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"headTitle": "Why I’m Declaring 2024 the Year of Film | KQED",
"content": "\u003cp>It’s easy, sometimes, in the face of losses or changes within the cultural landscape, to fall into doom and gloom. Everything’s less; everything’s worse; the philistines don’t care. For film buffs, today is one of those days — the renovation of the Castro begins, and the \u003ca href=\"https://www.kqed.org/news/11952358/sf-supes-ok-effort-renovate-castro-theater\">impending removal of its original theatrical seating\u003c/a> constitutes a crushing loss of San Francisco’s last pure movie palace. \u003c/p>\n\u003cp>But instead of bemoaning the total loss of Bay Area film culture, how about we rally around what we \u003ci>do\u003c/i> have — and what’s to come? After all, what we already have is a lot: enough independent, revival, experimental and artist-made films playing every night of the week that one can’t possibly see them all. \u003c/p>\n\u003cp>“I had, for years, a Google calendar that was everything playing in the Bay Area that I was interested in,” says Stephen Fisk, a 38-year-old film lover. “I had shared it with a bunch of friends, to the point that one of them was like, ‘I had to turn it off, it’s too stressful to see something every day of the week.’”\u003c/p>\n\u003cp>[aside postID='arts_13950600']To capture and organize that abundance more publicly, Fisk and his friend Omar Rodriguez launched the website SF Bay Film in 2021, just as theaters were starting to reopen. The site was democratic and streamlined, compiling repertory screenings at microcinemas like Oakland’s \u003ca href=\"https://www.shapeshifterscinema.com/\">Shapeshifters\u003c/a> alongside far better-known venues like \u003ca href=\"https://bampfa.org/\">BAMPFA\u003c/a>.\u003c/p>\n\u003cp>When they were building the site, Fisk and Rodriguez purposely modeled it after \u003ca href=\"https://www.screenslate.com/\">Screen Slate\u003c/a>, a New York-based nonprofit founded in 2011 that publishes listings, criticism, interviews, zines and a podcast on moving image culture. And in late 2023, Screen Slate announced an \u003ca href=\"https://www.screenslate.com/articles/screen-slate-san-francisco-bay\">official expansion into the Bay Area\u003c/a>, bringing Fisk and Rodriguez on as editors to continue the work they had already been doing, but with editorial support and a larger audience.\u003c/p>\n\u003cfigure id=\"attachment_13951540\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/roxie-screenslate-omar-stephen-introducing_2000.jpg\" alt=\"Two people lean against stage facing theater seats with big 'ROXIE' in red on screen\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13951540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/roxie-screenslate-omar-stephen-introducing_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/roxie-screenslate-omar-stephen-introducing_2000-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/roxie-screenslate-omar-stephen-introducing_2000-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/roxie-screenslate-omar-stephen-introducing_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/roxie-screenslate-omar-stephen-introducing_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/roxie-screenslate-omar-stephen-introducing_2000-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/roxie-screenslate-omar-stephen-introducing_2000-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Omar Rodriguez and Stephen Fisk of Screen Slate SF Bay introducing a screening of ‘Anguish’ at the Roxie on Oct. 26, 2023. \u003ccite>(Courtesy of Screen Slate)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, every Monday, an email arrives in over 750 inboxes in which Fisk rounds up the film offerings for the week ahead. As Brett Kashmere, executive director of \u003ca href=\"https://canyoncinema.com/\">Canyon Cinema\u003c/a>, pointed out by email, “There is a lot of great stuff happening across the Bay these days.” YBCA’s theater is \u003ca href=\"https://ybca.org/event/color-in-twelve-parts/\">back in action\u003c/a> thanks to programming from Gina Basso (formerly of SFMOMA). Shapeshifters runs an “amazing cascade of workshops and screenings.” SF Cinematheque will host \u003ca href=\"https://www.sfcinematheque.org/screening/luther-price-new-utopia-and-light-fracture/\">a program of Luther Price’s slide work\u003c/a> in March. And, Kashmere adds, “The whole BAMPFA film calendar is on fire this season.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13900656']“We’ve lost a lot in the Bay Area film community in the past five years or so,” Fisk says. “But there’s still so much — I can’t list everything.”\u003c/p>\n\u003cp>“To me, it’s one of the most significant developments for the Bay Area film community in the past several years,” says Kashmere. “People love putting on and going to screenings here. But information about what is happening, when, and where has tended to be very scattered.”\u003c/p>\n\u003cp>On top of centralized listings, Kashmere says, Screen Slate San Francisco Bay has made visible the strong community and infrastructure that’s already here. “The scene is rich with stories and connections, a small-town feeling in a big city,” programmer Amanda Salazar wrote in the \u003ca href=\"https://www.screenslate.com/articles/analog-means-little-bit-more-us-anita-monga-san-francisco-silent-film-festival-and-bay\">inaugural Screen Slate San Francisco Bay interview\u003c/a>, a conversation with SF Silent Film Festival’s artistic director Anita Monga. \u003c/p>\n\u003cp>Fisk points to Salazar’s own pop-up cinematheque, Camera Obscura, as the type of programming he loves to highlight. “They have \u003ca href=\"https://www.facebook.com/cameraobscurafilmsociety\">a Facebook page\u003c/a> that they post on once a year,” Fisk explains of the Petaluma film series. “But if you are not keeping an eye out for that one post that comes in October … then you’re just going to completely miss it.”\u003c/p>\n\u003cp>Nellie Killian, a film programmer who’s deep in the permitting process of building out \u003ca href=\"https://theportalcinema.com/\">The Portal\u003c/a>, a 49-seat microcinema at Mission and 29th Streets, agrees that Screen Slate’s arrival is a gamechanger. “It really helps,” she says, “just in terms of making you realize you actually are missing stuff if you’re being pessimistic.”\u003c/p>\n\u003cfigure id=\"attachment_13951542\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Slate-SF-Bay.jpg\" alt='Purple on black graphic with \"screen slate\" text, cartoonish film projector and Golden Gate bridge' width=\"1000\" height=\"1000\" class=\"size-full wp-image-13951542\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Slate-SF-Bay.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Slate-SF-Bay-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Slate-SF-Bay-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Slate-SF-Bay-768x768.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">The Screen Slate SF Bay logo, designed by Braulio Amado. \u003ccite>(Courtesy of Screen Slate)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While Killian’s hit more bureaucratic slowdowns than she expected, she’s confident The Portal will open in 2024. “There’s a lot of room for more theaters of different sizes,” she says, especially in the wake of the Castro’s closure. “If someone else wants to open a theater and wants to talk to me about it, I feel like I can save them some steps!”\u003c/p>\n\u003cp>The Bay Area side of Screen Slate is miniscule in comparison to its New York offerings (I stopped counting a single day’s worth of New York screenings at 40), but for Fisk and Rodriguez, along with Screen Slate’s founder and editor-in-chief Jon Dieringer, this is just the beginning.\u003c/p>\n\u003cp>Screen Slate “has somehow evolved organically over time, without a master plan,” Dieringer says. Rodriguez currently does the bulk of data entry for listings. (If more theaters are interested in coming on board, Fisk says, “Feel free to reach out!”) Essays and interviews are pitched by writers rather than assigned from the top down.\u003c/p>\n\u003cp>Recent Bay Area-centered pieces include \u003ca href=\"https://www.screenslate.com/articles/common-bonds-caden-mark-gardner-and-jenni-olson-masc\">an interview with \u003ci>Masc\u003c/i> curators Caden Mark Gardner and Jenni Olson\u003c/a>, a \u003ca href=\"https://www.screenslate.com/articles/slither\">review of \u003ci>Slither\u003c/i>\u003c/a> in advance of a New Parkway screening, \u003ca href=\"https://www.screenslate.com/articles/skip-norman-here-and-there\">a feature on BAMPFA’s Skip Norman series\u003c/a> and \u003ca href=\"https://www.screenslate.com/articles/useful-cinema-rick-prelinger-spectrum-sponsorship\">a deep conversation\u003c/a> with local film archivist Rick Prelinger. An interview with David Kiehn from the Niles Essanay Silent Film Museum is on the horizon.\u003c/p>\n\u003cp>While there are honorariums for writers and editors, Screen Slate — on both coasts — is ultimately a labor of love. “I hate to be cheesy,” Dieringer says, “but it is more than just a calendar. It’s about creating that sense of community and enthusiasm.”\u003c/p>\n\u003cp>You pick the screening, I’ll save you a seat.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Click here to join the weekly \u003ca href=\"https://www.screenslate.com/newsletter\">Screen Slate San Francisco Bay newsletter\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s easy, sometimes, in the face of losses or changes within the cultural landscape, to fall into doom and gloom. Everything’s less; everything’s worse; the philistines don’t care. For film buffs, today is one of those days — the renovation of the Castro begins, and the \u003ca href=\"https://www.kqed.org/news/11952358/sf-supes-ok-effort-renovate-castro-theater\">impending removal of its original theatrical seating\u003c/a> constitutes a crushing loss of San Francisco’s last pure movie palace. \u003c/p>\n\u003cp>But instead of bemoaning the total loss of Bay Area film culture, how about we rally around what we \u003ci>do\u003c/i> have — and what’s to come? After all, what we already have is a lot: enough independent, revival, experimental and artist-made films playing every night of the week that one can’t possibly see them all. \u003c/p>\n\u003cp>“I had, for years, a Google calendar that was everything playing in the Bay Area that I was interested in,” says Stephen Fisk, a 38-year-old film lover. “I had shared it with a bunch of friends, to the point that one of them was like, ‘I had to turn it off, it’s too stressful to see something every day of the week.’”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>To capture and organize that abundance more publicly, Fisk and his friend Omar Rodriguez launched the website SF Bay Film in 2021, just as theaters were starting to reopen. The site was democratic and streamlined, compiling repertory screenings at microcinemas like Oakland’s \u003ca href=\"https://www.shapeshifterscinema.com/\">Shapeshifters\u003c/a> alongside far better-known venues like \u003ca href=\"https://bampfa.org/\">BAMPFA\u003c/a>.\u003c/p>\n\u003cp>When they were building the site, Fisk and Rodriguez purposely modeled it after \u003ca href=\"https://www.screenslate.com/\">Screen Slate\u003c/a>, a New York-based nonprofit founded in 2011 that publishes listings, criticism, interviews, zines and a podcast on moving image culture. And in late 2023, Screen Slate announced an \u003ca href=\"https://www.screenslate.com/articles/screen-slate-san-francisco-bay\">official expansion into the Bay Area\u003c/a>, bringing Fisk and Rodriguez on as editors to continue the work they had already been doing, but with editorial support and a larger audience.