n\u003cp>I’m all here for a story that takes an outlandish sci-fi concept and runs with it. What if men’s sexual violence didn’t hurt the objects of their desire, but themselves? In Irene von Alberti’s feature, men are suddenly stricken with a deadly disease brought on by their own arousal. Heads of state start dropping like flies. \u003c/p>\n\u003cp>The end of men is not a new premise by any means (see Joanna Russ’ excellent \u003ci>\u003ca href=\"https://en.wikipedia.org/wiki/The_Female_Man\">The Female Man\u003c/a>\u003c/i> and the less excellent \u003ci>Y: The Last Man\u003c/i>). This movie follows both those seeking a cure, and the leaders of a feminist political party in Germany who seize power and establish a new social order. Satirical and goofy, this may just be the psychic release we need. \u003ci>—Sarah Hotchkiss\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13971139\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Photo-2-VZFS-Jett_Shields_as_a_Vampire_Zombie.jpg\" alt=\"zombie man with arms outstretched in field\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13971139\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Photo-2-VZFS-Jett_Shields_as_a_Vampire_Zombie.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Photo-2-VZFS-Jett_Shields_as_a_Vampire_Zombie-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Photo-2-VZFS-Jett_Shields_as_a_Vampire_Zombie-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Photo-2-VZFS-Jett_Shields_as_a_Vampire_Zombie-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Photo-2-VZFS-Jett_Shields_as_a_Vampire_Zombie-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Photo-2-VZFS-Jett_Shields_as_a_Vampire_Zombie-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jett Shields as a vampire zombie in ‘Vampire Zombies…from Space!’ \u003ccite>(Courtesy of SF IndieFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sfindie2025.eventive.org/films/676c286c289d065228dc008c\">Vampire Zombies…from Space!\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>Feb. 12, 6:15 p.m. at the Roxie and streaming\u003c/i>\u003c/p>\n\u003cp>If \u003ci>\u003ca href=\"https://www.kqed.org/arts/13969867/nosferatu-movie-review-lily-rose-depp-bill-skarsgard-robert-eggers-remake-2025\">Nosferatu\u003c/a>\u003c/i> was a bit too serious for your taste, may I present this delightfully self-aware, black-and-white feature about a small town besieged by … well, the title says it all. Picture a requisite gang of misfits, including a \u003ci>Rebel Without a Cause\u003c/i>-type and a plucky young heroine, and plenty of practical effects (like rubber bats on very visible strings). An homage to — and send-up of — creature features of the 50s, this movie looks like it was exceedingly fun to make, which more often than not means it will be exceedingly fun to watch. \u003ci>—Sarah Hotchkiss\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13971146\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Among-Neighbors-main_image_2000.jpg\" alt=\"animation of angel with wings flies over rubble\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13971146\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Among-Neighbors-main_image_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Among-Neighbors-main_image_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Among-Neighbors-main_image_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Among-Neighbors-main_image_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Among-Neighbors-main_image_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Among-Neighbors-main_image_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Among-Neighbors-main_image_2000-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Among Neighbors.’ \u003ccite>(Courtesy of SF IndieFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sfindie2025.eventive.org/films/676c286b289d065228dc006b\">Among Neighbors\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>Feb. 18, 6 p.m. at the Vogue Theater\u003c/i>\u003c/p>\n\u003cp>In 2016, \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=GTzNkfgM1vE\">Tower\u003c/a>\u003c/em> — a documentary about the tragic 1966 mass shooting at the University of Texas in Austin — vividly brought an old story to life by combining enthralling first-person accounts and beautiful, low-key animation. Bay Area documentarian Yoav Potash has deployed a similar method for his film \u003cem>Among Neighbors\u003c/em>, an investigation into how neighbors in the Polish village of Gniewoszów turned on one another during World War II.\u003c/p>\n\u003cp>The addition of animation is a departure for Potash, who previously earned praise for the 2011 documentary \u003cem>Crime After Crime\u003c/em>, and 2010’s \u003cem>Food Stamped\u003c/em>. The latter movie, following Potash and his wife’s attempts to survive on food stamps, won the Grand Jury Prize at SF IndieFest that year. \u003cem>Among Neighbors\u003c/em>, meanwhile, looks to be Potash’s most powerful work yet. \u003ci>—Rae Alexandra\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13971142\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Timestalker-First-Look-Still-Credit-LUDO-ROBERTS_2000.jpg\" alt=\"man and woman in Elizabethan garb, outrageous hair\" width=\"2000\" height=\"1389\" class=\"size-full wp-image-13971142\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Timestalker-First-Look-Still-Credit-LUDO-ROBERTS_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Timestalker-First-Look-Still-Credit-LUDO-ROBERTS_2000-800x556.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Timestalker-First-Look-Still-Credit-LUDO-ROBERTS_2000-1020x708.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Timestalker-First-Look-Still-Credit-LUDO-ROBERTS_2000-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Timestalker-First-Look-Still-Credit-LUDO-ROBERTS_2000-768x533.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Timestalker-First-Look-Still-Credit-LUDO-ROBERTS_2000-1536x1067.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Timestalker-First-Look-Still-Credit-LUDO-ROBERTS_2000-1920x1333.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Timestalker.’ \u003ccite>(Courtesy of SF IndieFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sfindie2025.eventive.org/films/676c286c289d065228dc0093\">Timestalker\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>Feb. 18, 8:30 p.m. at the Vogue Theater and steaming\u003c/i>\u003c/p>\n\u003cp>In the U.K., British actor, director and writer Alice Lowe is most recognized for her work in surreal comedies (including \u003cem>The Mighty Boosh\u003c/em> and \u003cem>Garth Marenghi’s Darkplace\u003c/em>) and her role in \u003cem>Horrible Histories\u003c/em> — an educational kid’s TV show that’s so hilarious, it has a healthy following of grown-ups.\u003c/p>\n\u003cp>It makes sense, then, that with \u003cem>Timestalker\u003c/em>, Lowe has taken a gloriously bizarre concept, given it a historical backdrop and piled on layers of anarchic, dry humor. Here she plays Agnes, a woman who keeps falling for the same terrible man as the pair are repeatedly reincarnated across time periods. How many lives will it take before Agnes learns her lesson, breaks the cycle and stops sacrificing herself for love? And how transformative can an elaborate hairstyle truly be? \u003cem>Timestalker\u003c/em> has the answers — and the laughs. \u003ci>—Rae Alexandra\u003c/i>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>The \u003ca href=\"https://sfindie2025.eventive.org/welcome\">San Francisco International Independent Film Festival\u003c/a> plays at the Roxie, Vogue and online Feb. 6–18, 2025.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "dan-levenson-artifacts-from-the-skz-municipal-bonds-review",
"title": "These Art School ‘Artifacts’ Are More Than Meets the Eye",
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"headTitle": "These Art School ‘Artifacts’ Are More Than Meets the Eye | KQED",
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"content": "\u003cp>Before last week, I had never heard of the State Art Academy in Zürich. Then, I saw the exhibition \u003cem>\u003ca href=\"https://municipalbonds.art/exhibitions/49-dan-levenson-artifacts-from-the-skz/overview/\">Artifacts from the SKZ\u003c/a>\u003c/em>, on view at Municipal Bonds in the Dogpatch, featuring student work from the now-defunct art school, alongside drawing horses, tables, easels and smocks once utilized in its classrooms. Since that visit, I can’t stop thinking about it.\u003c/p>\n\u003cp>[aside postID='arts_13970580']The SKZ was founded in 1990 and trained roughly 27,000 students before shuttering in 1999. It would appear that the school modeled itself on the once-radical principles popularized by the \u003ca href=\"https://en.wikipedia.org/wiki/Bauhaus\">Bauhaus\u003c/a> in the 1920s and 30s, promoting modernist ideals of geometric abstraction with the goal of creating an objective utopia through accessible and affordable art and design.\u003c/p>\n\u003cp>The resulting paintings, each titled for the student signature scrawled across the bottom of the canvas, are easy on the eye, if a little dated-looking, even for a 1990s curriculum. The craquelure quality of the monochrome forms, often contrasting or complementing each other on the same canvas, makes them seem far older than that, closer to the period of the Bauhaus aesthetic they emulate. \u003c/p>\n\u003cfigure id=\"attachment_13971105\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Artifacts-from-the-SKZ_-by-Dan-Levenson-at-Municipal-Bonds-05_2000.jpg\" alt=\"damaged monochrome black paintings leaning on wooden stands in gallery\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13971105\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Artifacts-from-the-SKZ_-by-Dan-Levenson-at-Municipal-Bonds-05_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Artifacts-from-the-SKZ_-by-Dan-Levenson-at-Municipal-Bonds-05_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Artifacts-from-the-SKZ_-by-Dan-Levenson-at-Municipal-Bonds-05_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Artifacts-from-the-SKZ_-by-Dan-Levenson-at-Municipal-Bonds-05_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Artifacts-from-the-SKZ_-by-Dan-Levenson-at-Municipal-Bonds-05_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Artifacts-from-the-SKZ_-by-Dan-Levenson-at-Municipal-Bonds-05_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Artifacts-from-the-SKZ_-by-Dan-Levenson-at-Municipal-Bonds-05_2000-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Dan Levenson’s ‘Artifacts from the SKZ.’ \u003ccite>(Shaun Roberts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s Mondrian with an Ellsworth Kelly twist, at once delightfully and reproachfully minimal. The paintings raise the question: \u003cem>Is there anything here?\u003c/em>\u003c/p>\n\u003cp>The classroom detritus, reminiscent of Swiss artist \u003ca href=\"https://artsandculture.google.com/asset/the-floor-ii-dieter-roth-bj%C3%B6rn-roth/RwGWpcrtIxXAMw?hl=en\">Dieter Roth’s sculptural installations\u003c/a> of segments of his studio floor, made me wistful for my days at the also-defunct \u003ca href=\"https://www.kqed.org/arts/tag/sfai\">San Francisco Art Institute\u003c/a>. There’s a gossamer magic to the accumulation of marks made on these sorts of shared surfaces — a communal yet anonymous experience of meaning-making. Put a pin in that.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Peering into any archive often elicits this sort of nostalgic wonderment. Here, that wonder is amplified by the cracks in the narrative that begin to show the closer you look. More questions arise. Why do these paintings appear so old? How come I’ve never heard of any of these artists? What was the SKZ, again? \u003c/p>\n\u003cp>I have answers. Sort of.\u003c/p>\n\u003cp>You might rightfully be expecting a precis on the school. Hopes dashed. Not because I’m too lazy to summarize an obscure passage of Swiss art history — but because the SKZ never actually existed.\u003c/p>\n\u003cfigure id=\"attachment_13971106\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Artifacts-from-the-SKZ_-by-Dan-Levenson-at-Municipal-Bonds-12_2000.jpg\" alt=\"small geometric abstract paintings on white walls\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13971106\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Artifacts-from-the-SKZ_-by-Dan-Levenson-at-Municipal-Bonds-12_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Artifacts-from-the-SKZ_-by-Dan-Levenson-at-Municipal-Bonds-12_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Artifacts-from-the-SKZ_-by-Dan-Levenson-at-Municipal-Bonds-12_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Artifacts-from-the-SKZ_-by-Dan-Levenson-at-Municipal-Bonds-12_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Artifacts-from-the-SKZ_-by-Dan-Levenson-at-Municipal-Bonds-12_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Artifacts-from-the-SKZ_-by-Dan-Levenson-at-Municipal-Bonds-12_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Artifacts-from-the-SKZ_-by-Dan-Levenson-at-Municipal-Bonds-12_2000-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Dan Levenson’s ‘Artifacts from the SKZ.’ \u003ccite>(Shaun Roberts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The whole thing is the fictional pursuit of \u003ca href=\"https://danlevenson.com/post/749878152300576768/blaise-r%C3%BCegg-oil-and-graphite-on-linen-size-4a0\">Dan Levenson\u003c/a>, a contemporary Los Angeles-based artist, who has dedicated nearly his entire practice to manufacturing relics of the school’s existence.\u003c/p>\n\u003cp>Levenson’s SKZ project isn’t limited to painting and sculpture. It also includes enrollment records (from which Levenson gets the names attributed to each painting) and the school’s curriculum. Occasionally, he’ll even teach these classes to a live audience, using the classroom objects on display in this exhibition, leading students through painting exercises in artistic “self-determination.”\u003c/p>\n\u003cp>This slip between imagined and experienced reality is a key to comprehending the overarching project.\u003c/p>\n\u003cp>On the fauxtina surface, Levenson’s postmodern window-dressing allows him to continue the aesthetic project of modernism, unfettered by contemporary mores. Uncharitably, this could be seen as a post hoc ploy to set his geometric abstractions apart in an oversaturated market of decorative painting, simultaneously dodging the critical backlash that fetishizing antiquated European aesthetics might invite. But I’m more interested in thinking about what it means to be a modernist in the 1990s — or a postmodernist in 2025.\u003c/p>\n\u003cfigure id=\"attachment_13971109\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Artifacts-from-the-SKZ_-by-Dan-Levenson-at-Municipal-Bonds-03_2000.jpg\" alt=\"large abstract geometric paintings and wooden furniture in gallery\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13971109\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Artifacts-from-the-SKZ_-by-Dan-Levenson-at-Municipal-Bonds-03_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Artifacts-from-the-SKZ_-by-Dan-Levenson-at-Municipal-Bonds-03_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Artifacts-from-the-SKZ_-by-Dan-Levenson-at-Municipal-Bonds-03_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Artifacts-from-the-SKZ_-by-Dan-Levenson-at-Municipal-Bonds-03_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Artifacts-from-the-SKZ_-by-Dan-Levenson-at-Municipal-Bonds-03_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Artifacts-from-the-SKZ_-by-Dan-Levenson-at-Municipal-Bonds-03_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Artifacts-from-the-SKZ_-by-Dan-Levenson-at-Municipal-Bonds-03_2000-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Dan Levenson’s ‘Artifacts from the SKZ.’ \u003ccite>(Shaun Roberts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At least in the United States, the 90s were a decade when art became closely associated with identity politics and activism. Back in its day, Bauhaus-era modernism was also trying to solve the world’s problems through art. Levenson’s SKZ imagines a political project for the 90s in which the aspirations of modernism were carried on past the point at which, in real life, they had long-since given way to postmodern pastiche and cynicism.\u003c/p>\n\u003cp>[aside postID='arts_13969965,arts_13970309']But postmodernism gets a bad rap. It isn’t all heartless sarcasm and smarty-pants parody. At its best, postmodernism is a revelatory admission of the discursive and derivative nature of all cultural production, a mode of art making that doesn’t shy away from the complexities and contradictions of subjective experience. Less “gotcha” and more “get it?”\u003c/p>\n\u003cp>Levenson’s charade operates in this register. There’s no snark here, but rather an earnest inquiry into the subjective experience of art making and art viewing. Is style a statement of authenticity or a concession of one’s freedom? Are the projects of historical documentation and criticism about celebrating individual genius or manufacturing cohesive narratives? How do both the academy and the art market require forms of standardization from their subjects?\u003c/p>\n\u003cp>Perhaps accepting the subjectivity inherent to experience is the only route to realizing modernism’s celebration of objective truth. And perhaps unity will be found not in the uniform, but in and in spite of difference and individuation. That kind of collective utopia needn’t be a vision of the past.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Artifacts from the SKZ’ is on view at Municipal Bonds (1275 Minnesota St., San Francisco) through Mar. 1, 2025.\u003c/i>\u003c/p>\n\n",
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"excerpt": "Dan Levenson’s show at Municipal Bonds presents student work from the State Art Academy in Zürich.",