\u003c/p>\n\u003cfigure id=\"attachment_13951540\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/roxie-screenslate-omar-stephen-introducing_2000.jpg\" alt=\"Two people lean against stage facing theater seats with big 'ROXIE' in red on screen\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13951540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/roxie-screenslate-omar-stephen-introducing_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/roxie-screenslate-omar-stephen-introducing_2000-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/roxie-screenslate-omar-stephen-introducing_2000-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/roxie-screenslate-omar-stephen-introducing_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/roxie-screenslate-omar-stephen-introducing_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/roxie-screenslate-omar-stephen-introducing_2000-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/roxie-screenslate-omar-stephen-introducing_2000-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Omar Rodriguez and Stephen Fisk of Screen Slate SF Bay introducing a screening of ‘Anguish’ at the Roxie on Oct. 26, 2023. \u003ccite>(Courtesy of Screen Slate)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, every Monday, an email arrives in over 750 inboxes in which Fisk rounds up the film offerings for the week ahead. As Brett Kashmere, executive director of \u003ca href=\"https://canyoncinema.com/\">Canyon Cinema\u003c/a>, pointed out by email, “There is a lot of great stuff happening across the Bay these days.” YBCA’s theater is \u003ca href=\"https://ybca.org/event/color-in-twelve-parts/\">back in action\u003c/a> thanks to programming from Gina Basso (formerly of SFMOMA). Shapeshifters runs an “amazing cascade of workshops and screenings.” SF Cinematheque will host \u003ca href=\"https://www.sfcinematheque.org/screening/luther-price-new-utopia-and-light-fracture/\">a program of Luther Price’s slide work\u003c/a> in March. And, Kashmere adds, “The whole BAMPFA film calendar is on fire this season.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We’ve lost a lot in the Bay Area film community in the past five years or so,” Fisk says. “But there’s still so much — I can’t list everything.”\u003c/p>\n\u003cp>“To me, it’s one of the most significant developments for the Bay Area film community in the past several years,” says Kashmere. “People love putting on and going to screenings here. But information about what is happening, when, and where has tended to be very scattered.”\u003c/p>\n\u003cp>On top of centralized listings, Kashmere says, Screen Slate San Francisco Bay has made visible the strong community and infrastructure that’s already here. “The scene is rich with stories and connections, a small-town feeling in a big city,” programmer Amanda Salazar wrote in the \u003ca href=\"https://www.screenslate.com/articles/analog-means-little-bit-more-us-anita-monga-san-francisco-silent-film-festival-and-bay\">inaugural Screen Slate San Francisco Bay interview\u003c/a>, a conversation with SF Silent Film Festival’s artistic director Anita Monga. \u003c/p>\n\u003cp>Fisk points to Salazar’s own pop-up cinematheque, Camera Obscura, as the type of programming he loves to highlight. “They have \u003ca href=\"https://www.facebook.com/cameraobscurafilmsociety\">a Facebook page\u003c/a> that they post on once a year,” Fisk explains of the Petaluma film series. “But if you are not keeping an eye out for that one post that comes in October … then you’re just going to completely miss it.”\u003c/p>\n\u003cp>Nellie Killian, a film programmer who’s deep in the permitting process of building out \u003ca href=\"https://theportalcinema.com/\">The Portal\u003c/a>, a 49-seat microcinema at Mission and 29th Streets, agrees that Screen Slate’s arrival is a gamechanger. “It really helps,” she says, “just in terms of making you realize you actually are missing stuff if you’re being pessimistic.”\u003c/p>\n\u003cfigure id=\"attachment_13951542\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Slate-SF-Bay.jpg\" alt='Purple on black graphic with \"screen slate\" text, cartoonish film projector and Golden Gate bridge' width=\"1000\" height=\"1000\" class=\"size-full wp-image-13951542\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Slate-SF-Bay.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Slate-SF-Bay-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Slate-SF-Bay-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Slate-SF-Bay-768x768.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">The Screen Slate SF Bay logo, designed by Braulio Amado. \u003ccite>(Courtesy of Screen Slate)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While Killian’s hit more bureaucratic slowdowns than she expected, she’s confident The Portal will open in 2024. “There’s a lot of room for more theaters of different sizes,” she says, especially in the wake of the Castro’s closure. “If someone else wants to open a theater and wants to talk to me about it, I feel like I can save them some steps!”\u003c/p>\n\u003cp>The Bay Area side of Screen Slate is miniscule in comparison to its New York offerings (I stopped counting a single day’s worth of New York screenings at 40), but for Fisk and Rodriguez, along with Screen Slate’s founder and editor-in-chief Jon Dieringer, this is just the beginning.\u003c/p>\n\u003cp>Screen Slate “has somehow evolved organically over time, without a master plan,” Dieringer says. Rodriguez currently does the bulk of data entry for listings. (If more theaters are interested in coming on board, Fisk says, “Feel free to reach out!”) Essays and interviews are pitched by writers rather than assigned from the top down.\u003c/p>\n\u003cp>Recent Bay Area-centered pieces include \u003ca href=\"https://www.screenslate.com/articles/common-bonds-caden-mark-gardner-and-jenni-olson-masc\">an interview with \u003ci>Masc\u003c/i> curators Caden Mark Gardner and Jenni Olson\u003c/a>, a \u003ca href=\"https://www.screenslate.com/articles/slither\">review of \u003ci>Slither\u003c/i>\u003c/a> in advance of a New Parkway screening, \u003ca href=\"https://www.screenslate.com/articles/skip-norman-here-and-there\">a feature on BAMPFA’s Skip Norman series\u003c/a> and \u003ca href=\"https://www.screenslate.com/articles/useful-cinema-rick-prelinger-spectrum-sponsorship\">a deep conversation\u003c/a> with local film archivist Rick Prelinger. An interview with David Kiehn from the Niles Essanay Silent Film Museum is on the horizon.\u003c/p>\n\u003cp>While there are honorariums for writers and editors, Screen Slate — on both coasts — is ultimately a labor of love. “I hate to be cheesy,” Dieringer says, “but it is more than just a calendar. It’s about creating that sense of community and enthusiasm.”\u003c/p>\n\u003cp>You pick the screening, I’ll save you a seat.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Click here to join the weekly \u003ca href=\"https://www.screenslate.com/newsletter\">Screen Slate San Francisco Bay newsletter\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Leaping Into Drama: A Fall ’22 Movie Guide",
"headTitle": "Leaping Into Drama: A Fall ’22 Movie Guide | KQED",
"content": "\u003cp>\u003ca href=\"https://www.kqed.org/fallarts2022\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cem>\u003cstrong>Find more of KQED’s picks for the best Fall 2022 events here\u003c/strong>\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>While blockbuster season in the movie business is year-round these days, studios increasingly reserve their adult-oriented character-driven films for fall and winter, when serious moviegoers celebrate the cooling temperatures as a herald of quality cinema.\u003c/p>\n\u003cp>But older audiences are proving reluctant to return to theaters so long as COVID variants circulate, while streaming has become the preferred platform for a portion of the public. So the state of movies and the health of theaters are open questions, even as those in the industry—not to mention film lovers—crave a return to normalcy.\u003c/p>\n\u003cp>Tempered optimism is the watchword, so my fall forecast is gripping drama with a chance of excitement.\u003c/p>\n\u003cfigure id=\"attachment_13918105\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Pasolini_Mamma-Roma_001.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918105\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Pasolini_Mamma-Roma_001-800x573.jpg\" alt=\"a still from a black and white movie of a woman and man, looking away from each other\" width=\"800\" height=\"573\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Pasolini_Mamma-Roma_001-800x573.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Pasolini_Mamma-Roma_001-1020x731.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Pasolini_Mamma-Roma_001-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Pasolini_Mamma-Roma_001-768x551.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Pasolini_Mamma-Roma_001-1536x1101.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Pasolini_Mamma-Roma_001.jpg 1879w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A still from ‘Mamma Roma’ by Pier Paolo Pasolini. \u003ccite>(Courtesy Berkeley Art Museum and Pacific Film Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://apeconcerts.com/events/pasolini-100-220910/\">Pasolini 100\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 10, Castro Theatre\u003c/em>\u003cbr>\nPier Paolo Pasolini was known in the U.S. merely as a provocative filmmaker; in his native Italy, he was an eminent (and devoutly controversial) public intellectual and social critic. A poet, essayist, novelist, playwright, actor, screenwriter and director, Pasolini remains a complicated, challenging figure 45 years after his unsolved death at the hands of a male prostitute. Cinema Italia SF commemorates his centennial with an all-day marathon spotlighting Pasolini’s early ’60s black-and-white dramas of Rome’s underclass, \u003cem>Mamma Roma\u003c/em> (Anna Magnani’s signature role) and \u003cem>Accatone\u003c/em>, and capped by the unflinching, notorious \u003cem>Saló, or the 100 Days of Sodom\u003c/em> (1976). \u003ca href=\"https://bampfa.org/program/pier-paolo-pasolini\">A BAMPFA retrospective\u003c/a> (Oct. 22-Nov. 27) offers even more chances to immerse yourself in Pasolini’s fascination with sex, violence, faith and power.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZIt0bGwe1rY\u003c/p>\n\u003ch2>\u003ca href=\"https://www.apple.com/tv-pr/originals/sidney/\">‘Sidney’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 23, Apple TV+\u003c/em>\u003cbr>\nOur personal reactions to movie stars reveal more about us—our fantasies, our prejudices—than them. Sidney Poitier’s career spanned the entirety of the second half of the 20th century and the enormous evolution in how Black people were portrayed, played and viewed onscreen. It’s impossible to conceive the tightrope Poitier walked in the ’50s and ’60s, playing dignified characters (Virgil Tibbs in \u003cem>In the Heat of the Night\u003c/em>, notably) who had to restrain their response to a diet of insults lest they scare white moviegoers—without losing his credibility with Black audiences. A successful director (\u003cem>Stir Crazy\u003c/em>) and a prominent civil rights activist, Poitier, who died in January, possessed an unshakable moral compass. Reginald Hudlin’s documentary introduces Poitier to a new audience, filtered through the voices of his contemporaries (Robert Redford, Barbra Streisand) and heirs (Denzel Washington, Spike Lee).\u003c/p>\n\u003cfigure id=\"attachment_13918106\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Whale_Final-Image-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918106\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Whale_Final-Image-800x601.jpg\" alt=\"a white man, Brendan Fraser, looks concerned\" width=\"800\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Whale_Final-Image-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Whale_Final-Image-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Whale_Final-Image-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Whale_Final-Image-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Whale_Final-Image-1536x1154.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Whale_Final-Image-2048x1538.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Whale_Final-Image-1920x1442.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Brendan Fraser in Darren Aronofsky’s ‘The Whale.’ \u003ccite>(Courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.mvff.com/\">Mill Valley Film Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 6-16, in theaters and online\u003c/em>\u003cbr>\nMarin County’s venerable fall blowout boasts several strong strands: female directors, local documentaries, music films, foreign-language sleepers. In addition, as fall marks the kickoff to awards season, MVFF has positioned itself over the last 15 years as the Bay Area venue of choice to premiere thoughtful, actor-powered dramas. This year’s star sightings could include Michelle Williams in Kelly Reichardt’s \u003cem>Showing Up\u003c/em>, Tilda Swinton in Joanna Hogg’s \u003cem>The Eternal Daughter\u003c/em>, Olivia Colman and/or Colin Firth in Sam Mendes’ \u003cem>Empire of Light\u003c/em> and Brendan Fraser in Darren Aronofsky’s \u003cem>The Whale\u003c/em>. Of note, MVFF is expanding its in-person events this year to BAMPFA in Berkeley and the Roxie Theater in San Francisco.