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"title": "Dan Levenson’s Slippery ‘Artifacts’ at Municipal Bonds | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Before last week, I had never heard of the State Art Academy in Zürich. Then, I saw the exhibition \u003cem>\u003ca href=\"https://municipalbonds.art/exhibitions/49-dan-levenson-artifacts-from-the-skz/overview/\">Artifacts from the SKZ\u003c/a>\u003c/em>, on view at Municipal Bonds in the Dogpatch, featuring student work from the now-defunct art school, alongside drawing horses, tables, easels and smocks once utilized in its classrooms. Since that visit, I can’t stop thinking about it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The SKZ was founded in 1990 and trained roughly 27,000 students before shuttering in 1999. It would appear that the school modeled itself on the once-radical principles popularized by the \u003ca href=\"https://en.wikipedia.org/wiki/Bauhaus\">Bauhaus\u003c/a> in the 1920s and 30s, promoting modernist ideals of geometric abstraction with the goal of creating an objective utopia through accessible and affordable art and design.\u003c/p>\n\u003cp>The resulting paintings, each titled for the student signature scrawled across the bottom of the canvas, are easy on the eye, if a little dated-looking, even for a 1990s curriculum. The craquelure quality of the monochrome forms, often contrasting or complementing each other on the same canvas, makes them seem far older than that, closer to the period of the Bauhaus aesthetic they emulate. \u003c/p>\n\u003cfigure id=\"attachment_13971105\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Artifacts-from-the-SKZ_-by-Dan-Levenson-at-Municipal-Bonds-05_2000.jpg\" alt=\"damaged monochrome black paintings leaning on wooden stands in gallery\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13971105\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Artifacts-from-the-SKZ_-by-Dan-Levenson-at-Municipal-Bonds-05_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Artifacts-from-the-SKZ_-by-Dan-Levenson-at-Municipal-Bonds-05_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Artifacts-from-the-SKZ_-by-Dan-Levenson-at-Municipal-Bonds-05_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Artifacts-from-the-SKZ_-by-Dan-Levenson-at-Municipal-Bonds-05_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Artifacts-from-the-SKZ_-by-Dan-Levenson-at-Municipal-Bonds-05_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Artifacts-from-the-SKZ_-by-Dan-Levenson-at-Municipal-Bonds-05_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Artifacts-from-the-SKZ_-by-Dan-Levenson-at-Municipal-Bonds-05_2000-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Dan Levenson’s ‘Artifacts from the SKZ.’ \u003ccite>(Shaun Roberts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s Mondrian with an Ellsworth Kelly twist, at once delightfully and reproachfully minimal. The paintings raise the question: \u003cem>Is there anything here?\u003c/em>\u003c/p>\n\u003cp>The classroom detritus, reminiscent of Swiss artist \u003ca href=\"https://artsandculture.google.com/asset/the-floor-ii-dieter-roth-bj%C3%B6rn-roth/RwGWpcrtIxXAMw?hl=en\">Dieter Roth’s sculptural installations\u003c/a> of segments of his studio floor, made me wistful for my days at the also-defunct \u003ca href=\"https://www.kqed.org/arts/tag/sfai\">San Francisco Art Institute\u003c/a>. There’s a gossamer magic to the accumulation of marks made on these sorts of shared surfaces — a communal yet anonymous experience of meaning-making. Put a pin in that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Peering into any archive often elicits this sort of nostalgic wonderment. Here, that wonder is amplified by the cracks in the narrative that begin to show the closer you look. More questions arise. Why do these paintings appear so old? How come I’ve never heard of any of these artists? What was the SKZ, again? \u003c/p>\n\u003cp>I have answers. Sort of.\u003c/p>\n\u003cp>You might rightfully be expecting a precis on the school. Hopes dashed. Not because I’m too lazy to summarize an obscure passage of Swiss art history — but because the SKZ never actually existed.\u003c/p>\n\u003cfigure id=\"attachment_13971106\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Artifacts-from-the-SKZ_-by-Dan-Levenson-at-Municipal-Bonds-12_2000.jpg\" alt=\"small geometric abstract paintings on white walls\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13971106\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Artifacts-from-the-SKZ_-by-Dan-Levenson-at-Municipal-Bonds-12_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Artifacts-from-the-SKZ_-by-Dan-Levenson-at-Municipal-Bonds-12_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Artifacts-from-the-SKZ_-by-Dan-Levenson-at-Municipal-Bonds-12_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Artifacts-from-the-SKZ_-by-Dan-Levenson-at-Municipal-Bonds-12_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Artifacts-from-the-SKZ_-by-Dan-Levenson-at-Municipal-Bonds-12_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Artifacts-from-the-SKZ_-by-Dan-Levenson-at-Municipal-Bonds-12_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Artifacts-from-the-SKZ_-by-Dan-Levenson-at-Municipal-Bonds-12_2000-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Dan Levenson’s ‘Artifacts from the SKZ.’ \u003ccite>(Shaun Roberts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The whole thing is the fictional pursuit of \u003ca href=\"https://danlevenson.com/post/749878152300576768/blaise-r%C3%BCegg-oil-and-graphite-on-linen-size-4a0\">Dan Levenson\u003c/a>, a contemporary Los Angeles-based artist, who has dedicated nearly his entire practice to manufacturing relics of the school’s existence.\u003c/p>\n\u003cp>Levenson’s SKZ project isn’t limited to painting and sculpture. It also includes enrollment records (from which Levenson gets the names attributed to each painting) and the school’s curriculum. Occasionally, he’ll even teach these classes to a live audience, using the classroom objects on display in this exhibition, leading students through painting exercises in artistic “self-determination.”\u003c/p>\n\u003cp>This slip between imagined and experienced reality is a key to comprehending the overarching project.\u003c/p>\n\u003cp>On the fauxtina surface, Levenson’s postmodern window-dressing allows him to continue the aesthetic project of modernism, unfettered by contemporary mores. Uncharitably, this could be seen as a post hoc ploy to set his geometric abstractions apart in an oversaturated market of decorative painting, simultaneously dodging the critical backlash that fetishizing antiquated European aesthetics might invite. But I’m more interested in thinking about what it means to be a modernist in the 1990s — or a postmodernist in 2025.\u003c/p>\n\u003cfigure id=\"attachment_13971109\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Artifacts-from-the-SKZ_-by-Dan-Levenson-at-Municipal-Bonds-03_2000.jpg\" alt=\"large abstract geometric paintings and wooden furniture in gallery\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13971109\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Artifacts-from-the-SKZ_-by-Dan-Levenson-at-Municipal-Bonds-03_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Artifacts-from-the-SKZ_-by-Dan-Levenson-at-Municipal-Bonds-03_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Artifacts-from-the-SKZ_-by-Dan-Levenson-at-Municipal-Bonds-03_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Artifacts-from-the-SKZ_-by-Dan-Levenson-at-Municipal-Bonds-03_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Artifacts-from-the-SKZ_-by-Dan-Levenson-at-Municipal-Bonds-03_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Artifacts-from-the-SKZ_-by-Dan-Levenson-at-Municipal-Bonds-03_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Artifacts-from-the-SKZ_-by-Dan-Levenson-at-Municipal-Bonds-03_2000-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Dan Levenson’s ‘Artifacts from the SKZ.’ \u003ccite>(Shaun Roberts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At least in the United States, the 90s were a decade when art became closely associated with identity politics and activism. Back in its day, Bauhaus-era modernism was also trying to solve the world’s problems through art. Levenson’s SKZ imagines a political project for the 90s in which the aspirations of modernism were carried on past the point at which, in real life, they had long-since given way to postmodern pastiche and cynicism.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But postmodernism gets a bad rap. It isn’t all heartless sarcasm and smarty-pants parody. At its best, postmodernism is a revelatory admission of the discursive and derivative nature of all cultural production, a mode of art making that doesn’t shy away from the complexities and contradictions of subjective experience. Less “gotcha” and more “get it?”\u003c/p>\n\u003cp>Levenson’s charade operates in this register. There’s no snark here, but rather an earnest inquiry into the subjective experience of art making and art viewing. Is style a statement of authenticity or a concession of one’s freedom? Are the projects of historical documentation and criticism about celebrating individual genius or manufacturing cohesive narratives? How do both the academy and the art market require forms of standardization from their subjects?\u003c/p>\n\u003cp>Perhaps accepting the subjectivity inherent to experience is the only route to realizing modernism’s celebration of objective truth. And perhaps unity will be found not in the uniform, but in and in spite of difference and individuation. That kind of collective utopia needn’t be a vision of the past.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Artifacts from the SKZ’ is on view at Municipal Bonds (1275 Minnesota St., San Francisco) through Mar. 1, 2025.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the early ’90s, as an eighth grader in summer school, Andrew “Ando” Caulfield discovered the San Francisco skate shop \u003ca href=\"https://ftcsf.com/\">For The City\u003c/a> (FTC) purely by chance.\u003c/p>\n\u003cp>His school was near the shop, and as a skater himself, he started hanging out there whenever he had the chance. He took on odd jobs around the shop throughout his teens, sealing his affiliation with the FTC skate community. He picked up photography, too, first shooting skaters before moving on to other projects.\u003c/p>\n\u003cp>Caulfield’s professional photography career has uprooted him to other cities over the years (most recently Barcelona), but to hear him tell it, nothing beats being able to come home to San Francisco. There’s something special, he says, about how deeply woven skate culture has become in Bay Area life over the last 40 years.\u003c/p>\n\u003cp>“It’s a pretty open and inclusive community,” he says. “Sort of like a big family, regardless of your level of skateboarding, you know, or sponsorship.” \u003c/p>\n\u003cfigure id=\"attachment_13971089\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Richard-Hart-photo.gif\" alt=\"\" width=\"1800\" height=\"1201\" class=\"size-full wp-image-13971089\">\u003cfigcaption class=\"wp-caption-text\">Work from photographers like Richard Hart, above, are part of FTC’s art show on Jan. 31. \u003ccite>(Richard Hart )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, Caulfield and the rest of FTC San Francisco are gearing up for \u003ca href=\"https://www.instagram.com/p/DFJYT68pZKa/?hl=en&img_index=1\">a one-night-only show\u003c/a> on Friday, Jan. 31, dedicated to artwork by FTC community skaters. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We just wanted to do a show that shows what our friends and family are up to,” says Caulfield. “It’s about coming out and… meeting some interesting people that are probably right under your nose.”\u003c/p>\n\u003cp>Caulfield anticipates several artistic mediums for the show, such as photography of various formats, painting, and possibly some multimedia elements like video. Caulfield himself plans a collaborative piece with San Francisco-based artist Ian Johnson to recreate one of Caulfield’s photos in the form of a painting. \u003c/p>\n\u003cfigure id=\"attachment_13971088\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Prophetic-Arrangements-by-Sean-Silk.gif\" alt=\"\" width=\"1500\" height=\"1128\" class=\"size-full wp-image-13971088\">\u003cfigcaption class=\"wp-caption-text\">‘Prophetic Arrangements,’ by Sean Silk. \u003ccite>(Sean Silk)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>FTC SF has held other art-related events in the past specifically to celebrate and promote upcoming product and book releases. This show, meanwhile, is part of an ongoing effort toward more events that don’t revolve around product launches. Hosting it at FTC SF, which since opening in 1994 has become a local mecca for all things skate culture, only adds to its homegrown feel.\u003c/p>\n\u003cp>“We have such a big space, so it’s a cool opportunity for people to display work and have fun,” said Caulfield. \u003c/p>\n\u003cp>Since the show’s initial announcement, the list of artists to be featured has only grown. “There’s some pretty creative elements that are going to be thrown in here,” said Caulfield, “but we’ll have to see how they’re going to all work together.” \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The FTC Art Show takes place at 6 p.m. on Friday, Jan. 31, at FTC Skate Shop in San Francisco. \u003ca href=\"https://www.instagram.com/p/DFJYT68pZKa/?hl=en&img_index=1\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the early ’90s, as an eighth grader in summer school, Andrew “Ando” Caulfield discovered the San Francisco skate shop \u003ca href=\"https://ftcsf.com/\">For The City\u003c/a> (FTC) purely by chance.\u003c/p>\n\u003cp>His school was near the shop, and as a skater himself, he started hanging out there whenever he had the chance. He took on odd jobs around the shop throughout his teens, sealing his affiliation with the FTC skate community. He picked up photography, too, first shooting skaters before moving on to other projects.\u003c/p>\n\u003cp>Caulfield’s professional photography career has uprooted him to other cities over the years (most recently Barcelona), but to hear him tell it, nothing beats being able to come home to San Francisco. There’s something special, he says, about how deeply woven skate culture has become in Bay Area life over the last 40 years.\u003c/p>\n\u003cp>“It’s a pretty open and inclusive community,” he says. “Sort of like a big family, regardless of your level of skateboarding, you know, or sponsorship.” \u003c/p>\n\u003cfigure id=\"attachment_13971089\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Richard-Hart-photo.gif\" alt=\"\" width=\"1800\" height=\"1201\" class=\"size-full wp-image-13971089\">\u003cfigcaption class=\"wp-caption-text\">Work from photographers like Richard Hart, above, are part of FTC’s art show on Jan. 31. \u003ccite>(Richard Hart )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, Caulfield and the rest of FTC San Francisco are gearing up for \u003ca href=\"https://www.instagram.com/p/DFJYT68pZKa/?hl=en&img_index=1\">a one-night-only show\u003c/a> on Friday, Jan. 31, dedicated to artwork by FTC community skaters. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We just wanted to do a show that shows what our friends and family are up to,” says Caulfield. “It’s about coming out and… meeting some interesting people that are probably right under your nose.”\u003c/p>\n\u003cp>Caulfield anticipates several artistic mediums for the show, such as photography of various formats, painting, and possibly some multimedia elements like video. Caulfield himself plans a collaborative piece with San Francisco-based artist Ian Johnson to recreate one of Caulfield’s photos in the form of a painting. \u003c/p>\n\u003cfigure id=\"attachment_13971088\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Prophetic-Arrangements-by-Sean-Silk.gif\" alt=\"\" width=\"1500\" height=\"1128\" class=\"size-full wp-image-13971088\">\u003cfigcaption class=\"wp-caption-text\">‘Prophetic Arrangements,’ by Sean Silk. \u003ccite>(Sean Silk)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>FTC SF has held other art-related events in the past specifically to celebrate and promote upcoming product and book releases. This show, meanwhile, is part of an ongoing effort toward more events that don’t revolve around product launches. Hosting it at FTC SF, which since opening in 1994 has become a local mecca for all things skate culture, only adds to its homegrown feel.\u003c/p>\n\u003cp>“We have such a big space, so it’s a cool opportunity for people to display work and have fun,” said Caulfield. \u003c/p>\n\u003cp>Since the show’s initial announcement, the list of artists to be featured has only grown. “There’s some pretty creative elements that are going to be thrown in here,” said Caulfield, “but we’ll have to see how they’re going to all work together.” \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The FTC Art Show takes place at 6 p.m. on Friday, Jan. 31, at FTC Skate Shop in San Francisco. \u003ca href=\"https://www.instagram.com/p/DFJYT68pZKa/?hl=en&img_index=1\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13971082\" class=\"wp-caption aligncenter\" style=\"max-width: 1314px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971082\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/o-daughter.png\" alt=\"A red book cover depicts the silhouette of a man running through Russia's Red Square. \" width=\"1314\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/o-daughter.png 1314w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/o-daughter-800x1218.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/o-daughter-1020x1553.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/o-daughter-160x244.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/o-daughter-768x1169.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/o-daughter-1009x1536.png 1009w\" sizes=\"auto, (max-width: 1314px) 100vw, 1314px\">\u003cfigcaption class=\"wp-caption-text\">‘The Oligarch’s Daughter’ by Joseph Finder. \u003ccite>(HarperCollins Publishers via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Paul Brightman, a former hedge fund manager, has been keeping a low profile, changing his name to Grant Anderson and making a modest living as a boat builder in a small New Hampshire town. But Paul fears it’s only a matter of time before he’s found.\u003c/p>\n\u003cp>The FBI is hunting him. The CIA would like a word. And a wealthy Russian oligarch has put a price on his head. One of the oligarch’s thugs is the first to find him. Barely escaping with his life, he flees into the northern New England wilderness.\u003c/p>\n\u003cp>[aside postid='arts_13971000']Five years earlier, when Paul was working on Wall Street, he fell in love with and subsequently married a beautiful photographer named Tatanya, unaware at first that her father was a Russian oligarch with ties to the Kremlin.\u003c/p>\n\u003cp>In \u003cem>The Oligarch’s Daughter\u003c/em>, his 17th thriller, Joseph Finder alternates two suspenseful timelines — the present as Paul struggles to stay alive and the recent past in which we learn how he got into this fix in the first place.\u003c/p>\n\u003cp>In the former, he finds himself relying on skills he absorbed from his estranged father, a reclusive survivalist living off the grid in the wilds of the Allegheny Mountains.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the latter, he accepts his new father-in-law’s offer of a job, gets pressured to make illegal investments based on inside information, and becomes alarmed when two of his co-workers disappear. The FBI recruits him, he gets caught spying, and he has to run for his life.\u003c/p>\n\u003cp>[aside postid='arts_13970682']With a master’s degree in Russian studies and his membership in the Association of Former Intelligence Officers, Finder is very much at home with this tale of what some are now calling the new cold war. The writing is tight, the suspense is unrelenting, and the romance between Paul and Tatanya is well handled as well.\u003c/p>\n\u003cp>The plot is complex, even by thriller standards, but the author handles it so well that the reader is unlikely to get lost. However, it has so many twists and surprises that he might have been better served by eliminating a couple of them.