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1QCa25CmONI\u003c/p>\n\u003ch2>‘The Lost King’\u003c/h2>\n\u003cp>\u003cem>TBD\u003c/em>\u003cbr>\nA potential candidate for MVFF’s opening or closing night slot, the new film from the underappreciated British director Stephen Frears is an expertly calibrated, comic yet touching portrait of female perseverance. Frears and his \u003cem>Philomena\u003c/em> collaborators, screenwriter Jeff Pope and co-writer and actor Steve Coogan, recreate contemporary writer Philippa Langley’s real-life obstacles and travails on her journey to uncovering the burial site of King Richard III (1452-85). Sally Hawkins (\u003cem>The Shape of Water\u003c/em>) plays the determined protagonist, aided by her husband (Coogan). Frears has a dry sense of humor, giving me hope that Sir Ian McKellen, who played Richard so brilliantly on stage and screen, makes an unbilled cameo as, say, a librarian or cab driver. (The audience for \u003cem>The Lost King\u003c/em> overlaps with the demographic that’s been the slowest to return to theaters, so the film may score more success on PVOD.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rkQi6GBwmSA\u003c/p>\n\u003ch2>‘Till’\u003c/h2>\n\u003cp>\u003cem>Oct. 14\u003c/em>\u003cbr>\nEmmett Till was just 14 when he was kidnapped, tortured and shot to death while visiting family in Mississippi on his summer vacation in 1955. One of the most heinous crimes in the endlessly brutal history of American racism, Emmett’s murder became a flashpoint for the entire country when his mother gave him a public funeral with an open casket back home in Chicago. Writer-producer-director Chinonye Chukwu’s follow-up to \u003cem>Clemency\u003c/em> (which starred Alfre Woodard as a prison warden) recounts the saga of another Black woman under unfathomable pressure, Mamie Till-Mobley (played by the estimable Danielle Deadwyler). The terrible events of 1955 continue to reverberate in the present day, and \u003cem>Till\u003c/em> will likely extend the conversation: Keith Beauchamp, who alleged in his 2005 documentary \u003cem>The Untold Story of Emmett Louis Till\u003c/em> that no fewer than 14 people were involved in the boy’s death, has a writing and producing credit.\u003c/p>\n\u003cfigure id=\"attachment_13918110\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918110\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-800x432.jpeg\" alt=\"a young white man and woman look at each other while leaning over the side of a swimming pool\" width=\"800\" height=\"432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-800x432.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-1020x551.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-160x86.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-768x415.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-1536x830.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-2048x1107.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-1920x1038.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Harry Styles and Emma Corrin in ‘My Policeman.’ \u003ccite>(Courtesy of Prime Video)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘My Policeman’\u003c/h2>\n\u003cp>\u003cem>Oct. 21 in theaters, Nov. 4 on Amazon Prime Video\u003c/em>\u003cbr>\nThe esteemed British theater director Michael Grandage directs Ron Nyswaner’s adaptation of Bethan Roberts’ 2012 novel, though Harry Styles is the only name trending on Twitter. The Evesham heartthrob plays the title character—a married, closeted cop in 1950s Brighton who’s having an affair with a museum curator. Forty years after making a hash of things, the characters (now played by Linus Roache, Gina McKee and Rupert Everett) strain to alchemize regret into redemption. Regardless of the artfulness of the film’s structure, the performances are the key to its emotional punch. By the time Oscar nominations are announced, Styles may be trending everywhere.\u003c/p>\n\u003cfigure id=\"attachment_13917942\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917942\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/AllThatBreathes-800x449.jpg\" alt=\"A man in glasses stares at a bird known as a black kite.\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/AllThatBreathes-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/AllThatBreathes-1020x572.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/AllThatBreathes-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/AllThatBreathes-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/AllThatBreathes-1536x862.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/AllThatBreathes.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘All That Breathes’ follows two brothers who operate a bird sanctuary in New Delhi, India. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sffilm.org/year-round-programming/doc-stories/\">Doc Stories\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 3-6\u003c/em>\u003cbr>\nDevotees of nonfiction film will have ample opportunities to partake of real-world sagas this fall, between the \u003ca href=\"https://sfgreen2022.eventive.org/welcome\">Green Film Festival of San Francisco\u003c/a>’s (Oct. 6-16) globe-hopping array of environmental documentaries and the \u003ca href=\"https://sfdancefilmfest.org/\">San Francisco Dance Film Festival\u003c/a>’s (Oct. 28-Nov. 7) scintillating mix of portraits and performances. SFFILM’s Doc Stories casts its net beyond any specific niche to snare the latest high-profile works on any subject by well-known filmmakers and buzz-catching newcomers. This compact series avidly positions itself as a stop on the road to the Academy Awards due to the many Bay Area members of the Documentary branch. Regular folks benefit, too, from the unusually sophisticated post-film conversations on documentary practice and ethics. Keep your eyes on the skies for the possible inclusion, synced to its HBO premiere, of the Sundance World Cinema Grand Jury Prizewinner \u003cem>All That Breathes\u003c/em>, Shaunak Sen’s touching, poetic portrait of New Delhi brothers who save injured black kites.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RlOB3UALvrQ\u003c/p>\n\u003ch2>‘Black Panther: Wakanda Forever’\u003c/h2>\n\u003cp>\u003cem>Nov. 11\u003c/em>\u003cbr>\nSurely there’s room to include one blockbuster on our list. Yes, Oakland native Ryan Coogler’s hotly anticipated new film is a sequel, a superhero movie and a Marvel production. Yes, the death of Chadwick Boseman leaves a void in the Wakanda universe. Consequently, and thrillingly, the sequel foregrounds and centers the characters played by forces of nature Letitia Wright and Lupita Nyong’o. There’s every reason to anticipate that \u003cem>Black Panther: Wakanda Forever\u003c/em> (scripted by Coogler and Joe Robert Cole, who co-wrote the original) will be even more audacious, outspoken and galvanizing than the original. Yes, I know that runs counter to the Hollywood mode of business, but selling out isn’t in Coogler’s DNA.\u003c/p>\n\u003ch2>‘The Fabelmans’\u003c/h2>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Nov. 23\u003c/em>\u003cbr>\nSteven Spielberg isn’t known as a writer—he last took pen to paper to adapt the \u003cem>A.I. Artificial Intelligence\u003c/em> screenplay 20 years ago—but who else could tell his semi-autobiographical tale of a Jewish boy growing up in wild and woolly Phoenix in the ’50s and ’60s? Thankfully, his longtime collaborator, Louisiana-raised Tony Award and Pulitzer Prize-winner Tony Kushner. Consequently, Spielberg’s contribution to the precious (in both senses of the word) genre of the formative years of film directors has potential to be much more than a lavish golden-hour ode to the ups and downs of the nuclear (age) family. Michelle Williams and Paul Dano play Sammy’s parents, with Seth Rogen in the key role of lad’s uncle. You’ll laugh, you’ll cry, you’ll remember a time when air conditioning was proof of God’s existence.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/fallarts2022\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cem>\u003cstrong>Find more of KQED’s picks for the best Fall 2022 events here\u003c/strong>\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>While blockbuster season in the movie business is year-round these days, studios increasingly reserve their adult-oriented character-driven films for fall and winter, when serious moviegoers celebrate the cooling temperatures as a herald of quality cinema.\u003c/p>\n\u003cp>But older audiences are proving reluctant to return to theaters so long as COVID variants circulate, while streaming has become the preferred platform for a portion of the public. So the state of movies and the health of theaters are open questions, even as those in the industry—not to mention film lovers—crave a return to normalcy.\u003c/p>\n\u003cp>Tempered optimism is the watchword, so my fall forecast is gripping drama with a chance of excitement.\u003c/p>\n\u003cfigure id=\"attachment_13918105\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Pasolini_Mamma-Roma_001.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918105\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Pasolini_Mamma-Roma_001-800x573.jpg\" alt=\"a still from a black and white movie of a woman and man, looking away from each other\" width=\"800\" height=\"573\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Pasolini_Mamma-Roma_001-800x573.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Pasolini_Mamma-Roma_001-1020x731.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Pasolini_Mamma-Roma_001-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Pasolini_Mamma-Roma_001-768x551.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Pasolini_Mamma-Roma_001-1536x1101.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Pasolini_Mamma-Roma_001.jpg 1879w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A still from ‘Mamma Roma’ by Pier Paolo Pasolini. \u003ccite>(Courtesy Berkeley Art Museum and Pacific Film Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://apeconcerts.com/events/pasolini-100-220910/\">Pasolini 100\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 10, Castro Theatre\u003c/em>\u003cbr>\nPier Paolo Pasolini was known in the U.S. merely as a provocative filmmaker; in his native Italy, he was an eminent (and devoutly controversial) public intellectual and social critic. A poet, essayist, novelist, playwright, actor, screenwriter and director, Pasolini remains a complicated, challenging figure 45 years after his unsolved death at the hands of a male prostitute. Cinema Italia SF commemorates his centennial with an all-day marathon spotlighting Pasolini’s early ’60s black-and-white dramas of Rome’s underclass, \u003cem>Mamma Roma\u003c/em> (Anna Magnani’s signature role) and \u003cem>Accatone\u003c/em>, and capped by the unflinching, notorious \u003cem>Saló, or the 100 Days of Sodom\u003c/em> (1976). \u003ca href=\"https://bampfa.org/program/pier-paolo-pasolini\">A BAMPFA retrospective\u003c/a> (Oct. 22-Nov. 27) offers even more chances to immerse yourself in Pasolini’s fascination with sex, violence, faith and power.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ZIt0bGwe1rY'\n title='//www.youtube.com/embed/ZIt0bGwe1rY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.apple.com/tv-pr/originals/sidney/\">‘Sidney’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 23, Apple TV+\u003c/em>\u003cbr>\nOur personal reactions to movie stars reveal more about us—our fantasies, our prejudices—than them. Sidney Poitier’s career spanned the entirety of the second half of the 20th century and the enormous evolution in how Black people were portrayed, played and viewed onscreen. It’s impossible to conceive the tightrope Poitier walked in the ’50s and ’60s, playing dignified characters (Virgil Tibbs in \u003cem>In the Heat of the Night\u003c/em>, notably) who had to restrain their response to a diet of insults lest they scare white moviegoers—without losing his credibility with Black audiences. A successful director (\u003cem>Stir Crazy\u003c/em>) and a prominent civil rights activist, Poitier, who died in January, possessed an unshakable moral compass. Reginald Hudlin’s documentary introduces Poitier to a new audience, filtered through the voices of his contemporaries (Robert Redford, Barbra Streisand) and heirs (Denzel Washington, Spike Lee).\u003c/p>\n\u003cfigure id=\"attachment_13918106\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Whale_Final-Image-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918106\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Whale_Final-Image-800x601.jpg\" alt=\"a white man, Brendan Fraser, looks concerned\" width=\"800\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Whale_Final-Image-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Whale_Final-Image-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Whale_Final-Image-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Whale_Final-Image-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Whale_Final-Image-1536x1154.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Whale_Final-Image-2048x1538.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Whale_Final-Image-1920x1442.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Brendan Fraser in Darren Aronofsky’s ‘The Whale.’ \u003ccite>(Courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.mvff.com/\">Mill Valley Film Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 6-16, in theaters and online\u003c/em>\u003cbr>\nMarin County’s venerable fall blowout boasts several strong strands: female directors, local documentaries, music films, foreign-language sleepers. In addition, as fall marks the kickoff to awards season, MVFF has positioned itself over the last 15 years as the Bay Area venue of choice to premiere thoughtful, actor-powered dramas. This year’s star sightings could include Michelle Williams in Kelly Reichardt’s \u003cem>Showing Up\u003c/em>, Tilda Swinton in Joanna Hogg’s \u003cem>The Eternal Daughter\u003c/em>, Olivia Colman and/or Colin Firth in Sam Mendes’ \u003cem>Empire of Light\u003c/em> and Brendan Fraser in Darren Aronofsky’s \u003cem>The Whale\u003c/em>. Of note, MVFF is expanding its in-person events this year to BAMPFA in Berkeley and the Roxie Theater in San Francisco.\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/1QCa25CmONI'\n title='//www.youtube.com/embed/1QCa25CmONI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘The Lost King’\u003c/h2>\n\u003cp>\u003cem>TBD\u003c/em>\u003cbr>\nA potential candidate for MVFF’s opening or closing night slot, the new film from the underappreciated British director Stephen Frears is an expertly calibrated, comic yet touching portrait of female perseverance. Frears and his \u003cem>Philomena\u003c/em> collaborators, screenwriter Jeff Pope and co-writer and actor Steve Coogan, recreate contemporary writer Philippa Langley’s real-life obstacles and travails on her journey to uncovering the burial site of King Richard III (1452-85). Sally Hawkins (\u003cem>The Shape of Water\u003c/em>) plays the determined protagonist, aided by her husband (Coogan). Frears has a dry sense of humor, giving me hope that Sir Ian McKellen, who played Richard so brilliantly on stage and screen, makes an unbilled cameo as, say, a librarian or cab driver. (The audience for \u003cem>The Lost King\u003c/em> overlaps with the demographic that’s been the slowest to return to theaters, so the film may score more success on PVOD.)\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/rkQi6GBwmSA'\n title='//www.youtube.com/embed/rkQi6GBwmSA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘Till’\u003c/h2>\n\u003cp>\u003cem>Oct. 14\u003c/em>\u003cbr>\nEmmett Till was just 14 when he was kidnapped, tortured and shot to death while visiting family in Mississippi on his summer vacation in 1955. One of the most heinous crimes in the endlessly brutal history of American racism, Emmett’s murder became a flashpoint for the entire country when his mother gave him a public funeral with an open casket back home in Chicago. Writer-producer-director Chinonye Chukwu’s follow-up to \u003cem>Clemency\u003c/em> (which starred Alfre Woodard as a prison warden) recounts the saga of another Black woman under unfathomable pressure, Mamie Till-Mobley (played by the estimable Danielle Deadwyler). The terrible events of 1955 continue to reverberate in the present day, and \u003cem>Till\u003c/em> will likely extend the conversation: Keith Beauchamp, who alleged in his 2005 documentary \u003cem>The Untold Story of Emmett Louis Till\u003c/em> that no fewer than 14 people were involved in the boy’s death, has a writing and producing credit.\u003c/p>\n\u003cfigure id=\"attachment_13918110\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918110\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-800x432.jpeg\" alt=\"a young white man and woman look at each other while leaning over the side of a swimming pool\" width=\"800\" height=\"432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-800x432.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-1020x551.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-160x86.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-768x415.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-1536x830.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-2048x1107.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/MPOL_2022_FG_02125220_Still048-1920x1038.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Harry Styles and Emma Corrin in ‘My Policeman.’ \u003ccite>(Courtesy of Prime Video)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘My Policeman’\u003c/h2>\n\u003cp>\u003cem>Oct. 21 in theaters, Nov. 4 on Amazon Prime Video\u003c/em>\u003cbr>\nThe esteemed British theater director Michael Grandage directs Ron Nyswaner’s adaptation of Bethan Roberts’ 2012 novel, though Harry Styles is the only name trending on Twitter. The Evesham heartthrob plays the title character—a married, closeted cop in 1950s Brighton who’s having an affair with a museum curator. Forty years after making a hash of things, the characters (now played by Linus Roache, Gina McKee and Rupert Everett) strain to alchemize regret into redemption. Regardless of the artfulness of the film’s structure, the performances are the key to its emotional punch. By the time Oscar nominations are announced, Styles may be trending everywhere.\u003c/p>\n\u003cfigure id=\"attachment_13917942\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917942\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/AllThatBreathes-800x449.jpg\" alt=\"A man in glasses stares at a bird known as a black kite.\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/AllThatBreathes-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/AllThatBreathes-1020x572.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/AllThatBreathes-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/AllThatBreathes-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/AllThatBreathes-1536x862.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/AllThatBreathes.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘All That Breathes’ follows two brothers who operate a bird sanctuary in New Delhi, India. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sffilm.org/year-round-programming/doc-stories/\">Doc Stories\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 3-6\u003c/em>\u003cbr>\nDevotees of nonfiction film will have ample opportunities to partake of real-world sagas this fall, between the \u003ca href=\"https://sfgreen2022.eventive.org/welcome\">Green Film Festival of San Francisco\u003c/a>’s (Oct. 6-16) globe-hopping array of environmental documentaries and the \u003ca href=\"https://sfdancefilmfest.org/\">San Francisco Dance Film Festival\u003c/a>’s (Oct. 28-Nov. 7) scintillating mix of portraits and performances. SFFILM’s Doc Stories casts its net beyond any specific niche to snare the latest high-profile works on any subject by well-known filmmakers and buzz-catching newcomers. This compact series avidly positions itself as a stop on the road to the Academy Awards due to the many Bay Area members of the Documentary branch. Regular folks benefit, too, from the unusually sophisticated post-film conversations on documentary practice and ethics. Keep your eyes on the skies for the possible inclusion, synced to its HBO premiere, of the Sundance World Cinema Grand Jury Prizewinner \u003cem>All That Breathes\u003c/em>, Shaunak Sen’s touching, poetic portrait of New Delhi brothers who save injured black kites.\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/RlOB3UALvrQ'\n title='//www.youtube.com/embed/RlOB3UALvrQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘Black Panther: Wakanda Forever’\u003c/h2>\n\u003cp>\u003cem>Nov. 11\u003c/em>\u003cbr>\nSurely there’s room to include one blockbuster on our list. Yes, Oakland native Ryan Coogler’s hotly anticipated new film is a sequel, a superhero movie and a Marvel production. Yes, the death of Chadwick Boseman leaves a void in the Wakanda universe. Consequently, and thrillingly, the sequel foregrounds and centers the characters played by forces of nature Letitia Wright and Lupita Nyong’o. There’s every reason to anticipate that \u003cem>Black Panther: Wakanda Forever\u003c/em> (scripted by Coogler and Joe Robert Cole, who co-wrote the original) will be even more audacious, outspoken and galvanizing than the original. Yes, I know that runs counter to the Hollywood mode of business, but selling out isn’t in Coogler’s DNA.\u003c/p>\n\u003ch2>‘The Fabelmans’\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Nov. 23\u003c/em>\u003cbr>\nSteven Spielberg isn’t known as a writer—he last took pen to paper to adapt the \u003cem>A.I. Artificial Intelligence\u003c/em> screenplay 20 years ago—but who else could tell his semi-autobiographical tale of a Jewish boy growing up in wild and woolly Phoenix in the ’50s and ’60s? Thankfully, his longtime collaborator, Louisiana-raised Tony Award and Pulitzer Prize-winner Tony Kushner. Consequently, Spielberg’s contribution to the precious (in both senses of the word) genre of the formative years of film directors has potential to be much more than a lavish golden-hour ode to the ups and downs of the nuclear (age) family. Michelle Williams and Paul Dano play Sammy’s parents, with Seth Rogen in the key role of lad’s uncle. You’ll laugh, you’ll cry, you’ll remember a time when air conditioning was proof of God’s existence.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Castro Theatre to Become Live Music and Events Venue After Renovation",
"headTitle": "Castro Theatre to Become Live Music and Events Venue After Renovation | KQED",