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Oligarch’s Daughter’ by Joseph Finder is out now via HarperCollins.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cp>When Jonathan Yang was growing up, \u003ca href=\"https://www.kqed.org/arts/tag/lunar-new-year\">Lunar New Year\u003c/a> was marked by elaborate feasts at his immigrant family’s Chinese restaurant. “It was hyper-focused on food — and, obviously, being on your best behavior, being a good son and getting that ultimate red envelope,” he recalls.\u003c/p>\n\u003cp>It also never felt like a holiday he could truly call his own, or where he could be authentic to his identity as a gay man. Instead, those New Year’s gatherings were a time of deep anxiety. “It was just like, I have to live a lie,” Yang says. “I have to field questions from the aunties and uncles asking, ‘Oh, why aren’t you married yet? Do you have a girlfriend?’ It was always wrapped up in that kind of experience for me.”\u003c/p>\n\u003cp>So, when Yang, co-owner of Richmond’s \u003ca href=\"https://www.instagram.com/laughing_gems_wine\">Laughing Gems Wine\u003c/a>, attended a boisterous, \u003ca href=\"https://www.kqed.org/arts/13952052/lunar-new-year-party-oakland-cantonese-taiwanese\">next-generation Lunar New Year’s festival\u003c/a> in Oakland last year that bustled with DJs, tattoo artists, tea cocktails and a DIY red envelope station, he felt so inspired, he knew he wanted to be a part of it too.\u003c/p>\n\u003cp>“I wanted to create a space that I felt represented all of us,” he says.\u003c/p>\n\u003cp>This year, Yang and his business partner, Tiffani Patton, joined forces with visual artist Hanna Chen (of the multimedia art brand \u003ca href=\"https://www.instagram.com/itsyangsheng/\">Yăng Shēng\u003c/a>) and Jenn Lui (co-owner of Asian snack shop \u003ca href=\"https://www.instagram.com/thisisbabas.house/\">Baba’s House\u003c/a> in Oakland) to put on an even bigger, more ambitious party to ring in the Year of the Snake. Rebranded as \u003ca href=\"https://www.eventbrite.com/e/neo-lunar-lunar-new-year-reimagined-tickets-1124707453269?aff=oddtdtcreator\">Neo Lunar\u003c/a>, the sprawling, multi-experiential event will include a night market, a fashion show, a mahjong parlor, a natural wine bar, multiple tattoo artists and art installations, and much more — all crammed into \u003ca href=\"https://www.instagram.com/oakstop/?hl=en\">Oakstop’s\u003c/a> two-story Uptown Oakland event space on Saturday, Feb. 1.\u003c/p>\n\u003cfigure id=\"attachment_13971056\" class=\"wp-caption alignnone\" style=\"max-width: 1708px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971056\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/LNY-24-Flash-by-Proper-Tattoo-scaled.jpg\" alt=\"A man lifts up his shirt to reveal several tattoos, including a red flower on his sternum and a large cat across his abdomen. \" width=\"1708\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/LNY-24-Flash-by-Proper-Tattoo-scaled.jpg 1708w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/LNY-24-Flash-by-Proper-Tattoo-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/LNY-24-Flash-by-Proper-Tattoo-1020x1528.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/LNY-24-Flash-by-Proper-Tattoo-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/LNY-24-Flash-by-Proper-Tattoo-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/LNY-24-Flash-by-Proper-Tattoo-1025x1536.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/LNY-24-Flash-by-Proper-Tattoo-1367x2048.jpg 1367w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/LNY-24-Flash-by-Proper-Tattoo-1920x2877.jpg 1920w\" sizes=\"auto, (max-width: 1708px) 100vw, 1708px\">\u003cfigcaption class=\"wp-caption-text\">An attendee at last year’s party shows off new ink, courtesy of Proper Tattoo, which will again be on hand at the 2025 edition of Neo Lunar. \u003ccite>(J-han, courtesy of Neo Lunar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The event’s organizers all had different experiences with Lunar New Year as Asian Americans growing up in the diaspora, but the common thread was this sense that the holiday never \u003ci>really \u003c/i>belonged to them. Lui remembers sitting in a folding stool and watching her grandparents play mahjong but not necessarily getting to play herself, and attending street parades that mostly only interested the elders in her family. And Patton, who is Black and Korean, experienced so much racism from Korean peers and family members that she never really felt like any Asian experiences were meant for her.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Only in the past couple of years have I been able to participate in different Korean traditions,” she says. “It’s been really beautiful and affirming and heart-opening. To provide that for other people is one of the big reasons for me to do this.”\u003c/p>\n\u003cp>One of the obvious ways Neo Lunar’s organizers hope to connect to other second- and third-generation Asian Americans is through food — in particular, new-school pop-up shops that share their aesthetic of remixing old traditions to create something new. For instance, \u003ca href=\"https://www.instagram.com/p/DFXEnnex16a/?img_index=1\">Lion Dance Cafe\u003c/a>, the vegan Singaporean pop-up, will be on hand slinging mala douhua and kung pao shaobing sandwiches. Beloved Eastside San Jose pop-up \u003ca href=\"https://www.instagram.com/_hetsay_/\">Hết Sẩy\u003c/a> will sling Mekong Delta–style Vietnamese dishes for Tết. Baba’s House will introduce a new menu of scallion pancake wraps. And Laughing Gems will curate a natural wine bar.\u003c/p>\n\u003cfigure id=\"attachment_13971063\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971063\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Ka_in-Na.jpg\" alt=\"A tattooed street vendor cooks skewers over a portable grill.\" width=\"2000\" height=\"1335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Ka_in-Na.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Ka_in-Na-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Ka_in-Na-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Ka_in-Na-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Ka_in-Na-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Ka_in-Na-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Ka_in-Na-1920x1282.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A street food vendor at last year’s party cooks skewers over a portable grill. \u003ccite>(J-han, courtesy of Neo Lunar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The food pop-ups will anchor Neo Lunar’s night market, along with more than 20 retail vendors selling everything from handmade jewelry and vintage clothing to wellness products like Asian herbal tea blends. Chen, the Yăng Shēng artist, says they wanted to capture the excitement of having a multitude of offerings packed into one physical space — “a bustling, shoulder-to-shoulder experience.” Or, as Lui puts it, “You’ll peek and wonder what’s around the corner. Who’s selling this now? What’s happening next?”\u003c/p>\n\u003cp>For those who find the night market vibe too hectic, there will also be a calligraphy workshop and Chinese tea served in a \u003ca href=\"https://www.eventbrite.com/e/little-garden-by-arbor-teahouse-tickets-1203996930229?aff=oddtdtcreator&fbclid=PAZXh0bgNhZW0CMTEAAaaFL4FaBQLKIscjmOcIHiC3904R9j4dSeL6e3JeoGeKYZZGIa6_zhJ6OnM_aem_--rILHqsXSRQQykfEUF34A\">quiet little teahouse sanctuary\u003c/a> tucked away in the middle of the party. And at Yăng Shēng’s immersive “Living Room” installation, partygoers can just chill on a couch that Chen made in collaboration with a local woodworker, with a Chinese-style lattice window carved into the back.\u003c/p>\n\u003cp>Neo Lunar is also very explicitly not \u003ci>just \u003c/i>for young people. A big part of how the organizers say they’re making this New Year’s celebration their own is by making it an intergenerational affair — a party where, as they’re fond of saying, you can “bring your aunties \u003ci>and \u003c/i>your homies.” While the event has a sheen of coolness (with all the tattoos and the DJs and such) that will appeal to younger folks, there’s a conscious effort to build bridges to the older generation as well.\u003c/p>\n\u003cfigure id=\"attachment_13971066\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971066\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/teahouse-_-silkpunkbaby.jpg\" alt=\"Traditional Chinese teaware laid out on a slab of wood.\" width=\"2000\" height=\"1300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/teahouse-_-silkpunkbaby.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/teahouse-_-silkpunkbaby-800x520.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/teahouse-_-silkpunkbaby-1020x663.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/teahouse-_-silkpunkbaby-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/teahouse-_-silkpunkbaby-768x499.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/teahouse-_-silkpunkbaby-1536x998.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/teahouse-_-silkpunkbaby-1920x1248.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Tucked in the middle of the bustling party will be a quiet tea sanctuary. \u003ccite>(silkpunkbaby, courtesy of Neo Lunar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Perhaps the best example is “Multi-Gen,” the party’s fashion show component inspired by the \u003ca href=\"https://www.kqed.org/arts/11151933/how-senior-fashion-is-turning-heads-in-san-franciscos-chinatown\">\u003ci>Chinatown Pretty\u003c/i>\u003c/a> photo project, which spotlighted the often bold and idiosyncratic styles of San Francisco Chinatown elders. The fashion show will start and end with drag performers, and it’ll feature a diverse lineup of amateur models, both young and old, who’ll show off looks by 10 Asian American designers. Both Yang’s and Patton’s mothers will be among those walking the runway.\u003c/p>\n\u003cp>“It’s really special because I think a lot of our parents who are immigrants, they’ve sacrificed a lot of their own self-identity and desires,” Chen says. “So this is an opportunity to have them feel like superstars, without asking them to be people that they’re not.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">[aside postID='arts_13924997,arts_13962284,arts_13970881']\u003c/span>\u003c/span>Another attraction geared toward partygoers of all ages is the cluster of mahjong tables, which will be running games all day. Lui, who hosts \u003ca href=\"https://sf.eater.com/2023/7/12/23792850/mahjong-restaurants-bay-area-asian-jewish-culture\">regular mahjong nights\u003c/a> at Baba’s House, says she’s found that the spirit of friendly competition that the game fosters is the perfect way to bridge the gap between young Asian Americans and elders who might not otherwise have much in common. “The younger generation wants to learn,” Lui says. “And the older generation gets surprised [by that interest]. They’re like, ‘Oh, so you want to \u003ci>play\u003c/i>?’ And then they get sassy.”\u003c/p>\n\u003cp>The games are meant to be approachable for players of all experience levels, and Baba’s House will have coaches on hand to teach beginners.\u003c/p>\n\u003cp>Maybe the most important way Neo Lunar’s organizers hope to attract a multigenerational crowd? Admission for both seniors and children will be free. The party will also be a masked event, to protect vulnerable community members from COVID and other airborne illnesses.\u003c/p>\n\u003cp>And while the Year of the Snake sometimes \u003ca href=\"https://www.wsj.com/world/china/lunar-new-year-snake-china-asia-zodiac-ff5f5fcd\">gets a bad rap\u003c/a>, compared to some of the other zodiac animals, Yang says he can’t imagine a better mascot for this year’s Neo Lunar event: “The Year of the Snake is perfect for what we’re trying to do. It’s about shedding what’s old and coming into a new identity.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Neo Lunar will take place on Saturday, Feb. 1, 3–8 p.m. at Oakstop (2323 Broadway, Oakland). \u003c/i>\u003ca href=\"https://www.eventbrite.com/e/neo-lunar-lunar-new-year-reimagined-tickets-1124707453269?aff=oddtdtcreator\">\u003ci>Advance tickets\u003c/i>\u003c/a>\u003ci> are sold out, but there will be a limited number of tickets available at the door.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Jonathan Yang was growing up, \u003ca href=\"https://www.kqed.org/arts/tag/lunar-new-year\">Lunar New Year\u003c/a> was marked by elaborate feasts at his immigrant family’s Chinese restaurant. “It was hyper-focused on food — and, obviously, being on your best behavior, being a good son and getting that ultimate red envelope,” he recalls.\u003c/p>\n\u003cp>It also never felt like a holiday he could truly call his own, or where he could be authentic to his identity as a gay man. Instead, those New Year’s gatherings were a time of deep anxiety. “It was just like, I have to live a lie,” Yang says. “I have to field questions from the aunties and uncles asking, ‘Oh, why aren’t you married yet? Do you have a girlfriend?’ It was always wrapped up in that kind of experience for me.”\u003c/p>\n\u003cp>So, when Yang, co-owner of Richmond’s \u003ca href=\"https://www.instagram.com/laughing_gems_wine\">Laughing Gems Wine\u003c/a>, attended a boisterous, \u003ca href=\"https://www.kqed.org/arts/13952052/lunar-new-year-party-oakland-cantonese-taiwanese\">next-generation Lunar New Year’s festival\u003c/a> in Oakland last year that bustled with DJs, tattoo artists, tea cocktails and a DIY red envelope station, he felt so inspired, he knew he wanted to be a part of it too.\u003c/p>\n\u003cp>“I wanted to create a space that I felt represented all of us,” he says.\u003c/p>\n\u003cp>This year, Yang and his business partner, Tiffani Patton, joined forces with visual artist Hanna Chen (of the multimedia art brand \u003ca href=\"https://www.instagram.com/itsyangsheng/\">Yăng Shēng\u003c/a>) and Jenn Lui (co-owner of Asian snack shop \u003ca href=\"https://www.instagram.com/thisisbabas.house/\">Baba’s House\u003c/a> in Oakland) to put on an even bigger, more ambitious party to ring in the Year of the Snake. Rebranded as \u003ca href=\"https://www.eventbrite.com/e/neo-lunar-lunar-new-year-reimagined-tickets-1124707453269?aff=oddtdtcreator\">Neo Lunar\u003c/a>, the sprawling, multi-experiential event will include a night market, a fashion show, a mahjong parlor, a natural wine bar, multiple tattoo artists and art installations, and much more — all crammed into \u003ca href=\"https://www.instagram.com/oakstop/?hl=en\">Oakstop’s\u003c/a> two-story Uptown Oakland event space on Saturday, Feb. 1.\u003c/p>\n\u003cfigure id=\"attachment_13971056\" class=\"wp-caption alignnone\" style=\"max-width: 1708px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971056\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/LNY-24-Flash-by-Proper-Tattoo-scaled.jpg\" alt=\"A man lifts up his shirt to reveal several tattoos, including a red flower on his sternum and a large cat across his abdomen. \" width=\"1708\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/LNY-24-Flash-by-Proper-Tattoo-scaled.jpg 1708w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/LNY-24-Flash-by-Proper-Tattoo-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/LNY-24-Flash-by-Proper-Tattoo-1020x1528.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/LNY-24-Flash-by-Proper-Tattoo-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/LNY-24-Flash-by-Proper-Tattoo-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/LNY-24-Flash-by-Proper-Tattoo-1025x1536.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/LNY-24-Flash-by-Proper-Tattoo-1367x2048.jpg 1367w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/LNY-24-Flash-by-Proper-Tattoo-1920x2877.jpg 1920w\" sizes=\"auto, (max-width: 1708px) 100vw, 1708px\">\u003cfigcaption class=\"wp-caption-text\">An attendee at last year’s party shows off new ink, courtesy of Proper Tattoo, which will again be on hand at the 2025 edition of Neo Lunar. \u003ccite>(J-han, courtesy of Neo Lunar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The event’s organizers all had different experiences with Lunar New Year as Asian Americans growing up in the diaspora, but the common thread was this sense that the holiday never \u003ci>really \u003c/i>belonged to them. Lui remembers sitting in a folding stool and watching her grandparents play mahjong but not necessarily getting to play herself, and attending street parades that mostly only interested the elders in her family. And Patton, who is Black and Korean, experienced so much racism from Korean peers and family members that she never really felt like any Asian experiences were meant for her.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Only in the past couple of years have I been able to participate in different Korean traditions,” she says. “It’s been really beautiful and affirming and heart-opening. To provide that for other people is one of the big reasons for me to do this.”\u003c/p>\n\u003cp>One of the obvious ways Neo Lunar’s organizers hope to connect to other second- and third-generation Asian Americans is through food — in particular, new-school pop-up shops that share their aesthetic of remixing old traditions to create something new. For instance, \u003ca href=\"https://www.instagram.com/p/DFXEnnex16a/?img_index=1\">Lion Dance Cafe\u003c/a>, the vegan Singaporean pop-up, will be on hand slinging mala douhua and kung pao shaobing sandwiches. Beloved Eastside San Jose pop-up \u003ca href=\"https://www.instagram.com/_hetsay_/\">Hết Sẩy\u003c/a> will sling Mekong Delta–style Vietnamese dishes for Tết. Baba’s House will introduce a new menu of scallion pancake wraps. And Laughing Gems will curate a natural wine bar.\u003c/p>\n\u003cfigure id=\"attachment_13971063\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971063\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Ka_in-Na.jpg\" alt=\"A tattooed street vendor cooks skewers over a portable grill.\" width=\"2000\" height=\"1335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Ka_in-Na.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Ka_in-Na-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Ka_in-Na-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Ka_in-Na-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Ka_in-Na-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Ka_in-Na-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Ka_in-Na-1920x1282.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A street food vendor at last year’s party cooks skewers over a portable grill. \u003ccite>(J-han, courtesy of Neo Lunar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The food pop-ups will anchor Neo Lunar’s night market, along with more than 20 retail vendors selling everything from handmade jewelry and vintage clothing to wellness products like Asian herbal tea blends. Chen, the Yăng Shēng artist, says they wanted to capture the excitement of having a multitude of offerings packed into one physical space — “a bustling, shoulder-to-shoulder experience.” Or, as Lui puts it, “You’ll peek and wonder what’s around the corner. Who’s selling this now? What’s happening next?”