"content": "\u003cp>The Castro Theatre, a 100-year-old jewel of the film community in San Francisco, is set to become a live music and events venue after a year-long makeover. The renovated theater will broaden its programming to include “comedy, music, film, community and private events and more,” according to \u003ca href=\"https://apeconcerts.com/venues/castro-theatre/\" rel=\"noopener noreferrer\" target=\"_blank\">a statement\u003c/a> by the new operators.\u003c/p>\n\u003cp>The theater will be managed by Another Planet Entertainment, the Bay Area-based live music promoter which co-produces the Outside Lands music festival and operates the Bill Graham Civic Auditorium, the Greek Theatre, the Fox Theatre, the Independent and other music venues. Another Planet does not operate any movie theaters, or venues with regular film programming.\u003c/p>\n\u003cp>Currently it is unclear exactly how much film will be shown at the renovated Castro Theatre. Speaking with KQED on Wednesday, Another Planet CEO Gregg Perloff repeatedly said it was too soon to tell.\u003c/p>\n\u003cp>“I know this isn’t a great answer for you, but we’ve just started,” Perloff said, in response to questions about film programming. “This is really our first week talking to people. And we plan on talking to a lot of people in the community. And of course all the people who have rented the theater—find out what it is they’re all about and what they plan on doing. So I can’t give you definitive answers right now.”\u003c/p>\n\u003cp>As of Wednesday, Another Planet had not been been in touch with any independent film bookers who would book a regular daily schedule of films, Perloff said. \u003c/p>\n\u003cfigure id=\"attachment_13908354\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/Castro.Street-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13908354\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Castro.Street-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Castro.Street-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Castro.Street-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Castro.Street-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Castro.Street-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Castro.Street.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Castro Theatre has been a central fixture of San Francisco’s Castro District since 1922. \u003ccite>(Tobias Kleinlercher / Wikipedia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“You don’t want to change the historic nature of the theatre,” said Perloff. “We absolutely want to do film. We absolutely want to honor the LGBTQ community. And so, what they’ve historically done, we want to do a lot of that. We also want to add to it by doing other things. What those other things are? Could be a lecture. Could be comedy. Could be music. We plan to try anything.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For the past decade, the Castro Theatre had been booked by Keith Arnold, whose experience working with Berkeley’s Fine Arts Cinema and the Sundance Film Festival informed the Castro’s repertory programming, which included movies both new and old on a daily basis. The Castro Theatre has also long been home to several film festivals like Frameline, the San Francisco Silent Film Festival, and the San Francisco Jewish Film Festival, among others.\u003c/p>\n\u003cp>Existing contracts with the Castro are being honored before renovation begins, Perloff said. Frameline’s executive director James Woolley said, in an email to KQED: “We are pleased to confirm that the Frameline46 San Francisco International LGBTQ+ Film Festival will proceed at the Castro Theatre, June 16-26, 2022.”\u003c/p>\n\u003cp>SFFILM, the San Francisco International Film Festival, is still scheduled to run April 21–May 1 this year, as well. (The Noir City film festival had planned to move to the Grand Lake Theatre in Oakland this month before postponing due to the spread of the omicron variant.) \u003c/p>\n\u003cp>Construction on the theater will begin later this year.\u003c/p>\n\u003cfigure id=\"attachment_13827376\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/03/SFIFFLogo_COVER-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13827376\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A packed house at the Castro Theatre. \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The Castro Theatre is a wonderful building that we will upgrade for more use in the future,” said Perloff in a \u003ca href=\"https://apeconcerts.com/venues/castro-theatre/\" rel=\"noopener noreferrer\" target=\"_blank\">statement\u003c/a> Wednesday morning. “We want to activate and re-energize the building, making improvements to the customer and artist experience, including dressing room upgrades, restoring the marquee and blade and expanding food and beverage service.” \u003c/p>\n\u003cp>Additional upgrades would include a new sound system, sound, lighting, production, and heating and air conditioning system. An expanded backstage and lobby and a renovated marquee are planned, along with a restoration of the theater’s iconic neon sign. \u003c/p>\n\u003cp>Chris Nasser Padian, the vice president of Bay Properties Inc., which owns the Castro Theatre, called Another Planet “an ideal partner” for the Castro, “as they have a rich history with the City and in rehabilitating historic venues.”\u003c/p>\n\u003cp>Perloff said that Another Planet approached the Nasser family to make a deal for the building, and that, to his knowledge, no other promoters were in contention for management of the theater. \u003c/p>\n\u003cp>https://www.instagram.com/p/CY69fTPrI4G/\u003c/p>\n\u003cp>Today’s news answers a long-standing question on the lips of moviegoers over the past year and a half.\u003c/p>\n\u003cp>During the pandemic, while other independent movie theaters like the Roxie Theatre, the Balboa Theatre and the New Parkway Theatre cautiously re-opened, the Castro Theatre sat conspicuously dark, hosting occasional one-off concerts and events.\u003c/p>\n\u003cp>Most recently, the theatre hosted the world premiere for \u003cem>The Matrix Resurrections\u003c/em> and a special screening of \u003cem>West Side Story\u003c/em> with Rita Moreno in attendance.\u003c/p>\n\u003cp>A fundraising campaign for a new organ at the Castro Theatre, to be played by beloved fixture David Hegarty, had \u003ca href=\"https://hoodline.com/2021/01/castro-theatre-s-massive-new-hybrid-organ-may-get-installed-in-time-for-cinemas-to-reopen/\" rel=\"noopener noreferrer\" target=\"_blank\">recently raised\u003c/a> over $800,000 in donations. Perloff said that while there are no renovation plans for the stage that would make it impossible to install the organ, Another Planet has yet to get specifications for it.\u003c/p>\n\u003cp>“We got kind of thrown a curveball by this idea of a new organ,” Perloff said, adding that Another Planet has been in touch with Hegarty and the nonprofit CODA. “This is the kind of thing we’re dealing with in working out our construction plans: what does the organ need? So we’re certainly working or planning on working with CODA.”\u003c/p>\n\u003cp>Asked about moviegoers who think of the Castro Theatre as a family member, and are worried that they’re losing it forever, Perloff emphasized the upcoming restoration.\u003c/p>\n\u003cp>“They’re not losing it,” Perloff said of the Castro. “This is a labor of love for us. We make our money doing big shows like Outside Lands. What we’re doing is: this is a diamond, and we’re polishing the diamond. That’s how you should look at it.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A grand reopening for the theater is scheduled for 2023. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Castro Theatre, a 100-year-old jewel of the film community in San Francisco, is set to become a live music and events venue after a year-long makeover. The renovated theater will broaden its programming to include “comedy, music, film, community and private events and more,” according to \u003ca href=\"https://apeconcerts.com/venues/castro-theatre/\" rel=\"noopener noreferrer\" target=\"_blank\">a statement\u003c/a> by the new operators.\u003c/p>\n\u003cp>The theater will be managed by Another Planet Entertainment, the Bay Area-based live music promoter which co-produces the Outside Lands music festival and operates the Bill Graham Civic Auditorium, the Greek Theatre, the Fox Theatre, the Independent and other music venues. Another Planet does not operate any movie theaters, or venues with regular film programming.\u003c/p>\n\u003cp>Currently it is unclear exactly how much film will be shown at the renovated Castro Theatre. Speaking with KQED on Wednesday, Another Planet CEO Gregg Perloff repeatedly said it was too soon to tell.\u003c/p>\n\u003cp>“I know this isn’t a great answer for you, but we’ve just started,” Perloff said, in response to questions about film programming. “This is really our first week talking to people. And we plan on talking to a lot of people in the community. And of course all the people who have rented the theater—find out what it is they’re all about and what they plan on doing. So I can’t give you definitive answers right now.”\u003c/p>\n\u003cp>As of Wednesday, Another Planet had not been been in touch with any independent film bookers who would book a regular daily schedule of films, Perloff said. \u003c/p>\n\u003cfigure id=\"attachment_13908354\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/Castro.Street-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13908354\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Castro.Street-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Castro.Street-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Castro.Street-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Castro.Street-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Castro.Street-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Castro.Street.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Castro Theatre has been a central fixture of San Francisco’s Castro District since 1922. \u003ccite>(Tobias Kleinlercher / Wikipedia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“You don’t want to change the historic nature of the theatre,” said Perloff. “We absolutely want to do film. We absolutely want to honor the LGBTQ community. And so, what they’ve historically done, we want to do a lot of that. We also want to add to it by doing other things. What those other things are? Could be a lecture. Could be comedy. Could be music. We plan to try anything.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For the past decade, the Castro Theatre had been booked by Keith Arnold, whose experience working with Berkeley’s Fine Arts Cinema and the Sundance Film Festival informed the Castro’s repertory programming, which included movies both new and old on a daily basis. The Castro Theatre has also long been home to several film festivals like Frameline, the San Francisco Silent Film Festival, and the San Francisco Jewish Film Festival, among others.\u003c/p>\n\u003cp>Existing contracts with the Castro are being honored before renovation begins, Perloff said. Frameline’s executive director James Woolley said, in an email to KQED: “We are pleased to confirm that the Frameline46 San Francisco International LGBTQ+ Film Festival will proceed at the Castro Theatre, June 16-26, 2022.”\u003c/p>\n\u003cp>SFFILM, the San Francisco International Film Festival, is still scheduled to run April 21–May 1 this year, as well. (The Noir City film festival had planned to move to the Grand Lake Theatre in Oakland this month before postponing due to the spread of the omicron variant.) \u003c/p>\n\u003cp>Construction on the theater will begin later this year.\u003c/p>\n\u003cfigure id=\"attachment_13827376\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/03/SFIFFLogo_COVER-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13827376\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A packed house at the Castro Theatre. \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The Castro Theatre is a wonderful building that we will upgrade for more use in the future,” said Perloff in a \u003ca href=\"https://apeconcerts.com/venues/castro-theatre/\" rel=\"noopener noreferrer\" target=\"_blank\">statement\u003c/a> Wednesday morning. “We want to activate and re-energize the building, making improvements to the customer and artist experience, including dressing room upgrades, restoring the marquee and blade and expanding food and beverage service.” \u003c/p>\n\u003cp>Additional upgrades would include a new sound system, sound, lighting, production, and heating and air conditioning system. An expanded backstage and lobby and a renovated marquee are planned, along with a restoration of the theater’s iconic neon sign. \u003c/p>\n\u003cp>Chris Nasser Padian, the vice president of Bay Properties Inc., which owns the Castro Theatre, called Another Planet “an ideal partner” for the Castro, “as they have a rich history with the City and in rehabilitating historic venues.”\u003c/p>\n\u003cp>Perloff said that Another Planet approached the Nasser family to make a deal for the building, and that, to his knowledge, no other promoters were in contention for management of the theater. \u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Today’s news answers a long-standing question on the lips of moviegoers over the past year and a half.\u003c/p>\n\u003cp>During the pandemic, while other independent movie theaters like the Roxie Theatre, the Balboa Theatre and the New Parkway Theatre cautiously re-opened, the Castro Theatre sat conspicuously dark, hosting occasional one-off concerts and events.\u003c/p>\n\u003cp>Most recently, the theatre hosted the world premiere for \u003cem>The Matrix Resurrections\u003c/em> and a special screening of \u003cem>West Side Story\u003c/em> with Rita Moreno in attendance.\u003c/p>\n\u003cp>A fundraising campaign for a new organ at the Castro Theatre, to be played by beloved fixture David Hegarty, had \u003ca href=\"https://hoodline.com/2021/01/castro-theatre-s-massive-new-hybrid-organ-may-get-installed-in-time-for-cinemas-to-reopen/\" rel=\"noopener noreferrer\" target=\"_blank\">recently raised\u003c/a> over $800,000 in donations. Perloff said that while there are no renovation plans for the stage that would make it impossible to install the organ, Another Planet has yet to get specifications for it.