\u003c/p>\n\u003cp>For those who find the night market vibe too hectic, there will also be a calligraphy workshop and Chinese tea served in a \u003ca href=\"https://www.eventbrite.com/e/little-garden-by-arbor-teahouse-tickets-1203996930229?aff=oddtdtcreator&fbclid=PAZXh0bgNhZW0CMTEAAaaFL4FaBQLKIscjmOcIHiC3904R9j4dSeL6e3JeoGeKYZZGIa6_zhJ6OnM_aem_--rILHqsXSRQQykfEUF34A\">quiet little teahouse sanctuary\u003c/a> tucked away in the middle of the party. And at Yăng Shēng’s immersive “Living Room” installation, partygoers can just chill on a couch that Chen made in collaboration with a local woodworker, with a Chinese-style lattice window carved into the back.\u003c/p>\n\u003cp>Neo Lunar is also very explicitly not \u003ci>just \u003c/i>for young people. A big part of how the organizers say they’re making this New Year’s celebration their own is by making it an intergenerational affair — a party where, as they’re fond of saying, you can “bring your aunties \u003ci>and \u003c/i>your homies.” While the event has a sheen of coolness (with all the tattoos and the DJs and such) that will appeal to younger folks, there’s a conscious effort to build bridges to the older generation as well.\u003c/p>\n\u003cfigure id=\"attachment_13971066\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971066\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/teahouse-_-silkpunkbaby.jpg\" alt=\"Traditional Chinese teaware laid out on a slab of wood.\" width=\"2000\" height=\"1300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/teahouse-_-silkpunkbaby.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/teahouse-_-silkpunkbaby-800x520.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/teahouse-_-silkpunkbaby-1020x663.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/teahouse-_-silkpunkbaby-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/teahouse-_-silkpunkbaby-768x499.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/teahouse-_-silkpunkbaby-1536x998.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/teahouse-_-silkpunkbaby-1920x1248.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Tucked in the middle of the bustling party will be a quiet tea sanctuary. \u003ccite>(silkpunkbaby, courtesy of Neo Lunar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Perhaps the best example is “Multi-Gen,” the party’s fashion show component inspired by the \u003ca href=\"https://www.kqed.org/arts/11151933/how-senior-fashion-is-turning-heads-in-san-franciscos-chinatown\">\u003ci>Chinatown Pretty\u003c/i>\u003c/a> photo project, which spotlighted the often bold and idiosyncratic styles of San Francisco Chinatown elders. The fashion show will start and end with drag performers, and it’ll feature a diverse lineup of amateur models, both young and old, who’ll show off looks by 10 Asian American designers. Both Yang’s and Patton’s mothers will be among those walking the runway.\u003c/p>\n\u003cp>“It’s really special because I think a lot of our parents who are immigrants, they’ve sacrificed a lot of their own self-identity and desires,” Chen says. “So this is an opportunity to have them feel like superstars, without asking them to be people that they’re not.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/span>Another attraction geared toward partygoers of all ages is the cluster of mahjong tables, which will be running games all day. Lui, who hosts \u003ca href=\"https://sf.eater.com/2023/7/12/23792850/mahjong-restaurants-bay-area-asian-jewish-culture\">regular mahjong nights\u003c/a> at Baba’s House, says she’s found that the spirit of friendly competition that the game fosters is the perfect way to bridge the gap between young Asian Americans and elders who might not otherwise have much in common. “The younger generation wants to learn,” Lui says. “And the older generation gets surprised [by that interest]. They’re like, ‘Oh, so you want to \u003ci>play\u003c/i>?’ And then they get sassy.”\u003c/p>\n\u003cp>The games are meant to be approachable for players of all experience levels, and Baba’s House will have coaches on hand to teach beginners.\u003c/p>\n\u003cp>Maybe the most important way Neo Lunar’s organizers hope to attract a multigenerational crowd? Admission for both seniors and children will be free. The party will also be a masked event, to protect vulnerable community members from COVID and other airborne illnesses.\u003c/p>\n\u003cp>And while the Year of the Snake sometimes \u003ca href=\"https://www.wsj.com/world/china/lunar-new-year-snake-china-asia-zodiac-ff5f5fcd\">gets a bad rap\u003c/a>, compared to some of the other zodiac animals, Yang says he can’t imagine a better mascot for this year’s Neo Lunar event: “The Year of the Snake is perfect for what we’re trying to do. It’s about shedding what’s old and coming into a new identity.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Neo Lunar will take place on Saturday, Feb. 1, 3–8 p.m. at Oakstop (2323 Broadway, Oakland). \u003c/i>\u003ca href=\"https://www.eventbrite.com/e/neo-lunar-lunar-new-year-reimagined-tickets-1124707453269?aff=oddtdtcreator\">\u003ci>Advance tickets\u003c/i>\u003c/a>\u003ci> are sold out, but there will be a limited number of tickets available at the door.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Access to the \u003ca href=\"https://www.kqed.org/arts/13924357/get-these-sundance-2023-movies-on-your-radar-now\">Sundance Film Festival\u003c/a> doesn’t require a trip to Park City, Utah, anymore — just an internet connection. Over half of the films that premiered this past week will be available to steam on the \u003ca href=\"https://festival.sundance.org/\">festival’s online platform\u003c/a> starting Thursday.\u003c/p>\n\u003cp>What started as a COVID-era necessity has become one of the festival’s most beloved components, even for those who do brave the cold and the lines to see films in person.\u003c/p>\n\u003cp>[aside postid='arts_13970787']“I think it’s really great to be able to offer that opportunity to our audiences, but also to our artists. Sundance is a festival of discovery and each of the films coming to the festival is seeking that moment with audiences,” said festival director Eugene Hernandez. “How cool is it that even for that short window of time, just a few days, folks from anywhere in the country can log on in their living room with family and friends, get together and watch a few of the films?”\u003c/p>\n\u003ch2>How can I watch Sundance films?\u003c/h2>\n\u003cp>The Sundance Film Festival website has information on the technical requirements, but there are ways to watch on your computer and television. After you click the “Watch Now” button, you have five hours to complete the feature film.\u003c/p>\n\u003ch2>Who can watch?\u003c/h2>\n\u003cp>Anyone in the U.S. can access the online portal. Rights restrictions make the films and shows unavailable to stream internationally.\u003c/p>\n\u003ch2>What films are available?\u003c/h2>\n\u003cp>All of the feature films playing in the main competitions are included on the platform and a few extras, many of which do not yet have theatrical distribution plans. That includes the Dylan O’Brien breakout \u003ca href=\"https://www.youtube.com/watch?v=xq37P4lS6Xo\">\u003cem>Twinless\u003c/em>\u003c/a>, the Marlee Matlin, Sally Ride and Selena Quintanilla documentaries, Ukrainian documentary \u003cem>2000 Meters to Andriivka\u003c/em>, as well as \u003ca href=\"https://www.youtube.com/watch?v=dcUeDa8FK_8\">\u003cem>Mr. Nobody Against Putin\u003c/em>\u003c/a>, from Russia.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Other highlights include \u003cem>Love, Brooklyn\u003c/em>; \u003cem>Ricky\u003c/em>; the Barry Jenkins produced \u003cem>Sorry, Baby\u003c/em> made by triple threat Eva Victor; the politically relevant \u003cem>Heightened Scrutiny\u003c/em> which looks at how the media is responsible for shaping narratives around transgender issues; and \u003cem>The Perfect Neighbor\u003c/em>, which uses police bodycam footage to reconstruct a deadly neighborhood incident in Florida.\u003c/p>\n\u003ch2>What films aren’t available?\u003c/h2>\n\u003cp>Some films already have distributors and won’t be streaming on the platform. A24 will release both the Ayo Edebiri film \u003ca href=\"https://www.youtube.com/watch?v=5owo-kbx8X0\">\u003cem>Opus\u003c/em>\u003c/a> and the Rose Byrne psychological thriller \u003ca href=\"https://www.youtube.com/watch?v=DOG3STd8cgA\">\u003cem>If I Had Legs I’d Kick You\u003c/em>\u003c/a> in theaters this year. Same with Focus Features’ Carey Mulligan charmer \u003ca href=\"https://www.youtube.com/watch?v=HTi-e20yVNs\">\u003cem>The\u003c/em> \u003cem>Ballad of Wallis Island\u003c/em>\u003c/a>, which will be in theaters in March. And in general, movies that played in the premieres section will not be available online, whether or not they have distribution plans yet. That includes Bill Condon’s \u003cem>Kiss of the Spider Woman\u003c/em> remake.\u003c/p>\n\u003ch2>When can I watch?\u003c/h2>\n\u003cp>Between Jan. 30 through Feb. 2, 2025.\u003c/p>\n\u003ch2>What does it cost to stream movies from this year’s Sundance festival?\u003c/h2>\n\u003cp>\u003c/p>\n\u003cp>It’s $35 for a single film and up to $800 for unlimited. Proceeds benefit the Sundance Institute’s artist programs and funds.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Access to the \u003ca href=\"https://www.kqed.org/arts/13924357/get-these-sundance-2023-movies-on-your-radar-now\">Sundance Film Festival\u003c/a> doesn’t require a trip to Park City, Utah, anymore — just an internet connection. Over half of the films that premiered this past week will be available to steam on the \u003ca href=\"https://festival.sundance.org/\">festival’s online platform\u003c/a> starting Thursday.\u003c/p>\n\u003cp>What started as a COVID-era necessity has become one of the festival’s most beloved components, even for those who do brave the cold and the lines to see films in person.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I think it’s really great to be able to offer that opportunity to our audiences, but also to our artists. Sundance is a festival of discovery and each of the films coming to the festival is seeking that moment with audiences,” said festival director Eugene Hernandez. “How cool is it that even for that short window of time, just a few days, folks from anywhere in the country can log on in their living room with family and friends, get together and watch a few of the films?”\u003c/p>\n\u003ch2>How can I watch Sundance films?\u003c/h2>\n\u003cp>The Sundance Film Festival website has information on the technical requirements, but there are ways to watch on your computer and television. After you click the “Watch Now” button, you have five hours to complete the feature film.\u003c/p>\n\u003ch2>Who can watch?\u003c/h2>\n\u003cp>Anyone in the U.S. can access the online portal. Rights restrictions make the films and shows unavailable to stream internationally.\u003c/p>\n\u003ch2>What films are available?\u003c/h2>\n\u003cp>All of the feature films playing in the main competitions are included on the platform and a few extras, many of which do not yet have theatrical distribution plans. That includes the Dylan O’Brien breakout \u003ca href=\"https://www.youtube.com/watch?v=xq37P4lS6Xo\">\u003cem>Twinless\u003c/em>\u003c/a>, the Marlee Matlin, Sally Ride and Selena Quintanilla documentaries, Ukrainian documentary \u003cem>2000 Meters to Andriivka\u003c/em>, as well as \u003ca href=\"https://www.youtube.com/watch?v=dcUeDa8FK_8\">\u003cem>Mr. Nobody Against Putin\u003c/em>\u003c/a>, from Russia.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Other highlights include \u003cem>Love, Brooklyn\u003c/em>; \u003cem>Ricky\u003c/em>; the Barry Jenkins produced \u003cem>Sorry, Baby\u003c/em> made by triple threat Eva Victor; the politically relevant \u003cem>Heightened Scrutiny\u003c/em> which looks at how the media is responsible for shaping narratives around transgender issues; and \u003cem>The Perfect Neighbor\u003c/em>, which uses police bodycam footage to reconstruct a deadly neighborhood incident in Florida.\u003c/p>\n\u003ch2>What films aren’t available?\u003c/h2>\n\u003cp>Some films already have distributors and won’t be streaming on the platform. A24 will release both the Ayo Edebiri film \u003ca href=\"https://www.youtube.com/watch?v=5owo-kbx8X0\">\u003cem>Opus\u003c/em>\u003c/a> and the Rose Byrne psychological thriller \u003ca href=\"https://www.youtube.com/watch?v=DOG3STd8cgA\">\u003cem>If I Had Legs I’d Kick You\u003c/em>\u003c/a> in theaters this year. Same with Focus Features’ Carey Mulligan charmer \u003ca href=\"https://www.youtube.com/watch?v=HTi-e20yVNs\">\u003cem>The\u003c/em> \u003cem>Ballad of Wallis Island\u003c/em>\u003c/a>, which will be in theaters in March. And in general, movies that played in the premieres section will not be available online, whether or not they have distribution plans yet. That includes Bill Condon’s \u003cem>Kiss of the Spider Woman\u003c/em> remake.\u003c/p>\n\u003ch2>When can I watch?\u003c/h2>\n\u003cp>Between Jan. 30 through Feb. 2, 2025.\u003c/p>\n\u003ch2>What does it cost to stream movies from this year’s Sundance festival?\u003c/h2>\n\u003cp>\u003c/p>\n\u003cp>It’s $35 for a single film and up to $800 for unlimited. Proceeds benefit the Sundance Institute’s artist programs and funds.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘You’re Cordially Invited’ Is a Comedic Clash Between Will Ferrell and Reese Witherspoon",
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"content": "\u003cp>Are you with the bride or the groom? Hold on, scratch that. Are you with \u003ca href=\"https://www.kqed.org/arts/13869877/from-book-to-script-to-screen-reese-witherspoon-is-making-roles-for-women\">Reese Witherspoon\u003c/a> or \u003ca href=\"https://www.kqed.org/arts/13933517/strays-dog-comedy-will-ferrell-jamie-foxx-isla-fisher-randall-park\">Will Ferrell\u003c/a>?\u003c/p>\n\u003cp>\u003cem>You’re Cordially Invited\u003c/em>, a new comedy directed by \u003ca href=\"https://www.kqed.org/arts/92143/an_engagement_going_nowhere_but_endearingly_so\">Nicholas Stoller\u003c/a>, brings together two stars whose movie worlds are nearly as divided as wedding guests on separate sides of the aisle. Ferrell is most closely associated with broad comedies and Witherspoon the more romantic variety. And while both have expanded beyond their wheelhouses, they are each A-list refugees from movie genres — laugh-out-loud comedies, rom-coms — that have largely faded from theaters in recent years.\u003c/p>\n\u003cp>\u003cem>You’re Cordially Invited\u003c/em>, which debuts Thursday on Prime Video, unites these two once-ubiquitous box-office forces in a streaming-only wedding comedy that cross-pollinates \u003cem>Father of the Bride\u003c/em> with \u003cem>Wedding Crashers\u003c/em>. The combination works well enough, though it’d be fairer to deem \u003cem>You’re Cordially Invited\u003c/em> a funnier-than-average wedding movie than it would be a top-grade Ferrell comedy.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fWSNV4GiaYs\u003c/p>\n\u003cp>It’s been two decades since, in \u003cem>Wedding Crashers\u003c/em>, Ferrell so gently called to his mother, “Hey, Mom! Can we get some meatloaf!” But a whole era has passed. \u003cem>You’re Cordially Invited\u003c/em> is an attempt to rekindle some of the spirit of those early ‘00s comedies while growing it up a little, and roping in a new generation of funny people. Here, Ferrell plays the overly doting father to Jenni (Geraldine Viswanathan). He’s a widower whose happiness rests to an unsound degree on his daughter. Jim steams her clothes and styles her hair. He’s not crashing the wedding this time; he’s baking the cake.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When Jenni returns home with a ring on her finger and her now-fiancé (Stony Blyden) in tow, Jim experiences the happy news more like a nightmare. Still, he gathers himself together and books a destination wedding on the small Georgia island where he and his wife were married.\u003c/p>\n\u003cp>Meanwhile, we’re introduced to Margot (Witherspoon) a high-powered reality TV executive in Los Angeles whose younger sister (Meredith Hagner) is getting married to her boyfriend (Jimmy Tatro). Her abiding issue is a disconnect with her Atlanta-era family and their disapproving mother (Celia Weston), a fissure that the wedding, which Margot opts to plan herself, quickly exacerbates.\u003c/p>\n\u003cp>[aside postid='arts_13970830']When, a year later, these two groups arrive on the island, Jim and Margot eye each other suspiciously right up until they each attempt to check in at the same time. Thanks to the untimely death of the inn’s longtime owner, the place has been double-booked for the weekend — a particularly awkward situation given the island can only accommodate one wedding at a time. The supporting roles throughout \u003cem>You’re Cordially Invited\u003c/em> are well cast, including the inn’s new, very apologetic manager, played by Jack McBrayer.\u003c/p>\n\u003cp>After some hesitation, Margot and Jim resolve to share the venue. This, of course, is the not particularly subtle concept of \u003cem>You’re Cordially Invited\u003c/em>. The arrangement is momentarily copacetic but gradually devolves into an all-out war between Margot and Jim, while the two very different wedding parties — one a multicultural DJ-ing crew, the other longtime Southerners — mingle congenially.\u003c/p>\n\u003cfigure id=\"attachment_13970964\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13970964\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/ferrel.png\" alt=\"A white man fixes the hair of a younger mixed race woman. They both have both of their heads turned to one sides and are smiling broadly at someone. \" width=\"2000\" height=\"1298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/ferrel.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/ferrel-800x519.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/ferrel-1020x662.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/ferrel-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/ferrel-768x498.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/ferrel-1536x997.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/ferrel-1920x1246.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Will Ferrell? and Geraldine Viswanathan starring in ‘You’re Cordially Invited.’ \u003ccite>(Prime Video)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The main deficiency of \u003cem>You’re Cordially Invited\u003c/em>, also scripted by Stoller (\u003cem>Neighbors\u003c/em>, \u003cem>Forgetting Sarah Marshall\u003c/em>), is that everything about it proceeds from its concept. The characters feel engineered to suit it, and everything in its plot is orchestrated to serve the rival wedding feud. Nothing in how things evolve will surprise you or feel particularly organic. For a not especially long movie, \u003cem>You’re Cordially Invited\u003c/em> drags, a byproduct of its artificial conception. This is the kind of film where the post-credits sing-along feels forced.