\u003c/p>\n\u003cp>“We got kind of thrown a curveball by this idea of a new organ,” Perloff said, adding that Another Planet has been in touch with Hegarty and the nonprofit CODA. “This is the kind of thing we’re dealing with in working out our construction plans: what does the organ need? So we’re certainly working or planning on working with CODA.”\u003c/p>\n\u003cp>Asked about moviegoers who think of the Castro Theatre as a family member, and are worried that they’re losing it forever, Perloff emphasized the upcoming restoration.\u003c/p>\n\u003cp>“They’re not losing it,” Perloff said of the Castro. “This is a labor of love for us. We make our money doing big shows like Outside Lands. What we’re doing is: this is a diamond, and we’re polishing the diamond. That’s how you should look at it.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A grand reopening for the theater is scheduled for 2023. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s time for the weekend!\u003c/p>\n\u003cp>Looking for things to do in the Bay Area? Listen to KQED Arts’ Gabe Meline and Nastia Voynovskaya discuss their critic’s picks for this weekend at the audio link above, and read about each event below.\u003c/p>\n\u003cp>\u003cstrong>Godspeed You Black Emperor\u003c/strong>: Before a legion of mainstream copycats came along, this large collective pioneered the sprawling instrumental indie music you now hear in Hollywood movies and Nike commercials, recording cassettes on tiny labels and selling anarchist literature at their shows. Their shows are always at beautiful venues when they’re in the Bay Area, and this show is no exception: it’s at the 98-year-old Castro Theater in San Francisco on Sunday, Aug. 18. \u003ca href=\"http://folkyeah.com/godspeed-you-black-emperor-san-francisco-2019\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>\u003cstrong>The Jacka ‘Tear Gas’ Tribute Show\u003c/strong>: For the ten-year anniversary of The Jacka’s classic \u003cem>Tear Gas\u003c/em> album, a wild lineup of former collaborators pay tribute, including Andre Nickatina, Freeway, J. Stalin, Paul Wall and pretty much the rest of his old group Mob Figaz. The Jacka was killed in Oakland in 2015, and really, the memorials haven’t stopped since. This one’s special, on Thursday, Aug. 15, at the (\u003ca href=\"https://www.kqed.org/arts/13845305/san-francisco-nightclub-mezzanine-will-close-in-2019-after-16-years\" rel=\"noopener\" target=\"_blank\">soon-to-be-office-space\u003c/a>) Mezzanine in San Francisco. \u003ca href=\"https://mezzaninesf.com/events/tear-gas-the-jacka-tribute-show/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘The 39 Steps’\u003c/strong>: For this masterful adaptation of the Alfred Hitchcock film, the cast is just four people, playing multiple parts in a frenzied, madcap fashion. It’s not at all like the suspense-filled movie, and that’s the point; it’s played in London for years to rave reviews. Here, it’s presented in the Bay Area by TheatreWorks Silicon Valley, who earlier this year won the \u003ca href=\"https://www.kqed.org/arts/13856208/theatreworks-silicon-valley-to-receive-regional-theatre-tony-award\" rel=\"noopener\" target=\"_blank\">Tony Award for Best Regional Theater Company\u003c/a>. It opens Wednesday, Aug. 21, and runs through Sept. 22, at the Mountain View Center for the Performing Arts. \u003ca href=\"https://theatreworks.org/201920-season/the-39-steps/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Festival of Infinite Imagination\u003c/strong>: Pro Arts, the gallery in downtown Oakland, has become a really vital venue for experimental music lately, and it hosts this three-day festival presented by the Topsy Turvy Queer Circus, led by India Sky Davis. It features the work of six black queer and transgender artists, including the singer Spellling, who’s premiering a brand new performance-slash-installation piece called “The Spider Heart.” It runs runs Thursday, Friday and Saturday, Aug. 15–17, both inside Pro Arts gallery and outdoors in Frank Ogawa Plaza. \u003ca href=\"https://www.eventbrite.com/e/topsy-turvy-presents-festival-of-infinite-imagination-tickets-66016975551\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Wayne Hancock\u003c/strong>: Country music is in the air: We have “Old Town Road” topping the charts for 19 weeks in a row, pop stars are wearing cowboy hats left & right. But if you want the real deal? You’ll want to check out Wayne Hancock, who’s more Hank Williams than Hank Williams Jr., and who’s been on a tour of juke joints and old saloons since the 1990s. He’s in Santa Rosa this week, playing a free show in the scenic backyard of the radio station KRSH on Thursday, Aug. 22. \u003ca href=\"https://www.krsh.com/event/wayne-the-train-hancock-at-the-krush-backyard/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s time for the weekend!\u003c/p>\n\u003cp>Looking for things to do in the Bay Area? Listen to KQED Arts’ Gabe Meline and Nastia Voynovskaya discuss their critic’s picks for this weekend at the audio link above, and read about each event below.\u003c/p>\n\u003cp>\u003cstrong>Godspeed You Black Emperor\u003c/strong>: Before a legion of mainstream copycats came along, this large collective pioneered the sprawling instrumental indie music you now hear in Hollywood movies and Nike commercials, recording cassettes on tiny labels and selling anarchist literature at their shows. Their shows are always at beautiful venues when they’re in the Bay Area, and this show is no exception: it’s at the 98-year-old Castro Theater in San Francisco on Sunday, Aug. 18. \u003ca href=\"http://folkyeah.com/godspeed-you-black-emperor-san-francisco-2019\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>\u003cstrong>The Jacka ‘Tear Gas’ Tribute Show\u003c/strong>: For the ten-year anniversary of The Jacka’s classic \u003cem>Tear Gas\u003c/em> album, a wild lineup of former collaborators pay tribute, including Andre Nickatina, Freeway, J. Stalin, Paul Wall and pretty much the rest of his old group Mob Figaz. The Jacka was killed in Oakland in 2015, and really, the memorials haven’t stopped since. This one’s special, on Thursday, Aug. 15, at the (\u003ca href=\"https://www.kqed.org/arts/13845305/san-francisco-nightclub-mezzanine-will-close-in-2019-after-16-years\" rel=\"noopener\" target=\"_blank\">soon-to-be-office-space\u003c/a>) Mezzanine in San Francisco. \u003ca href=\"https://mezzaninesf.com/events/tear-gas-the-jacka-tribute-show/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘The 39 Steps’\u003c/strong>: For this masterful adaptation of the Alfred Hitchcock film, the cast is just four people, playing multiple parts in a frenzied, madcap fashion. It’s not at all like the suspense-filled movie, and that’s the point; it’s played in London for years to rave reviews. Here, it’s presented in the Bay Area by TheatreWorks Silicon Valley, who earlier this year won the \u003ca href=\"https://www.kqed.org/arts/13856208/theatreworks-silicon-valley-to-receive-regional-theatre-tony-award\" rel=\"noopener\" target=\"_blank\">Tony Award for Best Regional Theater Company\u003c/a>. It opens Wednesday, Aug. 21, and runs through Sept. 22, at the Mountain View Center for the Performing Arts. \u003ca href=\"https://theatreworks.org/201920-season/the-39-steps/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Festival of Infinite Imagination\u003c/strong>: Pro Arts, the gallery in downtown Oakland, has become a really vital venue for experimental music lately, and it hosts this three-day festival presented by the Topsy Turvy Queer Circus, led by India Sky Davis. It features the work of six black queer and transgender artists, including the singer Spellling, who’s premiering a brand new performance-slash-installation piece called “The Spider Heart.” It runs runs Thursday, Friday and Saturday, Aug. 15–17, both inside Pro Arts gallery and outdoors in Frank Ogawa Plaza. \u003ca href=\"https://www.eventbrite.com/e/topsy-turvy-presents-festival-of-infinite-imagination-tickets-66016975551\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Wayne Hancock\u003c/strong>: Country music is in the air: We have “Old Town Road” topping the charts for 19 weeks in a row, pop stars are wearing cowboy hats left & right. But if you want the real deal? You’ll want to check out Wayne Hancock, who’s more Hank Williams than Hank Williams Jr., and who’s been on a tour of juke joints and old saloons since the 1990s. He’s in Santa Rosa this week, playing a free show in the scenic backyard of the radio station KRSH on Thursday, Aug. 22. \u003ca href=\"https://www.krsh.com/event/wayne-the-train-hancock-at-the-krush-backyard/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>As the straight-arrow prosecutor nipping at the Ferragamo heels of Vittorio Gassman’s amoral industrialist in the 1971 satire \u003cem>In the Name of the Italian People\u003c/em>, Ugo Tognazzi necessarily defers the comic overplaying to his slick costar. But Tognazzi’s flawless timing—he deploys a devastating arsenal of pauses and reactions amid a nonstop flow of rat-a-tat dialogue—evokes his roots in comedy. It’s a measure of the actor’s skill that he can anchor the moral center of Dino Risi’s skewering movie and also suggest (and suppress) an anarchic impulse. \u003c/p>\n\u003cp>Drawn from Luce Cinecittá’s extensive 25-film retrospective last December at New York’s Museum of Modern Art—which encompassed a mere sixth of Tognazzi’s mammoth body of screen work—\u003cem>In the Name of the Italian People\u003c/em> is more relevant and resonant for contemporary U.S. audiences steeped in corruption than the pre-Watergate viewers of its initial release. In fact, its basic assertion that the masters of the universe can be brought to heel by one incorruptible member of the justice system feels almost naïve today (say what you will of the efforts of one Robert Mueller).\u003c/p>\n\u003cfigure id=\"attachment_13855591\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/in_nome_del_popolo_italiano_1200.jpg\" alt=\"Still from 'In Nome del Popolo Italiano,' featuring Vittorio Gassman and Ugo Tognazzi.\" width=\"1200\" height=\"790\" class=\"size-full wp-image-13855591\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/in_nome_del_popolo_italiano_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/in_nome_del_popolo_italiano_1200-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/in_nome_del_popolo_italiano_1200-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/in_nome_del_popolo_italiano_1200-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/in_nome_del_popolo_italiano_1200-1020x672.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘In Nome del Popolo Italiano,’ featuring Vittorio Gassman and Ugo Tognazzi. \u003ccite>(Courtesy of Rialto Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Risi’s savagely civilized work screens Saturday, April 27 as part of \u003ca href=\"http://www.cinemaitaliasf.com\" rel=\"noopener\" target=\"_blank\">Ugo Tognazzi: A Film Series\u003c/a>. The all-day marathon, curated and organized by Cinema Italia San Francisco under the patronage of the Italian Consul General and presented by Luce Cinecittá and The Italian Cultural Institute San Francisco, features his breakthrough international hits, \u003cem>La Grande Bouffe\u003c/em> (1973) and \u003cem>La Cage aux Folles\u003c/em> (1978), as well as the lesser-known \u003cem>Property Is No Longer a Theft\u003c/em> (1973) and Bernardo Bertolucci’s \u003cem>Tragedy of a Ridiculous Man\u003c/em> (1981).\u003c/p>\n\u003cp>Tognazzi’s stardom beyond Italy has faded, especially compared to his colleague Marcello Mastroianni, in the nearly three decades since his death. Ugo Tognazzi: A Film Series invites us to discover—or discover anew—the actor’s unique mixture of dignity, intelligence and joyous abandon. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the straight-arrow prosecutor nipping at the Ferragamo heels of Vittorio Gassman’s amoral industrialist in the 1971 satire \u003cem>In the Name of the Italian People\u003c/em>, Ugo Tognazzi necessarily defers the comic overplaying to his slick costar. But Tognazzi’s flawless timing—he deploys a devastating arsenal of pauses and reactions amid a nonstop flow of rat-a-tat dialogue—evokes his roots in comedy. It’s a measure of the actor’s skill that he can anchor the moral center of Dino Risi’s skewering movie and also suggest (and suppress) an anarchic impulse. \u003c/p>\n\u003cp>Drawn from Luce Cinecittá’s extensive 25-film retrospective last December at New York’s Museum of Modern Art—which encompassed a mere sixth of Tognazzi’s mammoth body of screen work—\u003cem>In the Name of the Italian People\u003c/em> is more relevant and resonant for contemporary U.S. audiences steeped in corruption than the pre-Watergate viewers of its initial release. In fact, its basic assertion that the masters of the universe can be brought to heel by one incorruptible member of the justice system feels almost naïve today (say what you will of the efforts of one Robert Mueller).\u003c/p>\n\u003cfigure id=\"attachment_13855591\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/in_nome_del_popolo_italiano_1200.jpg\" alt=\"Still from 'In Nome del Popolo Italiano,' featuring Vittorio Gassman and Ugo Tognazzi.\" width=\"1200\" height=\"790\" class=\"size-full wp-image-13855591\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/in_nome_del_popolo_italiano_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/in_nome_del_popolo_italiano_1200-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/in_nome_del_popolo_italiano_1200-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/in_nome_del_popolo_italiano_1200-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/in_nome_del_popolo_italiano_1200-1020x672.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘In Nome del Popolo Italiano,’ featuring Vittorio Gassman and Ugo Tognazzi. \u003ccite>(Courtesy of Rialto Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Risi’s savagely civilized work screens Saturday, April 27 as part of \u003ca href=\"http://www.cinemaitaliasf.com\" rel=\"noopener\" target=\"_blank\">Ugo Tognazzi: A Film Series\u003c/a>. The all-day marathon, curated and organized by Cinema Italia San Francisco under the patronage of the Italian Consul General and presented by Luce Cinecittá and The Italian Cultural Institute San Francisco, features his breakthrough international hits, \u003cem>La Grande Bouffe\u003c/em> (1973) and \u003cem>La Cage aux Folles\u003c/em> (1978), as well as the lesser-known \u003cem>Property Is No Longer a Theft\u003c/em> (1973) and Bernardo Bertolucci’s \u003cem>Tragedy of a Ridiculous Man\u003c/em> (1981).\u003c/p>\n\u003cp>Tognazzi’s stardom beyond Italy has faded, especially compared to his colleague Marcello Mastroianni, in the nearly three decades since his death. Ugo Tognazzi: A Film Series invites us to discover—or discover anew—the actor’s unique mixture of dignity, intelligence and joyous abandon. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The \u003ca href=\"https://sffilm.org\" rel=\"noopener\" target=\"_blank\">San Francisco International Film Festival\u003c/a> (SFFILM) continues through April 23, with a few fresh-as-a-daisy oldies stirred into the contemporary state-of-cinema mix. This year, a \u003ca href=\"https://sffilm.org/event/warpaint-live-score-films-by-maya-deren/\" rel=\"noopener\" target=\"_blank\">Castro Theater event on April 19\u003c/a> pairing live music with silent films is typically inspired. It matches live music from Warpaint’s Theresa Wayman and Stella Mozgawa with the immortal Maya Deren’s amazing mid-century works of avant-garde ethnography: \u003cem>At Land\u003c/em>, \u003cem>Meshes of the Afternoon\u003c/em>, \u003cem>Ritual in Transfigured Time\u003c/em> and \u003cem>The Very Eye of Night\u003c/em>. Entrancing, transporting and not to be missed.\u003c/p>\n\u003cp>One of my more memorable, and confounding, experiences at the San Francisco International Film Festival was the 2000 press screening of \u003cem>Wisconsin Death Trip\u003c/em>. I recall James Marsh’s genre-defying adaptation of Michael Lesy’s 1973 cult-fave compilation of 19th century photographs and newspaper accounts of Midwestern self-destruction and suffering as an amalgam of black-and-white poetry, historical curiosity, death tourism (Marsh is British) and bullet-punctuated eulogy. Decide for yourself on Saturday, April 20, when \u003ca href=\"https://bampfa.org/event/wisconsin-death-trip\" rel=\"noopener\" target=\"_blank\">\u003cem>Wisconsin Death Trip\u003c/em> screens at BAMPFA in Berkeley\u003c/a> as part of the Mel Novikoff Award presentation to editor and executive producer Anthony Wall of BBC Arena, the long-running strand of stellar arts documentaries. (James Marsh, incidentally, went on to win the Best Documentary Oscar for \u003cem>Man on Wire\u003c/em> before segueing to narrative features.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://sffilm.org\" rel=\"noopener\" target=\"_blank\">San Francisco International Film Festival\u003c/a> (SFFILM) continues through April 23, with a few fresh-as-a-daisy oldies stirred into the contemporary state-of-cinema mix. This year, a \u003ca href=\"https://sffilm.org/event/warpaint-live-score-films-by-maya-deren/\" rel=\"noopener\" target=\"_blank\">Castro Theater event on April 19\u003c/a> pairing live music with silent films is typically inspired. It matches live music from Warpaint’s Theresa Wayman and Stella Mozgawa with the immortal Maya Deren’s amazing mid-century works of avant-garde ethnography: \u003cem>At Land\u003c/em>, \u003cem>Meshes of the Afternoon\u003c/em>, \u003cem>Ritual in Transfigured Time\u003c/em> and \u003cem>The Very Eye of Night\u003c/em>. Entrancing, transporting and not to be missed.\u003c/p>\n\u003cp>One of my more memorable, and confounding, experiences at the San Francisco International Film Festival was the 2000 press screening of \u003cem>Wisconsin Death Trip\u003c/em>. I recall James Marsh’s genre-defying adaptation of Michael Lesy’s 1973 cult-fave compilation of 19th century photographs and newspaper accounts of Midwestern self-destruction and suffering as an amalgam of black-and-white poetry, historical curiosity, death tourism (Marsh is British) and bullet-punctuated eulogy. Decide for yourself on Saturday, April 20, when \u003ca href=\"https://bampfa.org/event/wisconsin-death-trip\" rel=\"noopener\" target=\"_blank\">\u003cem>Wisconsin Death Trip\u003c/em> screens at BAMPFA in Berkeley\u003c/a> as part of the Mel Novikoff Award presentation to editor and executive producer Anthony Wall of BBC Arena, the long-running strand of stellar arts documentaries. (James Marsh, incidentally, went on to win the Best Documentary Oscar for \u003cem>Man on Wire\u003c/em> before segueing to narrative features.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>As the end of another year draws nigh, we ponder the future and reflect on the past. A December double bill of timeless masterpieces at the \u003ca href=\"http://www.castrotheatre.com/p-list.html#dec12\" rel=\"noopener\" target=\"_blank\">Castro\u003c/a> compels me to contemplate the cultural importance of repertory cinema, our relationships to screens big and small, and the unchanging nature of human nature. Join me, if you will: Take a shot of melancholy, add a dash of bitters, garnish with ironic bemusement and enjoy a refreshing cocktail of Critic’s Grog.\u003c/p>\n\u003cp>An odd introduction, perhaps, to a pair of comedies. But Peter Sellers’ brilliant turns in \u003cem>Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb\u003c/em> and \u003cem>Being There\u003c/em> (Thursday, Dec. 13) are tinged with madness and, dare I say, despair. Stanley Kubrick’s savage 1964 satire—featuring Sellers in three roles, plus macho men George C. Scott and Sterling Hayden at their peaks—of humankind’s race to mutually assured destruction remains simultaneously hilarious and horrifying; it’s dated only in the sense that we’ve swapped instantaneous nuclear annihilation for slow-motion environmental destruction.\u003c/p>\n\u003cp>Sellers’ slack-jawed portrayal of the dim-witted gardener elevated to the White House in Hal Ashby’s audacious \u003cem>Being There\u003c/em> (1979) was viewed at the time as a critique of minor Hollywood actor-turned-politician Ronald Reagan. It turns out that Chance’s obsession with television—“I like to watch” is one of the film’s most famous lines—and his habit of repeating things he’s heard out of context is more reminiscent and prescient of the current (at this writing) occupant of 1600 Pennsylvania.\u003c/p>\n\u003cp>Peter Sellers is one of a handful of comic geniuses in the history of movies. Let’s raise a glass to his memory and his movies, and the pleasure he continues to give us.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Even non-aficionados of screen acting appreciate the total immersion required to deliver the kind of anguished performances that distinguished, say, Robert De Niro and Daniel Day-Lewis. But the ones who make it look easy, who possess a casual nonchalance, who seem to be enjoying themselves like it’s the last day of kindergarten—they’re special. Robert Mitchum, of course, and Cary Grant; Jean Gabin and Alec Guinness. And arguably the greatest of them all, Marcello Mastroianni.\u003c/p>\n\u003cp>I’ve never seen a stiff or awkward Mastroianni performance, even in roles that were miles from his well-honed urban persona. He was the rare movie star who could play high and low, sophisticated and grungy, insider and outsider. If you want to find the key to any Mastroianni character, watch how he walks, or just moves. In two minutes you know what class the man occupies, his confidence level and what he wants—or wants to avoid.\u003c/p>\n\u003cfigure id=\"attachment_13841028\" class=\"wp-caption aligncenter\" style=\"max-width: 1348px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/italia2.jpg\" alt=\"Marcello Mastroianni in Federico Fellini's '8½,' 1963.\" width=\"1348\" height=\"1000\" class=\"size-full wp-image-13841028\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/italia2.jpg 1348w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/italia2-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/italia2-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/italia2-768x570.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/italia2-1020x757.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/italia2-1200x890.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/italia2-1180x875.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/italia2-960x712.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/italia2-240x178.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/italia2-375x278.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/italia2-520x386.jpg 520w\" sizes=\"(max-width: 1348px) 100vw, 1348px\">\u003cfigcaption class=\"wp-caption-text\">Marcello Mastroianni in Federico Fellini’s ‘8½,’ 1963. \u003ccite>(Courtesy Cinema Italia SF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Upon the actor’s death in 1996, Roger Ebert recalled the time he asked Mastroianni to name his all-time favorite love scene. After reflecting for a few minutes, Mastroianni said, “I like it when Minnie kisses Mickey, and little red hearts go pop-pop-pop in the air.” How can you resist a guy like that? \u003c/p>\n\u003cp>Dedicated local programmer Amelia Antonucci has assembled five—count ‘em, five—of Mastroianni’s finest performances this Saturday, Sept. 22 on a bill she calls, naturally, \u003ca href=\"http://www.cinemaitaliasf.com\" rel=\"noopener\" target=\"_blank\">Ciao, Marcello! An Homage to Marcello Mastroianni\u003c/a>. Vittorio De Sica’s smart, sexy \u003cem>Yesterday, Today and Tomorrow\u003c/em> (1963), co-starring a wonderful Sophia Loren, raises the Castro curtain, and Pietro Germi’s biting 1961 farce \u003cem>Divorce Italian Style\u003c/em> brings it down.\u003c/p>\n\u003cp>Fellini and Mastroianni’s ambitious masterworks, \u003cem>8½\u003c/em> (1963) and \u003cem>La Dolce Vita\u003c/em> (1960), get the big-screen treatment they demand and deserve. Sandwiched in between is Ettore Scola’s intimate and moving \u003cem>A Special Day\u003c/em> (1977), set in fascist Italy and featuring Mastroianni as a melancholy homosexual who bonds with a conservative housewife (Loren, in top form). Pure pleasure, start to finish.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Even non-aficionados of screen acting appreciate the total immersion required to deliver the kind of anguished performances that distinguished, say, Robert De Niro and Daniel Day-Lewis. But the ones who make it look easy, who possess a casual nonchalance, who seem to be enjoying themselves like it’s the last day of kindergarten—they’re special. Robert Mitchum, of course, and Cary Grant; Jean Gabin and Alec Guinness. And arguably the greatest of them all, Marcello Mastroianni.