\u003c/p>\n\u003cp>That said, there’s a wide array of comic talent throughout Stoller’s film that enlivens it. That includes Keyla Monterroso Mejia, Rory Scovel, Leanne Morgan and even, briefly, Peyton Manning. This should be a showcase for Viswanathan, the talented star of \u003cem>Blockers\u003c/em> and \u003cem>Bad Education\u003c/em>, but her character, while primary, doesn’t give her much to work with beyond shedding an overly dependent dad. The highlight of the cast, really, is Weston, who is so good as a hard-to-impress matriarch that you could just as easily drop her into a family drama.\u003c/p>\n\u003cp>[aside postid='arts_13970921']Ferrell, who has made unadjusted fathers a specialty since \u003ca href=\"https://www.kqed.org/arts/tag/saturday-night-live\">\u003cem>Saturday Night Live\u003c/em>\u003c/a>, finds more ways to make Jim a compelling comic character than most anyone could. Having the chance to see him in a big studio comedy has gotten so foolishly infrequent that \u003cem>You’re Cordially Invited\u003c/em> is worth RSVP’ing to for that too-rare opportunity, in itself.\u003c/p>\n\u003cp>Somewhat surprisingly, \u003cem>You’re Cordially Invited\u003c/em> doesn’t culminate in a big comic set piece but puts much — maybe too much — of its energy into talking through Jim and Margot’s hang-ups. There’s a clever, self-aware theme of honesty: too little of it in Jim and Jenni’s performative dynamic, and too much of it in Margot’s cynical family relationships. That all of this hangs together is a testament, most of all, to Witherspoon’s deftness as a performer. In a movie in which Ferrell wrestles an alligator and Nick Jonas cameos (winningly) as a singing pastor, you don’t doubt Witherspoon for a moment.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘You’re Cordially Invited’ begins streaming on Prime Video on Jan. 30, 2025.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Are you with the bride or the groom? Hold on, scratch that. Are you with \u003ca href=\"https://www.kqed.org/arts/13869877/from-book-to-script-to-screen-reese-witherspoon-is-making-roles-for-women\">Reese Witherspoon\u003c/a> or \u003ca href=\"https://www.kqed.org/arts/13933517/strays-dog-comedy-will-ferrell-jamie-foxx-isla-fisher-randall-park\">Will Ferrell\u003c/a>?\u003c/p>\n\u003cp>\u003cem>You’re Cordially Invited\u003c/em>, a new comedy directed by \u003ca href=\"https://www.kqed.org/arts/92143/an_engagement_going_nowhere_but_endearingly_so\">Nicholas Stoller\u003c/a>, brings together two stars whose movie worlds are nearly as divided as wedding guests on separate sides of the aisle. Ferrell is most closely associated with broad comedies and Witherspoon the more romantic variety. And while both have expanded beyond their wheelhouses, they are each A-list refugees from movie genres — laugh-out-loud comedies, rom-coms — that have largely faded from theaters in recent years.\u003c/p>\n\u003cp>\u003cem>You’re Cordially Invited\u003c/em>, which debuts Thursday on Prime Video, unites these two once-ubiquitous box-office forces in a streaming-only wedding comedy that cross-pollinates \u003cem>Father of the Bride\u003c/em> with \u003cem>Wedding Crashers\u003c/em>. The combination works well enough, though it’d be fairer to deem \u003cem>You’re Cordially Invited\u003c/em> a funnier-than-average wedding movie than it would be a top-grade Ferrell comedy.\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/fWSNV4GiaYs'\n title='//www.youtube.com/embed/fWSNV4GiaYs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s been two decades since, in \u003cem>Wedding Crashers\u003c/em>, Ferrell so gently called to his mother, “Hey, Mom! Can we get some meatloaf!” But a whole era has passed. \u003cem>You’re Cordially Invited\u003c/em> is an attempt to rekindle some of the spirit of those early ‘00s comedies while growing it up a little, and roping in a new generation of funny people. Here, Ferrell plays the overly doting father to Jenni (Geraldine Viswanathan). He’s a widower whose happiness rests to an unsound degree on his daughter. Jim steams her clothes and styles her hair. He’s not crashing the wedding this time; he’s baking the cake.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When Jenni returns home with a ring on her finger and her now-fiancé (Stony Blyden) in tow, Jim experiences the happy news more like a nightmare. Still, he gathers himself together and books a destination wedding on the small Georgia island where he and his wife were married.\u003c/p>\n\u003cp>Meanwhile, we’re introduced to Margot (Witherspoon) a high-powered reality TV executive in Los Angeles whose younger sister (Meredith Hagner) is getting married to her boyfriend (Jimmy Tatro). Her abiding issue is a disconnect with her Atlanta-era family and their disapproving mother (Celia Weston), a fissure that the wedding, which Margot opts to plan herself, quickly exacerbates.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>When, a year later, these two groups arrive on the island, Jim and Margot eye each other suspiciously right up until they each attempt to check in at the same time. Thanks to the untimely death of the inn’s longtime owner, the place has been double-booked for the weekend — a particularly awkward situation given the island can only accommodate one wedding at a time. The supporting roles throughout \u003cem>You’re Cordially Invited\u003c/em> are well cast, including the inn’s new, very apologetic manager, played by Jack McBrayer.\u003c/p>\n\u003cp>After some hesitation, Margot and Jim resolve to share the venue. This, of course, is the not particularly subtle concept of \u003cem>You’re Cordially Invited\u003c/em>. The arrangement is momentarily copacetic but gradually devolves into an all-out war between Margot and Jim, while the two very different wedding parties — one a multicultural DJ-ing crew, the other longtime Southerners — mingle congenially.\u003c/p>\n\u003cfigure id=\"attachment_13970964\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13970964\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/ferrel.png\" alt=\"A white man fixes the hair of a younger mixed race woman. They both have both of their heads turned to one sides and are smiling broadly at someone. \" width=\"2000\" height=\"1298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/ferrel.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/ferrel-800x519.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/ferrel-1020x662.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/ferrel-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/ferrel-768x498.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/ferrel-1536x997.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/ferrel-1920x1246.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Will Ferrell? and Geraldine Viswanathan starring in ‘You’re Cordially Invited.’ \u003ccite>(Prime Video)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The main deficiency of \u003cem>You’re Cordially Invited\u003c/em>, also scripted by Stoller (\u003cem>Neighbors\u003c/em>, \u003cem>Forgetting Sarah Marshall\u003c/em>), is that everything about it proceeds from its concept. The characters feel engineered to suit it, and everything in its plot is orchestrated to serve the rival wedding feud. Nothing in how things evolve will surprise you or feel particularly organic. For a not especially long movie, \u003cem>You’re Cordially Invited\u003c/em> drags, a byproduct of its artificial conception. This is the kind of film where the post-credits sing-along feels forced.\u003c/p>\n\u003cp>That said, there’s a wide array of comic talent throughout Stoller’s film that enlivens it. That includes Keyla Monterroso Mejia, Rory Scovel, Leanne Morgan and even, briefly, Peyton Manning. This should be a showcase for Viswanathan, the talented star of \u003cem>Blockers\u003c/em> and \u003cem>Bad Education\u003c/em>, but her character, while primary, doesn’t give her much to work with beyond shedding an overly dependent dad. The highlight of the cast, really, is Weston, who is so good as a hard-to-impress matriarch that you could just as easily drop her into a family drama.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Ferrell, who has made unadjusted fathers a specialty since \u003ca href=\"https://www.kqed.org/arts/tag/saturday-night-live\">\u003cem>Saturday Night Live\u003c/em>\u003c/a>, finds more ways to make Jim a compelling comic character than most anyone could. Having the chance to see him in a big studio comedy has gotten so foolishly infrequent that \u003cem>You’re Cordially Invited\u003c/em> is worth RSVP’ing to for that too-rare opportunity, in itself.\u003c/p>\n\u003cp>Somewhat surprisingly, \u003cem>You’re Cordially Invited\u003c/em> doesn’t culminate in a big comic set piece but puts much — maybe too much — of its energy into talking through Jim and Margot’s hang-ups. There’s a clever, self-aware theme of honesty: too little of it in Jim and Jenni’s performative dynamic, and too much of it in Margot’s cynical family relationships. That all of this hangs together is a testament, most of all, to Witherspoon’s deftness as a performer. In a movie in which Ferrell wrestles an alligator and Nick Jonas cameos (winningly) as a singing pastor, you don’t doubt Witherspoon for a moment.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘You’re Cordially Invited’ begins streaming on Prime Video on Jan. 30, 2025.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "jenni-olson-arthur-bressan-queer-film-bampfa-roxie-4-star",
"title": "Filmmaker Jenni Olson Is Bringing Landmark Queer Films Back to Screens",
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"headTitle": "Filmmaker Jenni Olson Is Bringing Landmark Queer Films Back to Screens | KQED",
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"content": "\u003cp>Like most good stories about underappreciated artists, filmmaker Arthur J. Bressan Jr.’s revival begins with a pile of cardboard boxes. Specifically, crates of scripts, correspondence and film reels sitting in a \u003ca href=\"https://www.frameline.org\">Frameline\u003c/a> office in 1992. In that pile, Jenni Olson, Bay Area filmmaker, curator, archivist, online pioneer and then-Frameline festival co-director, discovered what would become one of her biggest undertakings: bringing Bressan’s work back to audiences.\u003c/p>\n\u003cp>[aside postID='arts_13970047,arts_13970799']As with many tales of this kind, even after the physical media was rediscovered, copyright issues kept Bressan’s films in limbo for several more decades. Only recently has his powerful oeuvre begun to receive the praise it deserves, thanks to \u003ca href=\"https://bressanproject.wixsite.com/website\">The Bressan Project\u003c/a>, an ongoing effort by Olson and Bressan’s sister, Roe Bressan, to preserve, restore and distribute the work of the late filmmaker. \u003c/p>\n\u003cp>Before he died of AIDS in 1987, at age 44, Bressan was a filmmaker’s filmmaker, creating a vivid range of work including documentaries, narrative-driven pornography, and his 1985 landmark feature, \u003cem>Buddies\u003c/em>, the first dramatic film to focus on the HIV/AIDS pandemic.\u003c/p>\n\u003cfigure id=\"attachment_13970983\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Buddies-color-production-still-with-Geoff-and-David_crop.jpg\" alt=\"man in hospital smock and mask looks down at man on hospital bed\" width=\"1500\" height=\"1124\" class=\"size-full wp-image-13970983\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Buddies-color-production-still-with-Geoff-and-David_crop.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Buddies-color-production-still-with-Geoff-and-David_crop-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Buddies-color-production-still-with-Geoff-and-David_crop-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Buddies-color-production-still-with-Geoff-and-David_crop-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Buddies-color-production-still-with-Geoff-and-David_crop-768x575.jpg 768w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">A still from Arthur J. Bressan’s ‘Buddies,’ 1985, screening at the Roxie on Feb. 22, 2025 as part of ’40 Years of Queer.’ \u003ccite>(Courtesy of Frameline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was very proud that he made all kinds of movies. He felt it was all part of filmmaking,” Olson explains. “All of his work is instilled with a gay liberation ethos, even the porn films.” In the adult film \u003cem>Passing Strangers\u003c/em>, the characters march down Polk Street in the real-life 1974 Gay Freedom Day parade.\u003c/p>\n\u003cp>In Bressan’s commitment to depictions of joyful queer life set in San Francisco, Olson has an antecedent. Her own multihyphenate career is as much about preserving and presenting the work of others as it is about creating what she describes as “urban landscape essay films,” most of which feature San Francisco or California history as a character all its own.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I always say my films are about a butch dyke pining over unavailable women, and some other topic,” she laughs.\u003c/p>\n\u003cp>In addition to spearheading Bressan’s revival, Olson is enjoying several retrospectives of her own work — both feature and short films — while curating multiple series on both sides of the Bay. Over the next few months, both filmmakers are getting their due, and local audiences are getting a chance to take in rare and important examples of queer cinema at the Berkeley Art Museum and Pacific Film Archive, the Roxie and 4 Star Theater. \u003c/p>\n\u003cfigure id=\"attachment_13970796\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Jenni-Olson_005_2000.jpg\" alt=\"portrait of person in plaid shirt with short gray hair, hand on chin\" width=\"2000\" height=\"2500\" class=\"size-full wp-image-13970796\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Jenni-Olson_005_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Jenni-Olson_005_2000-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Jenni-Olson_005_2000-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Jenni-Olson_005_2000-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Jenni-Olson_005_2000-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Jenni-Olson_005_2000-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Jenni-Olson_005_2000-1638x2048.jpg 1638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Jenni-Olson_005_2000-1920x2400.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Filmmaker, curator, archivist and online pioneer Jenni Olson is the force behind much of the queer cinema gracing Bay Area screens this winter and spring. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Queer film in the spotlight\u003c/h2>\n\u003cp>Through Feb. 23, BAMPFA is presenting the Olson-curated series \u003ca href=\"https://bampfa.org/program/masc-ii\">Masc II: Mascs plus Muchachas\u003c/a>, a celebration of masc, butch, and trans-focused films (a follow-up to \u003ca href=\"https://www.kqed.org/arts/13950600/bampfa-film-masc-trans-men-butch-dykes-gender-nonconforming-heroes\">last year’s Masc series\u003c/a>, co-curated by Olson). \u003c/p>\n\u003cp>This year’s lineup includes several remarkable rarities, including Shusuke Kaneko’s 1988 soft-focus fantasy \u003cem>Summer Vacation 1999\u003c/em>, a gender-bending melodrama that largely fell out of circulation in the past three decades. And screening in the Bay Area for the first time in 74 years, \u003cem>Muchachas de uniforme\u003c/em> is a 1951 Mexico remake of \u003cem>Mädchen in Uniform\u003c/em>, a cult classic considered the first openly lesbian film.\u003c/p>\n\u003cp>On Monday, Feb. 24 — the day after the BAMPFA series wraps — the 4 Star Theater screens \u003cem>\u003ca href=\"https://www.4-star-movies.com/calendar-of-events/juice-7-pm-a-post-screening-discussion-with-queer-archivistfilmmaker-jenni-olson\">Juice\u003c/a>\u003c/em>, Bressan’s final adult film, to an audience 18 and over. (Yes, attendees will be carded.) Olson will introduce and then lead a post-screening discussion.\u003c/p>\n\u003cfigure id=\"attachment_13970793\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Kaneko_Summer-Vacation-1999_004.jpg\" alt=\"a person in a uniform sits on a windowsill reading\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13970793\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Kaneko_Summer-Vacation-1999_004.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Kaneko_Summer-Vacation-1999_004-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Kaneko_Summer-Vacation-1999_004-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Kaneko_Summer-Vacation-1999_004-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Kaneko_Summer-Vacation-1999_004-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Kaneko_Summer-Vacation-1999_004-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from Shusuke Kaneko’s 1988 film ‘Summer Vacation 1999.’ \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And starting Feb. 16 and spanning several months this spring, moviegoers have the opportunity to take in Olson’s exciting lineup, \u003ca href=\"https://roxie.com/series/40-years-of-queer/\">40 Years of Queer\u003c/a>, co-curated with Roxie Executive Director Lex Sloan. Included in the program is Bressan’s \u003cem>Buddies\u003c/em>.\u003c/p>\n\u003cp>Centered on two gay men who connect through an HIV hospice support program, \u003cem>Buddies\u003c/em> feels like both a time capsule and timeless. It’s a beautifully simple narrative film with an invaluable premise: We can and do change one another’s lives, especially when pandemics force us to face our own purpose and mortality. (If you miss the Roxie screening, \u003cem>Buddies\u003c/em> is currently on the \u003ca href=\"https://www.criterionchannel.com/buddies\">Criterion Channel\u003c/a>, and the San Francisco Public Library has both the DVD and Blu-ray discs.)\u003c/p>\n\u003cp>The Roxie series is rounded out with April screenings of Olson’s own lyrical features, \u003cem>\u003ca href=\"https://roxie.com/film/the-royal-road-2015-575-castro-st-2008/\">The Royal Road\u003c/a>\u003c/em> and \u003cem>\u003ca href=\"https://roxie.com/film/the-joy-of-life-2005-blue-diary-1998/\">The Joy of Life\u003c/a>\u003c/em>. Each is paired with a short film, \u003cem>575 Castro Street\u003c/em> and \u003cem>Blue Diary\u003c/em>, respectively, the latter featuring notable time markers such as sub-$2-a-gallon fuel prices and the \u003ca href=\"https://www.foundsf.org/index.php?title=17_Reasons_Remembered\">17 Reasons Why! sign\u003c/a>, formerly located at 17th and Mission.\u003c/p>\n\u003cfigure id=\"attachment_13970981\" class=\"wp-caption aligncenter\" style=\"max-width: 1435px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Blue-Diary-production-still-1-Copyright-1998-Jenni-Olson.png\" alt=\"San Francisco city street in shadow with '17 Reasons Why!' sign at center\" width=\"1435\" height=\"1075\" class=\"size-full wp-image-13970981\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Blue-Diary-production-still-1-Copyright-1998-Jenni-Olson.png 1435w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Blue-Diary-production-still-1-Copyright-1998-Jenni-Olson-800x599.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Blue-Diary-production-still-1-Copyright-1998-Jenni-Olson-1020x764.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Blue-Diary-production-still-1-Copyright-1998-Jenni-Olson-160x120.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Blue-Diary-production-still-1-Copyright-1998-Jenni-Olson-768x575.png 768w\" sizes=\"auto, (max-width: 1435px) 100vw, 1435px\">\u003cfigcaption class=\"wp-caption-text\">A production still from Jenni Olson’s short film ‘Blue Diary,’ 1998. \u003ccite>(Courtesy of Jenni Olson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A filmmaking conversation across time\u003c/h2>\n\u003cp>Olson has been shooting 16mm film in the Bay Area since 1997. Her films draw on a rich reservoir of hyperlocal landmarks and iconography, so similar to the way Bressan pulled from elements of queer life in real time. \u003c/p>\n\u003cp>“My work is so anchored in the Bay Area, so I’m particularly excited for my films to show at the Roxie and BAMPFA and connect with audiences who appreciate this is the \u003cem>real\u003c/em> Bay Area,” Olson says. These screenings and Q&As may double as gentle promotion for her next feature, \u003cem>\u003ca href=\"https://tellmeeverythingwillbeokay.weebly.com\">Tell Me Everything Will Be Okay\u003c/a>\u003c/em>, currently in the early stages of production.\u003c/p>\n\u003cp>Thanks to Olson’s stewardship, the contents of those once-neglected boxes found in the Frameline offices have joined proper archives, with Bressan’s papers now part of Cornell University’s \u003ca href=\"https://rare.library.cornell.edu/human-sexuality-collection/\">Human Sexuality Collection\u003c/a>, and his films preserved and restored by the \u003ca href=\"https://www.cinema.ucla.edu\">UCLA Film and Television Archive\u003c/a>. \u003c/p>\n\u003cp>https://vimeo.com/444287121\u003c/p>\n\u003cp>Increasingly, his films are moving onto digital platforms and reaching even more audiences. The Criterion Channel is currently streaming the restored documentary \u003cem>\u003ca href=\"https://www.criterionchannel.com/gay-usa\">Gay USA\u003c/a>\u003c/em>, a 72-minute collage of 1977 Gay Freedom Day march footage from six cities, including evocative and delightful interviews set against San Francisco’s Market Street and Civic Center.\u003c/p>\n\u003cp>Even though they never met, Olson’s and Bressan’s films speak to each other. Both draw inspiration from Frank Capra melodramas, but their work commits to a sincerity that makes audiences feel deeply. Neither veers into maudlin territory. \u003c/p>\n\u003cp>“My work is very engaged with vulnerability on a lot of levels, and in that way it is ambitious and courageous,” Olson explains. Similarly, Bressan’s films are boldly queer-positive and earnestly romantic, especially his plot-driven adult films. It’s no surprise that audiences, including Olson, connect deeply with his work. \u003c/p>\n\u003cp>As Olson says, “I never knew Arthur, but I feel so close to him.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://bampfa.org/program/masc-ii\">Masc II: Mascs plus Muchachas\u003c/a>,’ a film series curated by Jenni Olson, continues at the Berkeley Art Museum and Pacific Film Archive through Feb. 23. Arthur J. Bressan Jr.’s ‘\u003ca href=\"https://www.4-star-movies.com/calendar-of-events/juice-jenni-olson\">Juice\u003c/a>’ plays at the 4 Star Theater with a post-screening conversation with Olson on Feb. 24. ‘\u003ca href=\"https://roxie.com/series/40-years-of-queer/\">40 Years of Queer\u003c/a>’ plays at the Roxie Theater Feb. 16–April 8.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Like most good stories about underappreciated artists, filmmaker Arthur J. Bressan Jr.’s revival begins with a pile of cardboard boxes. Specifically, crates of scripts, correspondence and film reels sitting in a \u003ca href=\"https://www.frameline.org\">Frameline\u003c/a> office in 1992. In that pile, Jenni Olson, Bay Area filmmaker, curator, archivist, online pioneer and then-Frameline festival co-director, discovered what would become one of her biggest undertakings: bringing Bressan’s work back to audiences.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As with many tales of this kind, even after the physical media was rediscovered, copyright issues kept Bressan’s films in limbo for several more decades. Only recently has his powerful oeuvre begun to receive the praise it deserves, thanks to \u003ca href=\"https://bressanproject.wixsite.com/website\">The Bressan Project\u003c/a>, an ongoing effort by Olson and Bressan’s sister, Roe Bressan, to preserve, restore and distribute the work of the late filmmaker. \u003c/p>\n\u003cp>Before he died of AIDS in 1987, at age 44, Bressan was a filmmaker’s filmmaker, creating a vivid range of work including documentaries, narrative-driven pornography, and his 1985 landmark feature, \u003cem>Buddies\u003c/em>, the first dramatic film to focus on the HIV/AIDS pandemic.\u003c/p>\n\u003cfigure id=\"attachment_13970983\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Buddies-color-production-still-with-Geoff-and-David_crop.jpg\" alt=\"man in hospital smock and mask looks down at man on hospital bed\" width=\"1500\" height=\"1124\" class=\"size-full wp-image-13970983\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Buddies-color-production-still-with-Geoff-and-David_crop.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Buddies-color-production-still-with-Geoff-and-David_crop-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Buddies-color-production-still-with-Geoff-and-David_crop-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Buddies-color-production-still-with-Geoff-and-David_crop-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Buddies-color-production-still-with-Geoff-and-David_crop-768x575.jpg 768w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">A still from Arthur J. Bressan’s ‘Buddies,’ 1985, screening at the Roxie on Feb. 22, 2025 as part of ’40 Years of Queer.’ \u003ccite>(Courtesy of Frameline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was very proud that he made all kinds of movies. He felt it was all part of filmmaking,” Olson explains. “All of his work is instilled with a gay liberation ethos, even the porn films.” In the adult film \u003cem>Passing Strangers\u003c/em>, the characters march down Polk Street in the real-life 1974 Gay Freedom Day parade.\u003c/p>\n\u003cp>In Bressan’s commitment to depictions of joyful queer life set in San Francisco, Olson has an antecedent. Her own multihyphenate career is as much about preserving and presenting the work of others as it is about creating what she describes as “urban landscape essay films,” most of which feature San Francisco or California history as a character all its own.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I always say my films are about a butch dyke pining over unavailable women, and some other topic,” she laughs.\u003c/p>\n\u003cp>In addition to spearheading Bressan’s revival, Olson is enjoying several retrospectives of her own work — both feature and short films — while curating multiple series on both sides of the Bay. Over the next few months, both filmmakers are getting their due, and local audiences are getting a chance to take in rare and important examples of queer cinema at the Berkeley Art Museum and Pacific Film Archive, the Roxie and 4 Star Theater. \u003c/p>\n\u003cfigure id=\"attachment_13970796\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Jenni-Olson_005_2000.jpg\" alt=\"portrait of person in plaid shirt with short gray hair, hand on chin\" width=\"2000\" height=\"2500\" class=\"size-full wp-image-13970796\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Jenni-Olson_005_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Jenni-Olson_005_2000-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Jenni-Olson_005_2000-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Jenni-Olson_005_2000-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Jenni-Olson_005_2000-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Jenni-Olson_005_2000-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Jenni-Olson_005_2000-1638x2048.jpg 1638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Jenni-Olson_005_2000-1920x2400.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Filmmaker, curator, archivist and online pioneer Jenni Olson is the force behind much of the queer cinema gracing Bay Area screens this winter and spring. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Queer film in the spotlight\u003c/h2>\n\u003cp>Through Feb. 23, BAMPFA is presenting the Olson-curated series \u003ca href=\"https://bampfa.org/program/masc-ii\">Masc II: Mascs plus Muchachas\u003c/a>, a celebration of masc, butch, and trans-focused films (a follow-up to \u003ca href=\"https://www.kqed.org/arts/13950600/bampfa-film-masc-trans-men-butch-dykes-gender-nonconforming-heroes\">last year’s Masc series\u003c/a>, co-curated by Olson). \u003c/p>\n\u003cp>This year’s lineup includes several remarkable rarities, including Shusuke Kaneko’s 1988 soft-focus fantasy \u003cem>Summer Vacation 1999\u003c/em>, a gender-bending melodrama that largely fell out of circulation in the past three decades. And screening in the Bay Area for the first time in 74 years, \u003cem>Muchachas de uniforme\u003c/em> is a 1951 Mexico remake of \u003cem>Mädchen in Uniform\u003c/em>, a cult classic considered the first openly lesbian film.\u003c/p>\n\u003cp>On Monday, Feb. 24 — the day after the BAMPFA series wraps — the 4 Star Theater screens \u003cem>\u003ca href=\"https://www.4-star-movies.com/calendar-of-events/juice-7-pm-a-post-screening-discussion-with-queer-archivistfilmmaker-jenni-olson\">Juice\u003c/a>\u003c/em>, Bressan’s final adult film, to an audience 18 and over. (Yes, attendees will be carded.) Olson will introduce and then lead a post-screening discussion.\u003c/p>\n\u003cfigure id=\"attachment_13970793\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Kaneko_Summer-Vacation-1999_004.jpg\" alt=\"a person in a uniform sits on a windowsill reading\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13970793\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Kaneko_Summer-Vacation-1999_004.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Kaneko_Summer-Vacation-1999_004-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Kaneko_Summer-Vacation-1999_004-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Kaneko_Summer-Vacation-1999_004-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Kaneko_Summer-Vacation-1999_004-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Kaneko_Summer-Vacation-1999_004-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from Shusuke Kaneko’s 1988 film ‘Summer Vacation 1999.’ \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And starting Feb. 16 and spanning several months this spring, moviegoers have the opportunity to take in Olson’s exciting lineup, \u003ca href=\"https://roxie.com/series/40-years-of-queer/\">40 Years of Queer\u003c/a>, co-curated with Roxie Executive Director Lex Sloan. Included in the program is Bressan’s \u003cem>Buddies\u003c/em>.\u003c/p>\n\u003cp>Centered on two gay men who connect through an HIV hospice support program, \u003cem>Buddies\u003c/em> feels like both a time capsule and timeless. It’s a beautifully simple narrative film with an invaluable premise: We can and do change one another’s lives, especially when pandemics force us to face our own purpose and mortality. (If you miss the Roxie screening, \u003cem>Buddies\u003c/em> is currently on the \u003ca href=\"https://www.criterionchannel.com/buddies\">Criterion Channel\u003c/a>, and the San Francisco Public Library has both the DVD and Blu-ray discs.)\u003c/p>\n\u003cp>The Roxie series is rounded out with April screenings of Olson’s own lyrical features, \u003cem>\u003ca href=\"https://roxie.com/film/the-royal-road-2015-575-castro-st-2008/\">The Royal Road\u003c/a>\u003c/em> and \u003cem>\u003ca href=\"https://roxie.com/film/the-joy-of-life-2005-blue-diary-1998/\">The Joy of Life\u003c/a>\u003c/em>. Each is paired with a short film, \u003cem>575 Castro Street\u003c/em> and \u003cem>Blue Diary\u003c/em>, respectively, the latter featuring notable time markers such as sub-$2-a-gallon fuel prices and the \u003ca href=\"https://www.foundsf.org/index.php?title=17_Reasons_Remembered\">17 Reasons Why! sign\u003c/a>, formerly located at 17th and Mission.\u003c/p>\n\u003cfigure id=\"attachment_13970981\" class=\"wp-caption aligncenter\" style=\"max-width: 1435px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Blue-Diary-production-still-1-Copyright-1998-Jenni-Olson.png\" alt=\"San Francisco city street in shadow with '17 Reasons Why!' sign at center\" width=\"1435\" height=\"1075\" class=\"size-full wp-image-13970981\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Blue-Diary-production-still-1-Copyright-1998-Jenni-Olson.png 1435w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Blue-Diary-production-still-1-Copyright-1998-Jenni-Olson-800x599.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Blue-Diary-production-still-1-Copyright-1998-Jenni-Olson-1020x764.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Blue-Diary-production-still-1-Copyright-1998-Jenni-Olson-160x120.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Blue-Diary-production-still-1-Copyright-1998-Jenni-Olson-768x575.png 768w\" sizes=\"auto, (max-width: 1435px) 100vw, 1435px\">\u003cfigcaption class=\"wp-caption-text\">A production still from Jenni Olson’s short film ‘Blue Diary,’ 1998. \u003ccite>(Courtesy of Jenni Olson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A filmmaking conversation across time\u003c/h2>\n\u003cp>Olson has been shooting 16mm film in the Bay Area since 1997. Her films draw on a rich reservoir of hyperlocal landmarks and iconography, so similar to the way Bressan pulled from elements of queer life in real time. \u003c/p>\n\u003cp>“My work is so anchored in the Bay Area, so I’m particularly excited for my films to show at the Roxie and BAMPFA and connect with audiences who appreciate this is the \u003cem>real\u003c/em> Bay Area,” Olson says. These screenings and Q&As may double as gentle promotion for her next feature, \u003cem>\u003ca href=\"https://tellmeeverythingwillbeokay.weebly.com\">Tell Me Everything Will Be Okay\u003c/a>\u003c/em>, currently in the early stages of production.\u003c/p>\n\u003cp>Thanks to Olson’s stewardship, the contents of those once-neglected boxes found in the Frameline offices have joined proper archives, with Bressan’s papers now part of Cornell University’s \u003ca href=\"https://rare.library.cornell.edu/human-sexuality-collection/\">Human Sexuality Collection\u003c/a>, and his films preserved and restored by the \u003ca href=\"https://www.cinema.ucla.edu\">UCLA Film and Television Archive\u003c/a>. \u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Increasingly, his films are moving onto digital platforms and reaching even more audiences. The Criterion Channel is currently streaming the restored documentary \u003cem>\u003ca href=\"https://www.criterionchannel.com/gay-usa\">Gay USA\u003c/a>\u003c/em>, a 72-minute collage of 1977 Gay Freedom Day march footage from six cities, including evocative and delightful interviews set against San Francisco’s Market Street and Civic Center.\u003c/p>\n\u003cp>Even though they never met, Olson’s and Bressan’s films speak to each other. Both draw inspiration from Frank Capra melodramas, but their work commits to a sincerity that makes audiences feel deeply. Neither veers into maudlin territory. \u003c/p>\n\u003cp>“My work is very engaged with vulnerability on a lot of levels, and in that way it is ambitious and courageous,” Olson explains. Similarly, Bressan’s films are boldly queer-positive and earnestly romantic, especially his plot-driven adult films. It’s no surprise that audiences, including Olson, connect deeply with his work. \u003c/p>\n\u003cp>As Olson says, “I never knew Arthur, but I feel so close to him.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://bampfa.org/program/masc-ii\">Masc II: Mascs plus Muchachas\u003c/a>,’ a film series curated by Jenni Olson, continues at the Berkeley Art Museum and Pacific Film Archive through Feb. 23. Arthur J. Bressan Jr.’s ‘\u003ca href=\"https://www.4-star-movies.com/calendar-of-events/juice-jenni-olson\">Juice\u003c/a>’ plays at the 4 Star Theater with a post-screening conversation with Olson on Feb. 24. ‘\u003ca href=\"https://roxie.com/series/40-years-of-queer/\">40 Years of Queer\u003c/a>’ plays at the Roxie Theater Feb. 16–April 8.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There are few Bay Area artists who’ve reached the stratospheres of commercial success without moving away from home. The Bay has a small, proudly independent ecosystem of labels and distributors. But — with the notable exception of \u003ca href=\"https://www.kqed.org/arts/13870578/empire-brought-the-music-industry-back-to-san-francisco\">San Francisco powerhouse Empire\u003c/a>, which now has divisions on several continents, and has put out smash hits like Shaboozey’s “A Bar Song (Tipsy)” — New York and Los Angeles are where the major players are.\u003c/p>\n\u003cp>Today, San Francisco Mayor Daniel Lurie announced a new effort to support the city’s homegrown music industry. San Francisco Music Week gets underway Feb. 24–March 2, and features performances, workshops, panels, studio tours and an industry summit on Feb. 28 that will feature a keynote conversation with Empire founder Ghazi.\u003c/p>\n\u003cp>[aside postid='arts_13968039']\u003ca href=\"https://www.kqed.org/arts/13963789/la-dona-los-altos-de-la-soledad\">La Doña\u003c/a>, who’s captured a national fan base with an expansive sound rooted in San Francisco pride and grassroots activism, will also join the summit, in addition to punk rock veteran Penelope Houston and nu-disco singer Austin Waz (who also does the booking at San Francisco bar Kilowatt). Also lending their expertise are promoters DJ Dials and Aaron Axelsen; independent venue advocate Dan Strachota of Rickshaw Stop; entertainment attorney Michael Aczon; and Michelle Swing of Noise Pop, Allen Scott of Another Planet Entertainment (which puts on Outside Lands) and Danny Bell of Goldenvoice (the company behind Coachella that operates several San Francisco venues).\u003c/p>\n\u003cp>San Francisco Music Week coincides with the annual \u003ca href=\"https://www.kqed.org/arts/13968039/noise-pop-festival-2025-lineup-tickets\">10-day music festival Noise Pop\u003c/a>, which co-presents the event along with the city-sponsored production outfit SF Live (a key promoter behind \u003ca href=\"https://www.kqed.org/arts/13961468/sudan-archives-sf-live-noise-pop-crane-cove\">last year’s free concert boom\u003c/a>).\u003c/p>\n\u003cp>With San Francisco Music Week, Lurie, who took office earlier this month, builds upon his predecessor London Breed’s strategy of supporting the arts to stimulate the local economy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“[San Francisco Music Week] is more than just an event; it’s a platform to spark meaningful partnerships and conversations that will help unlock opportunities for local music’s future growth,” said Sarah Dennis Phillips, executive director of the Office of Economic & Workforce Development, in a statement. “San Francisco’s creative industries are a critical part of our local economy, and this initiative reaffirms our status as a top-tier music city.