\u003c/p>\n\u003cp>I’ve never seen a stiff or awkward Mastroianni performance, even in roles that were miles from his well-honed urban persona. He was the rare movie star who could play high and low, sophisticated and grungy, insider and outsider. If you want to find the key to any Mastroianni character, watch how he walks, or just moves. In two minutes you know what class the man occupies, his confidence level and what he wants—or wants to avoid.\u003c/p>\n\u003cfigure id=\"attachment_13841028\" class=\"wp-caption aligncenter\" style=\"max-width: 1348px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/italia2.jpg\" alt=\"Marcello Mastroianni in Federico Fellini's '8½,' 1963.\" width=\"1348\" height=\"1000\" class=\"size-full wp-image-13841028\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/italia2.jpg 1348w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/italia2-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/italia2-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/italia2-768x570.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/italia2-1020x757.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/italia2-1200x890.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/italia2-1180x875.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/italia2-960x712.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/italia2-240x178.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/italia2-375x278.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/italia2-520x386.jpg 520w\" sizes=\"(max-width: 1348px) 100vw, 1348px\">\u003cfigcaption class=\"wp-caption-text\">Marcello Mastroianni in Federico Fellini’s ‘8½,’ 1963. \u003ccite>(Courtesy Cinema Italia SF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Upon the actor’s death in 1996, Roger Ebert recalled the time he asked Mastroianni to name his all-time favorite love scene. After reflecting for a few minutes, Mastroianni said, “I like it when Minnie kisses Mickey, and little red hearts go pop-pop-pop in the air.” How can you resist a guy like that? \u003c/p>\n\u003cp>Dedicated local programmer Amelia Antonucci has assembled five—count ‘em, five—of Mastroianni’s finest performances this Saturday, Sept. 22 on a bill she calls, naturally, \u003ca href=\"http://www.cinemaitaliasf.com\" rel=\"noopener\" target=\"_blank\">Ciao, Marcello! An Homage to Marcello Mastroianni\u003c/a>. Vittorio De Sica’s smart, sexy \u003cem>Yesterday, Today and Tomorrow\u003c/em> (1963), co-starring a wonderful Sophia Loren, raises the Castro curtain, and Pietro Germi’s biting 1961 farce \u003cem>Divorce Italian Style\u003c/em> brings it down.\u003c/p>\n\u003cp>Fellini and Mastroianni’s ambitious masterworks, \u003cem>8½\u003c/em> (1963) and \u003cem>La Dolce Vita\u003c/em> (1960), get the big-screen treatment they demand and deserve. Sandwiched in between is Ettore Scola’s intimate and moving \u003cem>A Special Day\u003c/em> (1977), set in fascist Italy and featuring Mastroianni as a melancholy homosexual who bonds with a conservative housewife (Loren, in top form). Pure pleasure, start to finish.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The great tragedy of modern life, Sofia Coppola might say, is that the accoutrements of success—clothes, toys, technology and beautiful lovers—don’t provide happiness or nourishment. This is not a recent realization: Sixty years ago, the Italian filmmaker Michelangelo Antonioni discerned the boredom and self-loathing of affluent urbanites amid the glittery, gritty grandeur of his country’s postwar economic revival. Luce Cinecitta’s April 28 retrospective at the Castro, \u003ca href=\"http://www.cinemaitaliasf.com\" rel=\"noopener\" target=\"_blank\">Michelangelo Antonioni\u003c/a>, summons the director’s radically unflinching and impeccably designed dissections of human nature for a contemporary generation of conspicuous consumers.\u003c/p>\n\u003cp>In the exquisite black-and-white films \u003cem>L’avventura\u003c/em> (1960) and \u003cem>L’eclisse\u003c/em> (1962), as well as his aggressive forays into color, \u003cem>Red Desert\u003c/em> (1964) and \u003cem>Blow-Up\u003c/em> (1966), Antonioni exposed the trap door beneath the trappings of privilege: the gradual disintegration of morality, a concurrent loss of empathy, a tenuous, nebulous sense of identity and an inability to connect on a meaningful level with another person. (One can imagine what Antonioni would make of the people wearing earbuds and staring at their screens on the 45 Union, let alone the Google buses to Silicon Valley.)\u003c/p>\n\u003cp>The genius of Antonioni’s 1960s films lay in his ability to express entire themes and interpersonal relationships through his compositions: Every image conveyed the whole story. Even the outlier in this roundup of career highlights, \u003cem>The Passenger\u003c/em> (1974), a sweaty, dusty road movie starring Jack Nicholson at his peak, ends with one of the most astonishing and moving sequences in all of cinema. Surely some of San Francisco’s nouveau bourgeoisie will identify with the existential journey of a man ditching his identity and escaping his self-created prison of ties and responsibilities. Antonioni, you see, is one of the immortals.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>The hotly anticipated feature by musician and now-filmmaker Boots Riley, \u003ci>Sorry to Bother You\u003c/i> — \u003ca href=\"https://www.kqed.org/arts/13747358/danny-glover-patton-oswalt-join-boots-riley-film-in-oakland\" rel=\"noopener\" target=\"_blank\">seen filming around Oakland last summer\u003c/a> — makes its Bay Area debut on April 12 as the Centerpiece event this year’s San Francisco International Film Festival. \u003c/p>\n\u003cp>Scooped up at Sundance by \u003ca href=\"http://variety.com/2018/film/news/sundance-sorry-to-bother-you-annapurna-1202677125/\" rel=\"noopener\" target=\"_blank\">Annapurna Pictures\u003c/a> with the memorable statement, “We f**king love this movie,” the film stars Lakeith Stanfield (\u003cem>Get Out\u003c/em>), Tessa Thompson (\u003cem>Thor: Ragnarok\u003c/em>) and Armie Hammer (\u003cem>Call Me By Your Name\u003c/em>). \u003c/p>\n\u003cp>Based partially on Riley’s experience of working as a telemarketer, \u003ci>Sorry to Bother You\u003c/i> takes place in an alternate reality of present-day Oakland. A black telemarketer (Stanfield) discovers a magical key to professional success — to make his voice sound “white.” Blurring genre lines between comedy, sci-fi and magic realism, the film also features a species of genetically manipulated horse-people named the “Equisapiens.” Expect social satire touching on greed, capitalism and racial dynamics, and plenty of recognizable landmarks. \u003c/p>\n\u003cp>The film screens on Thursday, April 12, at San Francisco’s Castro Theatre at 6:30pm, and the same night at Oakland’s Grand Lake Theatre at 8pm. Riley and cast members (no news on which ones yet) are expected to participate in intros and Q&As.\u003c/p>\n\u003cp>Tickets to \u003cem>Centerpiece: Sorry to Bother You\u003c/em> are $20 for SFFILM members (\u003ca href=\"https://www.sffilm.org/screenings-and-events/sorry-to-bother-you\" rel=\"noopener\" target=\"_blank\">on sale now\u003c/a>) and $25 for the general public (on sale starting Friday, March 9, at 10am).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cp>Our main squeeze Cy Musiker is away, which means Suzie Racho is the orange juice to my Champagne for this week’s Do List. We’re talking about three erstwhile traditions in San Francisco — Noir City, Sketchfest and Noise Pop — and a few outliers that caught our eye. All are smooth as a morning cocktail.\u003c/p>\n\u003cp>On with the show!\u003c/p>\n\u003cp>\u003cstrong>Now through Jan. 28\u003c/strong>: There’s some \u003ca href=\"https://ww2.kqed.org/arts/2018/01/17/80s-movies-cabaret-jazz-and-made-up-musicals/\" rel=\"noopener\" target=\"_blank\">offbeat musical mayhem happening at Sketchfest\u003c/a> this year, with Jeff Goldblum, Kevin McDonald and more.\u003c/p>\n\u003cp>\u003cstrong>Jan. 24\u003c/strong>: He sings. He plays. He rambles about aliens. \u003ca href=\"https://ww2.kqed.org/arts/2018/01/17/the-glittery-space-obsessed-reggae-producer-ahead-of-his-time/\" rel=\"noopener\" target=\"_blank\">He’s Lee “Scratch” Perry, and he’s the most innovative thing to happen to the studio remix\u003c/a>. \u003c/p>\n\u003cp>\u003cstrong>Jan. 25–28\u003c/strong>: How does one choreograph a show about midcentury modern furniture? For Kristin Damrow, \u003ca href=\"https://ww2.kqed.org/arts/2018/01/17/a-new-dance-show-about-ray-and-charles-eames/\" rel=\"noopener\" target=\"_blank\">Ray and Charles Eames serve as perfect inspiration\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Jan. 26–Feb. 4\u003c/strong>: You ain’t seen nothin’ ’til you’ve seen a film at \u003ca href=\"https://ww2.kqed.org/arts/2018/01/17/on-the-big-screen-noir-tales-from-the-cold-hard-streets/\" rel=\"noopener\" target=\"_blank\">Noir City, the grittiest little long-running film noir festival in town\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb 19–25\u003c/strong>: Bending with the zeitgeist, \u003ca href=\"https://ww2.kqed.org/arts/2018/01/05/complete-noise-pop-lineup-is-here-now-with-extra-rap-and-rb/\" rel=\"noopener\" target=\"_blank\">Noise Pop has added some rappers and R&B artists\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Our main squeeze Cy Musiker is away, which means Suzie Racho is the orange juice to my Champagne for this week’s Do List. We’re talking about three erstwhile traditions in San Francisco — Noir City, Sketchfest and Noise Pop — and a few outliers that caught our eye. All are smooth as a morning cocktail.\u003c/p>\n\u003cp>On with the show!\u003c/p>\n\u003cp>\u003cstrong>Now through Jan. 28\u003c/strong>: There’s some \u003ca href=\"https://ww2.kqed.org/arts/2018/01/17/80s-movies-cabaret-jazz-and-made-up-musicals/\" rel=\"noopener\" target=\"_blank\">offbeat musical mayhem happening at Sketchfest\u003c/a> this year, with Jeff Goldblum, Kevin McDonald and more.\u003c/p>\n\u003cp>\u003cstrong>Jan. 24\u003c/strong>: He sings. He plays. He rambles about aliens. \u003ca href=\"https://ww2.kqed.org/arts/2018/01/17/the-glittery-space-obsessed-reggae-producer-ahead-of-his-time/\" rel=\"noopener\" target=\"_blank\">He’s Lee “Scratch” Perry, and he’s the most innovative thing to happen to the studio remix\u003c/a>. \u003c/p>\n\u003cp>\u003cstrong>Jan. 25–28\u003c/strong>: How does one choreograph a show about midcentury modern furniture? For Kristin Damrow, \u003ca href=\"https://ww2.kqed.org/arts/2018/01/17/a-new-dance-show-about-ray-and-charles-eames/\" rel=\"noopener\" target=\"_blank\">Ray and Charles Eames serve as perfect inspiration\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"order": 9
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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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"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"order": 18
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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.",
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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",
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"source": "American Public Media"
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"masters-of-scale": {
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"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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},
"mindshift": {
"id": "mindshift",
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"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
"id": "morning-edition",
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"order": 11
},
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"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
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},
"perspectives": {
"id": "perspectives",
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"order": 14
},
"link": "/perspectives",
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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"rss": "https://feeds.npr.org/510289/podcast.xml"
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
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"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
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