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are few Bay Area artists who’ve reached the stratospheres of commercial success without moving away from home. The Bay has a small, proudly independent ecosystem of labels and distributors. But — with the notable exception of \u003ca href=\"https://www.kqed.org/arts/13870578/empire-brought-the-music-industry-back-to-san-francisco\">San Francisco powerhouse Empire\u003c/a>, which now has divisions on several continents, and has put out smash hits like Shaboozey’s “A Bar Song (Tipsy)” — New York and Los Angeles are where the major players are.\u003c/p>\n\u003cp>Today, San Francisco Mayor Daniel Lurie announced a new effort to support the city’s homegrown music industry. San Francisco Music Week gets underway Feb. 24–March 2, and features performances, workshops, panels, studio tours and an industry summit on Feb. 28 that will feature a keynote conversation with Empire founder Ghazi.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ca href=\"https://www.kqed.org/arts/13963789/la-dona-los-altos-de-la-soledad\">La Doña\u003c/a>, who’s captured a national fan base with an expansive sound rooted in San Francisco pride and grassroots activism, will also join the summit, in addition to punk rock veteran Penelope Houston and nu-disco singer Austin Waz (who also does the booking at San Francisco bar Kilowatt). Also lending their expertise are promoters DJ Dials and Aaron Axelsen; independent venue advocate Dan Strachota of Rickshaw Stop; entertainment attorney Michael Aczon; and Michelle Swing of Noise Pop, Allen Scott of Another Planet Entertainment (which puts on Outside Lands) and Danny Bell of Goldenvoice (the company behind Coachella that operates several San Francisco venues).\u003c/p>\n\u003cp>San Francisco Music Week coincides with the annual \u003ca href=\"https://www.kqed.org/arts/13968039/noise-pop-festival-2025-lineup-tickets\">10-day music festival Noise Pop\u003c/a>, which co-presents the event along with the city-sponsored production outfit SF Live (a key promoter behind \u003ca href=\"https://www.kqed.org/arts/13961468/sudan-archives-sf-live-noise-pop-crane-cove\">last year’s free concert boom\u003c/a>).\u003c/p>\n\u003cp>With San Francisco Music Week, Lurie, who took office earlier this month, builds upon his predecessor London Breed’s strategy of supporting the arts to stimulate the local economy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>Extremely Unique Dynamic\u003c/em> is full of entertaining contradictions. The concept of this buddy flick is unabashedly silly, but also incredibly smart. The movie is unlike other movies, but also won’t stop referencing other movies. On top of that, \u003cem>Extremely Unique Dynamic \u003c/em>is a very good film that’s supposed to be about making a terrible one.\u003c/p>\n\u003cp>Allow me to (attempt to) explain.\u003c/p>\n\u003cp>[aside postid='arts_13970839']Danny (Ivan Leung) and Ryan (Harrison Xu) are BFFs who’ve spent 12 years in Los Angeles trying to make it as actors. They spend their downtime trying to get viral hits online, making roadtrip vlogs, animal videos and songs like “\u003ca href=\"https://www.youtube.com/watch?v=qc_cfNuvjdc\">Taco Loving Asian Guy\u003c/a>.” (It’s a bonafide earworm.)\u003c/p>\n\u003cp>During Ryan’s final weekend before moving to Canada to marry his girlfriend, he and Danny decide to make a movie.\u003c/p>\n\u003cp>“You know in \u003cem>50 First Dates\u003c/em>?” Ryan says to Danny, explaining his movie idea. “Where he pulls up the video every morning and remembers the great times he had with his wife? It’s like that, but our friendship.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Every pair of friends,” Danny says skeptically, “they get high and they think that their dynamic is unique enough to make a movie — but that doesn’t mean that they \u003cem>should\u003c/em>.”\u003c/p>\n\u003cp>What follows is an hour of footage that’s sometimes Danny and Ryan, sometimes Danny and Ryan as children in home videos, and sometimes Danny and Ryan as characters from the (several) movie(s)-within-the-movie, who also aren’t all that different from Danny and Ryan.\u003c/p>\n\u003cp>If that sounds messy, it’s because it definitely is — in a good way.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ufhKmThHSGU\u003c/p>\n\u003cp>What makes \u003cem>Extremely Unique Dynamic\u003c/em> such a fun watch is that Leung and Xu have an unbeatable natural chemistry and an extraordinary talent for deadpan humor. Beneath all its humorous chaos, it’s a surprisingly meaningful tale about trust and friendship.\u003c/p>\n\u003cp>[aside postid='arts_13970830']In \u003cem>Extremely Unique Dynamic,\u003c/em> Leung, Xu and co-director Katherine Dudas have made something truly original: a thoroughly meta movie that isn’t in any way pretentious. It’s fast-paced, frenetic and funny, like the best hour you’ve ever spent on TikTok. It helps that Hudson Yang — who played Eddie in \u003cem>Fresh Off the Boat\u003c/em> — keeps showing up, playing an awkward version of his real-life self. (The words “CELEBRITY CAMEO” flash onscreen each time he appears.)\u003c/p>\n\u003cp>\u003cem>Extremely Unique Dynamic\u003c/em> is the kind of movie that film classes could deconstruct, cross-reference and analyze to death. But it’s best left to stand on its own as a story of friends coming to grips with adulthood and new responsibilities. It’s also so well-written that it mostly feels unscripted. That, from the beginning, makes it impossible not to feel in on the joke, and in on the friendship.\u003c/p>\n\u003cp>By the end, when Danny turns to Ryan and announces “Your real name is Harrison,” you’ll feel like you’re friends with Leung and Xu too.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Extremely Unique Dynamic’ screens at the 4 Star Theater in San Francisco on Wednesday, Jan. 29 at 7:30 p.m. \u003ca href=\"https://www.4-star-movies.com/calendar-of-events/extremely-unique-dynamic-a-queer-asian-meta-stoner-comedy-\">Details here\u003c/a>. It begins streaming on demand the same day.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Every pair of friends,” Danny says skeptically, “they get high and they think that their dynamic is unique enough to make a movie — but that doesn’t mean that they \u003cem>should\u003c/em>.”\u003c/p>\n\u003cp>What follows is an hour of footage that’s sometimes Danny and Ryan, sometimes Danny and Ryan as children in home videos, and sometimes Danny and Ryan as characters from the (several) movie(s)-within-the-movie, who also aren’t all that different from Danny and Ryan.\u003c/p>\n\u003cp>If that sounds messy, it’s because it definitely is — in a good way.\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/ufhKmThHSGU'\n title='//www.youtube.com/embed/ufhKmThHSGU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>What makes \u003cem>Extremely Unique Dynamic\u003c/em> such a fun watch is that Leung and Xu have an unbeatable natural chemistry and an extraordinary talent for deadpan humor. Beneath all its humorous chaos, it’s a surprisingly meaningful tale about trust and friendship.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In \u003cem>Extremely Unique Dynamic,\u003c/em> Leung, Xu and co-director Katherine Dudas have made something truly original: a thoroughly meta movie that isn’t in any way pretentious. It’s fast-paced, frenetic and funny, like the best hour you’ve ever spent on TikTok. It helps that Hudson Yang — who played Eddie in \u003cem>Fresh Off the Boat\u003c/em> — keeps showing up, playing an awkward version of his real-life self. (The words “CELEBRITY CAMEO” flash onscreen each time he appears.)\u003c/p>\n\u003cp>\u003cem>Extremely Unique Dynamic\u003c/em> is the kind of movie that film classes could deconstruct, cross-reference and analyze to death. But it’s best left to stand on its own as a story of friends coming to grips with adulthood and new responsibilities. It’s also so well-written that it mostly feels unscripted. That, from the beginning, makes it impossible not to feel in on the joke, and in on the friendship.\u003c/p>\n\u003cp>By the end, when Danny turns to Ryan and announces “Your real name is Harrison,” you’ll feel like you’re friends with Leung and Xu too.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Extremely Unique Dynamic’ screens at the 4 Star Theater in San Francisco on Wednesday, Jan. 29 at 7:30 p.m. \u003ca href=\"https://www.4-star-movies.com/calendar-of-events/extremely-unique-dynamic-a-queer-asian-meta-stoner-comedy-\">Details here\u003c/a>. It begins streaming on demand the same day.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13970904\" class=\"wp-caption aligncenter\" style=\"max-width: 1374px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13970904\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/blob.png\" alt=\"A yellow book cover featuring a photo of a gelatinous blob.\" width=\"1374\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/blob.png 1374w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/blob-800x1164.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/blob-1020x1485.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/blob-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/blob-768x1118.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/blob-1055x1536.png 1055w\" sizes=\"auto, (max-width: 1374px) 100vw, 1374px\">\u003cfigcaption class=\"wp-caption-text\">‘Blob: A Love Story’ by Maggie Su. \u003ccite>(Harper)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With the rise of Artificial Intelligence and the uncertainty of the geopolitical moment, it seems appropriate to start 2025 with some surreal fiction.\u003c/p>\n\u003cp>So how about \u003cem>Blob: A Love Story\u003c/em>, starring a Taiwanese-American named Vi, who stumbles upon a “beige gelatin splotch” with mouth, eyes, and lips, next to a trash can outside a dive bar, takes it home, feeds it and helps it morph into a real man?\u003c/p>\n\u003cp>[aside postid='arts_13970505']That’s the plot summary in brief, and it’s a whole lot weirder than that. First-time novelist Maggie Su has fun letting Vi essentially mold her ideal man — “He doesn’t look like any one movie star but rather a conglomeration of movie stars” — but the story isn’t played entirely for laughs. Creating and interacting with Bob the blob (yes, that’s the name she gives him. It?) gives Vi plenty of time to think about her own life. She’s uneasy about the way she treats so-called friends and has not yet come to terms with a recent breakup.\u003c/p>\n\u003cp>In other words, she’s a 20-something trying to figure herself out who has a lot of growing up to do. She dropped out of college and works a dead-end front desk job at the Hillside Inn and Suites. She isn’t very nice to most of the people she spends time with throughout the story — from her co-workers to her family. But nurturing Bob convinces her that fresh starts are possible. “He’s so pure. Anything I do or say could taint him,” she thinks at one point.\u003c/p>\n\u003cp>Of course, blobs who transform into humans also develop feelings. It’s our brains that differentiate us from the rest of the animal kingdom, after all. So when Bob escapes Vi’s apartment and meets other people, Vi’s very good looking Frankenstein monster is no longer hers. Whose or what is he, though? That’s a question Su could probably write another book about. In this one, she’s content to leave Vi in a better place than where she started, all thanks to a random encounter with a blob.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘Blob: A Love Story’ by Maggie Su is released on Jan. 28, 2025, via Harper.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That’s the plot summary in brief, and it’s a whole lot weirder than that. First-time novelist Maggie Su has fun letting Vi essentially mold her ideal man — “He doesn’t look like any one movie star but rather a conglomeration of movie stars” — but the story isn’t played entirely for laughs. Creating and interacting with Bob the blob (yes, that’s the name she gives him. It?) gives Vi plenty of time to think about her own life. She’s uneasy about the way she treats so-called friends and has not yet come to terms with a recent breakup.\u003c/p>\n\u003cp>In other words, she’s a 20-something trying to figure herself out who has a lot of growing up to do. She dropped out of college and works a dead-end front desk job at the Hillside Inn and Suites. She isn’t very nice to most of the people she spends time with throughout the story — from her co-workers to her family. But nurturing Bob convinces her that fresh starts are possible. “He’s so pure. Anything I do or say could taint him,” she thinks at one point.\u003c/p>\n\u003cp>Of course, blobs who transform into humans also develop feelings. It’s our brains that differentiate us from the rest of the animal kingdom, after all. So when Bob escapes Vi’s apartment and meets other people, Vi’s very good looking Frankenstein monster is no longer hers. Whose or what is he, though? That’s a question Su could probably write another book about. In this one, she’s content to leave Vi in a better place than where she started, all thanks to a random encounter with a blob.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘Blob: A Love Story’ by Maggie Su is released on Jan. 28, 2025, via Harper.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "filmmaker-sergei-loznitsa-bampfa-movies-eastern-europe",
"title": "Sergei Loznitsa Screens His Studies of Eastern Europe During Wartime",
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"content": "\u003cp>Sergei Loznitsa smiles and laughs through our entire Zoom conversation, which I find extremely disconcerting. You see, his invaluable archival documentaries (\u003cem>The Natural History of Destruction\u003c/em>, \u003cem>Babi Yar. Context\u003c/em> and \u003cem>State Funeral\u003c/em>) revisit dark chapters in Eastern European history, while his unflinching fiction features (such as \u003cem>In the Fog\u003c/em> and \u003cem>My Joy\u003c/em>) are even more grim.\u003c/p>\n\u003cp>[aside postID='arts_13970047']The antithesis of the chain-smoking nihilist I expect, Loznitsa has the amiable bearing of a philosophy professor. That demeanor will play well when he returns Jan. 30 through Feb. 8 for a residence at the \u003ca href=\"https://bampfa.org/program/sergei-loznitsa-filmmaker-residence\">Berkeley Art Museum and Pacific Film Archive\u003c/a> near the UC Berkeley campus, especially if moviegoers welcome him as an emissary from one of the world’s hot spots, or as a journalist, instead of (or as much as) an artist.\u003c/p>\n\u003cp>Six of the eight films in the lineup were made since Loznitsa’s previous visit to Berkeley in 2017. \u003cem>The Invasion\u003c/em>, which premiered last May at Cannes, launches the series with a measured record of contemporary Ukrainian life during wartime. Employing a fixed, respectful camera, the doc observes older people queuing to refill water bottles, teachers guiding young students through difficult realities, a couple’s poignant marriage and a few heartrending funerals.\u003c/p>\n\u003cp>“For me, first of all, it was very important to make an archive,” Loznitsa says. “Everything which was shot, I will keep. Second, I would like to show how people survive in these circumstances, how ordinary people live everyday life. Third, I would like to share my pain with the spectators.”\u003c/p>\n\u003cfigure id=\"attachment_13970896\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Sergei-Loznitsa_002_2000.jpg\" alt=\"portrait of white man in suit and tie with gray hair\" width=\"2000\" height=\"2500\" class=\"size-full wp-image-13970896\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Sergei-Loznitsa_002_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Sergei-Loznitsa_002_2000-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Sergei-Loznitsa_002_2000-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Sergei-Loznitsa_002_2000-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Sergei-Loznitsa_002_2000-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Sergei-Loznitsa_002_2000-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Sergei-Loznitsa_002_2000-1638x2048.jpg 1638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Sergei-Loznitsa_002_2000-1920x2400.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Berlin-based filmmaker Sergei Loznitsa appears at BAMPFA for a 10-day residency. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Loznitsa doesn’t use voice-over narration or conduct interviews, which lends his nonfiction work the veneer of objectivity. He forthrightly declares, though, that he’s not presenting the truth but providing his opinion and point of view.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’m not a journalist, who has to share information. It’s not information, what I present. It is something which I built. This is my discourse. It’s my thought, which develops in my film, what I’m thinking about.”\u003c/p>\n\u003cp>The most essayistic sequence in \u003cem>The Invasion\u003c/em> opens cryptically with a bookstore employee carrying bundles of used books left outside the front door. We come to see that the authors are Russian, including Pushkin and Dostoevsky, and so many books have been dropped off that a truck takes them away to be pulped.\u003c/p>\n\u003cp>The filmmaker takes the time to note this less-heralded casualty of war, namely the decline in understanding and empathy that accompanies demonizing and destroying cultural works. You won’t be surprised to learn that Loznitsa, who unambiguously opposes Russia’s incursion into Ukraine, criticized boycotts of Russian films and filmmakers.\u003c/p>\n\u003cp>Loznitsa was born in Belarus when it was part of the Soviet Union, raised in Ukraine and — after a stint as a research scientist at an Estonian university — graduated with a degree in producing and directing from the Russian State Institute for Cinematography in Moscow. He and his family moved to Germany in 2001; he was speaking with me from Vilnius, Lithuania, where he also has a residence.\u003c/p>\n\u003cp>So from the beginning of his career Loznitsa has been perfectly situated, by birth, geography and sensibility, to examine and chronicle seismic, far-reaching events. \u003c/p>\n\u003cfigure id=\"attachment_13970895\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Loznitsa_State-Funeral_002_2000.jpg\" alt=\"overhead view of man in red-lined coffin surrounded by hundreds of flowers\" width=\"2000\" height=\"1520\" class=\"size-full wp-image-13970895\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Loznitsa_State-Funeral_002_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Loznitsa_State-Funeral_002_2000-800x608.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Loznitsa_State-Funeral_002_2000-1020x775.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Loznitsa_State-Funeral_002_2000-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Loznitsa_State-Funeral_002_2000-768x584.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Loznitsa_State-Funeral_002_2000-1536x1167.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Loznitsa_State-Funeral_002_2000-1920x1459.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Still from Sergei Loznitsa’s ‘State Funeral,’ 2019, screening at BAMPFA on Feb. 1. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My films are about Soviet or Russian history, or about recent history, and I cannot say this is very light history. I know that I have a talent to make a comedy,” he says with a chuckle. Perhaps, he muses dryly, the films and topics he chooses for reflection are necessary for treating the material humorously in the future. \u003c/p>\n\u003cp>“When we understand what happened with us in the past, and what we repeat now, [we can recognize] what kind of circle we are just passing in our life. I found so many similarities between history that happened after the October Revolution — it wasn’t a revolution; it was a coup d’état, let’s say — and history which is still continuing now. If we are talking about this [current] Russian aggression against Ukraine, it happened already in 1918 when the Red Army came to Ukraine and occupied this territory in two years, or returned this territory to the Russian Empire and rebuilt the Soviet Union.”\u003c/p>\n\u003cp>The BAMPFA series includes Loznitsa’s trilogy of mesmerizing docs constructed from acres of archival footage. \u003cem>State Funeral\u003c/em> (2019) immerses us in the national state of mind of a propaganda state through the reactions, rituals and rites following the 1953 death of Joseph Vissarionovich Stalin. \u003cem>Babi Yar. Context\u003c/em> (2021) situates a horrific war crime — the 1941 shootings of more than 30,000 Ukrainian Jews by Nazi units and Ukrainian police over two days — and recounts the long chain of events that enabled people to accept the mass murders of their neighbors.\u003c/p>\n\u003cfigure id=\"attachment_13970897\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Loznitsa_Babi-Yar-Context_003_2000.jpg\" alt=\"man tears down giant image of a leader\" width=\"2000\" height=\"1520\" class=\"size-full wp-image-13970897\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Loznitsa_Babi-Yar-Context_003_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Loznitsa_Babi-Yar-Context_003_2000-800x608.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Loznitsa_Babi-Yar-Context_003_2000-1020x775.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Loznitsa_Babi-Yar-Context_003_2000-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Loznitsa_Babi-Yar-Context_003_2000-768x584.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Loznitsa_Babi-Yar-Context_003_2000-1536x1167.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Loznitsa_Babi-Yar-Context_003_2000-1920x1459.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Still from Sergei Loznitsa’s ‘Babi Yar. Context,’ 2021, which screens at BAMPFA on Jan. 31. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From a structure and editing standpoint, \u003cem>The Natural History of Destruction\u003c/em> (2022) is arguably Loznitsa’s most complex and intriguing work. His ostensible subject is the bombing of civilians, by both Germany and the Allies, during World War II (which is brutally and cruelly echoed in Russia’s ongoing nightly drone and missile attacks on Ukrainian cities).\u003c/p>\n\u003cp>But the airplanes that dropped those bombs in WWII were built by civilians. It’s difficult to make the case that civilians shouldn’t be drafted into the war effort — especially since everyone involved believes they’re defending their homeland; no aggressors here! — just as it’s hard to argue that it’s fine for defenseless families to be annihilated from above.\u003c/p>\n\u003cp>Perhaps all war is total war, and it has been that way for 85 years. We are in the thicket of compelling moral questions, although we might table that discussion out of compassion for the people in Kharkiv, Gaza and elsewhere who are presently and continuously terrorized.\u003c/p>\n\u003cfigure id=\"attachment_13970898\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Loznitsa_Natural-History-of-Destruction_001_2000.jpg\" alt=\"woman holds hand to head as a building burns behind her\" width=\"2000\" height=\"1520\" class=\"size-full wp-image-13970898\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Loznitsa_Natural-History-of-Destruction_001_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Loznitsa_Natural-History-of-Destruction_001_2000-800x608.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Loznitsa_Natural-History-of-Destruction_001_2000-1020x775.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Loznitsa_Natural-History-of-Destruction_001_2000-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Loznitsa_Natural-History-of-Destruction_001_2000-768x584.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Loznitsa_Natural-History-of-Destruction_001_2000-1536x1167.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Loznitsa_Natural-History-of-Destruction_001_2000-1920x1459.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Still from Sergei Loznitsa’s ‘The Natural History of Destruction,’ 2022, which plays at BAMPFA on Feb. 1. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Loznitsa has such a kind, genial way of talking about the heaviest themes that I am reminded that the very act of making art, even art about depressing topics, is life-affirming.\u003c/p>\n\u003cp>“This is what I believe,” he concurs, “that very strong, deep emotion that people get after watching a film can push them to think, and can transform [them] a little bit, slightly move them toward the lighted part of the universe. To be more kind to people. Cry during the film and after that, be better.”\u003c/p>\n\u003cp>Sadly, as a student and chronicler of history, Loznitsa can imagine a scenario where his work could have practical applications.\u003c/p>\n\u003cp>“Maybe in my films I describe some situation which somebody in the future will face and will know how to be because he or she already has thought about that,” he says. “This is how art helps us.”\u003c/p>\n\u003cp>He laughs again, this time with an air of self-deprecation. “I think every artist is looking for a way in his work that can reconcile him with a very dangerous and not pleasant world.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Sergei Loznitsa will be the \u003ca href=\"https://bampfa.org/program/sergei-loznitsa-filmmaker-residence\">filmmaker in residence\u003c/a> at the Berkeley Art Museum and Pacific Film Archive Jan. 30–Feb. 8, 2025, appearing in person at all screenings of his films.\u003c/i> \u003c/p>\n\n",
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"title": "At BAMPFA, a Filmmaker Focused on Eastern Europe | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sergei Loznitsa smiles and laughs through our entire Zoom conversation, which I find extremely disconcerting. You see, his invaluable archival documentaries (\u003cem>The Natural History of Destruction\u003c/em>, \u003cem>Babi Yar. Context\u003c/em> and \u003cem>State Funeral\u003c/em>) revisit dark chapters in Eastern European history, while his unflinching fiction features (such as \u003cem>In the Fog\u003c/em> and \u003cem>My Joy\u003c/em>) are even more grim.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The antithesis of the chain-smoking nihilist I expect, Loznitsa has the amiable bearing of a philosophy professor. That demeanor will play well when he returns Jan. 30 through Feb. 8 for a residence at the \u003ca href=\"https://bampfa.org/program/sergei-loznitsa-filmmaker-residence\">Berkeley Art Museum and Pacific Film Archive\u003c/a> near the UC Berkeley campus, especially if moviegoers welcome him as an emissary from one of the world’s hot spots, or as a journalist, instead of (or as much as) an artist.\u003c/p>\n\u003cp>Six of the eight films in the lineup were made since Loznitsa’s previous visit to Berkeley in 2017. \u003cem>The Invasion\u003c/em>, which premiered last May at Cannes, launches the series with a measured record of contemporary Ukrainian life during wartime. Employing a fixed, respectful camera, the doc observes older people queuing to refill water bottles, teachers guiding young students through difficult realities, a couple’s poignant marriage and a few heartrending funerals.\u003c/p>\n\u003cp>“For me, first of all, it was very important to make an archive,” Loznitsa says. “Everything which was shot, I will keep. Second, I would like to show how people survive in these circumstances, how ordinary people live everyday life. Third, I would like to share my pain with the spectators.”\u003c/p>\n\u003cfigure id=\"attachment_13970896\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Sergei-Loznitsa_002_2000.jpg\" alt=\"portrait of white man in suit and tie with gray hair\" width=\"2000\" height=\"2500\" class=\"size-full wp-image-13970896\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Sergei-Loznitsa_002_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Sergei-Loznitsa_002_2000-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Sergei-Loznitsa_002_2000-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Sergei-Loznitsa_002_2000-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Sergei-Loznitsa_002_2000-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Sergei-Loznitsa_002_2000-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Sergei-Loznitsa_002_2000-1638x2048.jpg 1638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Portrait_Sergei-Loznitsa_002_2000-1920x2400.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Berlin-based filmmaker Sergei Loznitsa appears at BAMPFA for a 10-day residency. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Loznitsa doesn’t use voice-over narration or conduct interviews, which lends his nonfiction work the veneer of objectivity. He forthrightly declares, though, that he’s not presenting the truth but providing his opinion and point of view.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’m not a journalist, who has to share information. It’s not information, what I present. It is something which I built. This is my discourse. It’s my thought, which develops in my film, what I’m thinking about.”\u003c/p>\n\u003cp>The most essayistic sequence in \u003cem>The Invasion\u003c/em> opens cryptically with a bookstore employee carrying bundles of used books left outside the front door. We come to see that the authors are Russian, including Pushkin and Dostoevsky, and so many books have been dropped off that a truck takes them away to be pulped.\u003c/p>\n\u003cp>The filmmaker takes the time to note this less-heralded casualty of war, namely the decline in understanding and empathy that accompanies demonizing and destroying cultural works. You won’t be surprised to learn that Loznitsa, who unambiguously opposes Russia’s incursion into Ukraine, criticized boycotts of Russian films and filmmakers.\u003c/p>\n\u003cp>Loznitsa was born in Belarus when it was part of the Soviet Union, raised in Ukraine and — after a stint as a research scientist at an Estonian university — graduated with a degree in producing and directing from the Russian State Institute for Cinematography in Moscow. He and his family moved to Germany in 2001; he was speaking with me from Vilnius, Lithuania, where he also has a residence.\u003c/p>\n\u003cp>So from the beginning of his career Loznitsa has been perfectly situated, by birth, geography and sensibility, to examine and chronicle seismic, far-reaching events. \u003c/p>\n\u003cfigure id=\"attachment_13970895\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Loznitsa_State-Funeral_002_2000.jpg\" alt=\"overhead view of man in red-lined coffin surrounded by hundreds of flowers\" width=\"2000\" height=\"1520\" class=\"size-full wp-image-13970895\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Loznitsa_State-Funeral_002_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Loznitsa_State-Funeral_002_2000-800x608.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Loznitsa_State-Funeral_002_2000-1020x775.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Loznitsa_State-Funeral_002_2000-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Loznitsa_State-Funeral_002_2000-768x584.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Loznitsa_State-Funeral_002_2000-1536x1167.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Loznitsa_State-Funeral_002_2000-1920x1459.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Still from Sergei Loznitsa’s ‘State Funeral,’ 2019, screening at BAMPFA on Feb. 1. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My films are about Soviet or Russian history, or about recent history, and I cannot say this is very light history. I know that I have a talent to make a comedy,” he says with a chuckle. Perhaps, he muses dryly, the films and topics he chooses for reflection are necessary for treating the material humorously in the future. \u003c/p>\n\u003cp>“When we understand what happened with us in the past, and what we repeat now, [we can recognize] what kind of circle we are just passing in our life. I found so many similarities between history that happened after the October Revolution — it wasn’t a revolution; it was a coup d’état, let’s say — and history which is still continuing now. If we are talking about this [current] Russian aggression against Ukraine, it happened already in 1918 when the Red Army came to Ukraine and occupied this territory in two years, or returned this territory to the Russian Empire and rebuilt the Soviet Union.”\u003c/p>\n\u003cp>The BAMPFA series includes Loznitsa’s trilogy of mesmerizing docs constructed from acres of archival footage. \u003cem>State Funeral\u003c/em> (2019) immerses us in the national state of mind of a propaganda state through the reactions, rituals and rites following the 1953 death of Joseph Vissarionovich Stalin. \u003cem>Babi Yar. Context\u003c/em> (2021) situates a horrific war crime — the 1941 shootings of more than 30,000 Ukrainian Jews by Nazi units and Ukrainian police over two days — and recounts the long chain of events that enabled people to accept the mass murders of their neighbors.\u003c/p>\n\u003cfigure id=\"attachment_13970897\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Loznitsa_Babi-Yar-Context_003_2000.jpg\" alt=\"man tears down giant image of a leader\" width=\"2000\" height=\"1520\" class=\"size-full wp-image-13970897\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Loznitsa_Babi-Yar-Context_003_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Loznitsa_Babi-Yar-Context_003_2000-800x608.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Loznitsa_Babi-Yar-Context_003_2000-1020x775.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Loznitsa_Babi-Yar-Context_003_2000-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Loznitsa_Babi-Yar-Context_003_2000-768x584.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Loznitsa_Babi-Yar-Context_003_2000-1536x1167.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Loznitsa_Babi-Yar-Context_003_2000-1920x1459.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Still from Sergei Loznitsa’s ‘Babi Yar. Context,’ 2021, which screens at BAMPFA on Jan. 31. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From a structure and editing standpoint, \u003cem>The Natural History of Destruction\u003c/em> (2022) is arguably Loznitsa’s most complex and intriguing work. His ostensible subject is the bombing of civilians, by both Germany and the Allies, during World War II (which is brutally and cruelly echoed in Russia’s ongoing nightly drone and missile attacks on Ukrainian cities).\u003c/p>\n\u003cp>But the airplanes that dropped those bombs in WWII were built by civilians. It’s difficult to make the case that civilians shouldn’t be drafted into the war effort — especially since everyone involved believes they’re defending their homeland; no aggressors here! — just as it’s hard to argue that it’s fine for defenseless families to be annihilated from above.\u003c/p>\n\u003cp>Perhaps all war is total war, and it has been that way for 85 years. We are in the thicket of compelling moral questions, although we might table that discussion out of compassion for the people in Kharkiv, Gaza and elsewhere who are presently and continuously terrorized.\u003c/p>\n\u003cfigure id=\"attachment_13970898\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Loznitsa_Natural-History-of-Destruction_001_2000.jpg\" alt=\"woman holds hand to head as a building burns behind her\" width=\"2000\" height=\"1520\" class=\"size-full wp-image-13970898\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Loznitsa_Natural-History-of-Destruction_001_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Loznitsa_Natural-History-of-Destruction_001_2000-800x608.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Loznitsa_Natural-History-of-Destruction_001_2000-1020x775.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Loznitsa_Natural-History-of-Destruction_001_2000-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Loznitsa_Natural-History-of-Destruction_001_2000-768x584.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Loznitsa_Natural-History-of-Destruction_001_2000-1536x1167.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/Loznitsa_Natural-History-of-Destruction_001_2000-1920x1459.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Still from Sergei Loznitsa’s ‘The Natural History of Destruction,’ 2022, which plays at BAMPFA on Feb. 1. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Loznitsa has such a kind, genial way of talking about the heaviest themes that I am reminded that the very act of making art, even art about depressing topics, is life-affirming.\u003c/p>\n\u003cp>“This is what I believe,” he concurs, “that very strong, deep emotion that people get after watching a film can push them to think, and can transform [them] a little bit, slightly move them toward the lighted part of the universe. To be more kind to people. Cry during the film and after that, be better.”\u003c/p>\n\u003cp>Sadly, as a student and chronicler of history, Loznitsa can imagine a scenario where his work could have practical applications.\u003c/p>\n\u003cp>“Maybe in my films I describe some situation which somebody in the future will face and will know how to be because he or she already has thought about that,” he says. “This is how art helps us.”\u003c/p>\n\u003cp>He laughs again, this time with an air of self-deprecation. “I think every artist is looking for a way in his work that can reconcile him with a very dangerous and not pleasant world.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Sergei Loznitsa will be the \u003ca href=\"https://bampfa.org/program/sergei-loznitsa-filmmaker-residence\">filmmaker in residence\u003c/a> at the Berkeley Art Museum and Pacific Film Archive Jan. 30–Feb. 8, 2025, appearing in person at all screenings of his films.\u003c/i> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
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},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"hidden-brain": {
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"airtime": "SUN 7:30pm-8pm",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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"id": "latino-usa",
"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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