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"content": "\u003cp>[dropcap]F[/dropcap]irst things first: \u003cem>Priscilla, Queen of the Desert\u003c/em> at the \u003ca href=\"https://www.kqed.org/arts/tag/castro-theatre\">Castro Theatre\u003c/a> is not, strictly speaking, a “film event.”\u003c/p>\n\u003cp>It’s a film, sure. But it also doubles as the Castro Theatre’s long-awaited reopening after a two-year closure. It’s a celebration. It’s not Film 101 like \u003cem>Stalker\u003c/em> or \u003cem>Ikiru\u003c/em> or \u003cem>In the Mood for Love\u003c/em>; it’s \u003cem>Priscilla\u003c/em> — a communion, a camp fest, and a party.\u003c/p>\n\u003cp>And, since it is the first movie shown at the newly renovated Castro, once my favorite movie theater in the entire world, I am duty-bound to go.\u003c/p>\n\u003cp>See, I have been talking my head off about the Castro to anyone who will listen for the past four years, ever since Another Planet Entertainment, the live music promoter, announced plans to convert it into a multi-use venue. I’ve \u003ca href=\"https://www.kqed.org/arts/13908311/castro-theatre-to-become-live-music-and-events-venue-after-renovation\">reported\u003c/a> on the story \u003ca href=\"https://www.kqed.org/arts/13917362/theres-only-one-castro-theatre-why-change-it-now\">publicly\u003c/a>, and also, as my coworkers will attest, ranted pessimistically about it in private. I have been “that guy.”\u003c/p>\n\u003cfigure id=\"attachment_13986461\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_0897-scaled.jpeg\" alt=\"\" width=\"2560\" height=\"1920\" class=\"size-full wp-image-13986461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_0897-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_0897-2000x1500.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_0897-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_0897-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_0897-1536x1152.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_0897-2048x1536.jpeg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The ceiling in the balcony of the Castro Theatre is readied for reopening on Feb. 5, 2026. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like thousands of others, I’d loyally seen movies there for 30 years. I \u003cem>loved\u003c/em> the Castro. It was reasonable to be worried. Another Planet does not operate any other venue that shows film — how could they possibly uphold their requirement by the Planning Commission to do so, for 75 days out of each calendar year? And how could they destroy a beloved institution’s original floor seating to become yet another music venue, with a tacked-on film element, in a city with no other movie palaces? \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Plus, I never minded the run-down look of the Castro. While it was hard to argue with restoring the ceiling, upgrading the sound, fixing the roof and adding ADA compliance, was it a fair trade-off for losing around-the-clock film programming?\u003c/p>\n\u003cp>The whole thing felt like someone walking into \u003ca href=\"https://tommysjoynt.com/about\">Tommy’s Joynt\u003c/a> and saying, “Nice place, good potential. But let’s take all this garbage off the walls and repaint it. And say, why don’t we put in a matcha bar?”\u003c/p>\n\u003cfigure id=\"attachment_13986460\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-16_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13986460\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-16_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-16_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-16_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-16_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The newly renovated interior at the Castro Theatre during its grand reopening on Feb. 6, 2026. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]S[/dropcap]o while touring the theater the day before it opened, I was mainly fixated on how it would show movies. Another Planet needed to appease three contingents with this project: the LGBTQ community, the Castro neighborhood, and the film community. Their bookings so far lean very queer, a good thing, and they’ll easily bring people, and money, to the neighborhood.\u003c/p>\n\u003cp>Film, though, was still an open question.\u003c/p>\n\u003cp>[aside postID='arts_13917362']I was glad to learn that the projection booth retains both a 35mm and 70mm film projector, along with a new digital 4K BARCO projector. The screen is 36 feet by 25 feet, similar in size to the old one. There’s a new sound system, and in classic movie-palace style, the speakers sit behind the screen.\u003c/p>\n\u003cp>There’s a bar at the back of the auditorium for concerts, but it’s fully removable and will be absent for film screenings. Film booking is done in-house, and festivals like Berlin & Beyond, the SF Silent Film Festival and Frameline are all returning.\u003c/p>\n\u003cfigure id=\"attachment_13986458\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-12_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13986458\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-12_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-12_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-12_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-12_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">New seats await filmgoers at the Castro Theatre during its grand reopening on Feb. 6, 2026. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The seats are ugly. There’s no other way to say it. The point of \u003ca href=\"https://www.kqed.org/news/11952358/sf-supes-ok-effort-renovate-castro-theater\">so much debate\u003c/a>, anger and town halls, the new seats aren’t technically folding chairs, but to me they still look like seats at a school assembly, with toothpick legs. They’re on six-inch risers with improved sight lines, and they’re padded and have cup holders, but if AMC installed these seats at their theaters they’d go out of business immediately. \u003c/p>\n\u003cp>Sitting in the seats with Mary Conde, the senior vice president of Another Planet, I ask: you must know that some people will complain about this, right?\u003c/p>\n\u003cp>She nods. “We are prepared for that,” Conde says.\u003c/p>\n\u003cfigure id=\"attachment_13986463\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-5_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13986463\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-5_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-5_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-5_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-5_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Another Planet Entertainment Senior Vice President Mary Conde, Senator Scott Wiener, drag artist D’Arcy Drollinger and Mayor Daniel Lurie help cut the ribbon during the Castro Theatre’s grand reopening on Feb. 6, 2026. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]T[/dropcap]he cops are milling around on Castro Street, trying to keep the teeming crowd on the sidewalk. It’s the Castro’s grand re-opening on Friday night, and politicians, drag queens, a marching band, a guy with a sign reading “\u003ca href=\"https://bsky.app/profile/gmeline.bsky.social/post/3mead4xikds26\">THIS SUCKS\u003c/a>,” security workers, lookie-loos, local merchants and movie fans have all congealed in front of the theater. \u003c/p>\n\u003cp>“Who’s Sam Smith?” one of the cops asks, looking up at the marquee. “Some singer,” another replies, disinterestedly. “Here for two weeks, they say.”\u003c/p>\n\u003cp>Ruby Day from Beach Blanket Babylon sings “our national anthem,” “\u003ca href=\"https://youtu.be/dv6mHsXKI2c?si=0ZOJwbwF341-ijm2\">San Francisco\u003c/a>.” Castro Supervisor Rafael Mandelman says “Go queers in construction!” Mayor Lurie does his we’re-so-back Lurie thing. The ribbon gets cut, the marching band strikes up, and we’re off.\u003c/p>\n\u003cfigure id=\"attachment_13986464\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-8_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13986464\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-8_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-8_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-8_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-8_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The newly renovated ceiling at the Castro Theatre during its grand reopening on Feb. 6, 2026. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>People enter the theater and immediately look upward at the stunning new ceiling. One remembers “the \u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/12/castro_2.8.22_rosasandrew_23-copy_custom-54d51f69ab1b36290c8f6c747b6061b3de0f0c3d-1920x1281.jpe\">brown expanse that it used to be\u003c/a>.” The new 2,000-pound digital organ emerges from the stage, and a standing ovation ensues for David Hegarty, the Castro’s organist since 1978. He’s canonized as “St. Mellifluous” by the Sisters of Perpetual Indulgence. There’s a sing-along to “Mamma Mia” with 14 drag queens on stage. \u003c/p>\n\u003cp>Finally, after 42 minutes of pre-show, the movie starts. \u003c/p>\n\u003cp>This is my show-me-what-you-got moment. And, after the masking is adjusted, I have to say: the movie looks \u003cem>good\u003c/em>. The film print is clean, the focus is sharp and the presentation is bright, with a strong bulb in the projector. I also find that I don’t mind my seat at all, or how it feels. I am back at the Castro, this cathedral for film, watching a movie again. Could it be that all my worries were unfounded? What’s happening here?!\u003c/p>\n\u003cp>I will forever miss the old interior, and the sound system needs some fine-tuning. But I think to myself: I can live with this. \u003c/p>\n\u003cfigure id=\"attachment_13986465\" class=\"wp-caption aligncenter\" style=\"max-width: 1447px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_0955.jpg\" alt=\"\" width=\"1447\" height=\"2000\" class=\"size-full wp-image-13986465\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_0955.jpg 1447w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_0955-160x221.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_0955-768x1062.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_0955-1111x1536.jpg 1111w\" sizes=\"auto, (max-width: 1447px) 100vw, 1447px\">\u003cfigcaption class=\"wp-caption-text\">Organist Dave Hegarty is honored at the grand reopening of the Castro Theatre on Feb. 6, 2026. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At my age, I am trying to accept change. While \u003ca href=\"https://www.kqed.org/arts/13965624/oakland-as-last-game-songs-played-coliseum\">watching my last A’s game\u003c/a> at the Oakland Coliseum, another Bay Area cathedral, I considered the possibility that what makes a place special isn’t the place so much as the people. \u003c/p>\n\u003cp>Seared into my memory is the first movie I ever saw at the Castro: \u003cem>Grey Gardens\u003c/em>, which amazed me not only for its story but for the audience interaction. During \u003cem>Priscilla\u003c/em>, people cheer for Terence Stamp, who recently died, in the opening credits. They recite lines like “a cock in a frock on a rock” back to the screen. They laugh at the jokes, sing along to the drag numbers, and get silent for the emotional scenes. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And me? For 104 minutes, I get lost in the film, forget about the past four years, and realize that when the lights go down, it’s still the same Castro magic. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">F\u003c/span>\u003c/p>\u003cp>irst things first: \u003cem>Priscilla, Queen of the Desert\u003c/em> at the \u003ca href=\"https://www.kqed.org/arts/tag/castro-theatre\">Castro Theatre\u003c/a> is not, strictly speaking, a “film event.”\u003c/p>\n\u003cp>It’s a film, sure. But it also doubles as the Castro Theatre’s long-awaited reopening after a two-year closure. It’s a celebration. It’s not Film 101 like \u003cem>Stalker\u003c/em> or \u003cem>Ikiru\u003c/em> or \u003cem>In the Mood for Love\u003c/em>; it’s \u003cem>Priscilla\u003c/em> — a communion, a camp fest, and a party.\u003c/p>\n\u003cp>And, since it is the first movie shown at the newly renovated Castro, once my favorite movie theater in the entire world, I am duty-bound to go.\u003c/p>\n\u003cp>See, I have been talking my head off about the Castro to anyone who will listen for the past four years, ever since Another Planet Entertainment, the live music promoter, announced plans to convert it into a multi-use venue. I’ve \u003ca href=\"https://www.kqed.org/arts/13908311/castro-theatre-to-become-live-music-and-events-venue-after-renovation\">reported\u003c/a> on the story \u003ca href=\"https://www.kqed.org/arts/13917362/theres-only-one-castro-theatre-why-change-it-now\">publicly\u003c/a>, and also, as my coworkers will attest, ranted pessimistically about it in private. I have been “that guy.”\u003c/p>\n\u003cfigure id=\"attachment_13986461\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_0897-scaled.jpeg\" alt=\"\" width=\"2560\" height=\"1920\" class=\"size-full wp-image-13986461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_0897-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_0897-2000x1500.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_0897-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_0897-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_0897-1536x1152.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_0897-2048x1536.jpeg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The ceiling in the balcony of the Castro Theatre is readied for reopening on Feb. 5, 2026. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like thousands of others, I’d loyally seen movies there for 30 years. I \u003cem>loved\u003c/em> the Castro. It was reasonable to be worried. Another Planet does not operate any other venue that shows film — how could they possibly uphold their requirement by the Planning Commission to do so, for 75 days out of each calendar year? And how could they destroy a beloved institution’s original floor seating to become yet another music venue, with a tacked-on film element, in a city with no other movie palaces? \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Plus, I never minded the run-down look of the Castro. While it was hard to argue with restoring the ceiling, upgrading the sound, fixing the roof and adding ADA compliance, was it a fair trade-off for losing around-the-clock film programming?\u003c/p>\n\u003cp>The whole thing felt like someone walking into \u003ca href=\"https://tommysjoynt.com/about\">Tommy’s Joynt\u003c/a> and saying, “Nice place, good potential. But let’s take all this garbage off the walls and repaint it. And say, why don’t we put in a matcha bar?”\u003c/p>\n\u003cfigure id=\"attachment_13986460\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-16_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13986460\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-16_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-16_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-16_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-16_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The newly renovated interior at the Castro Theatre during its grand reopening on Feb. 6, 2026. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">S\u003c/span>\u003c/p>\u003cp>o while touring the theater the day before it opened, I was mainly fixated on how it would show movies. Another Planet needed to appease three contingents with this project: the LGBTQ community, the Castro neighborhood, and the film community. Their bookings so far lean very queer, a good thing, and they’ll easily bring people, and money, to the neighborhood.\u003c/p>\n\u003cp>Film, though, was still an open question.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I was glad to learn that the projection booth retains both a 35mm and 70mm film projector, along with a new digital 4K BARCO projector. The screen is 36 feet by 25 feet, similar in size to the old one. There’s a new sound system, and in classic movie-palace style, the speakers sit behind the screen.\u003c/p>\n\u003cp>There’s a bar at the back of the auditorium for concerts, but it’s fully removable and will be absent for film screenings. Film booking is done in-house, and festivals like Berlin & Beyond, the SF Silent Film Festival and Frameline are all returning.\u003c/p>\n\u003cfigure id=\"attachment_13986458\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-12_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13986458\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-12_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-12_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-12_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-12_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">New seats await filmgoers at the Castro Theatre during its grand reopening on Feb. 6, 2026. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The seats are ugly. There’s no other way to say it. The point of \u003ca href=\"https://www.kqed.org/news/11952358/sf-supes-ok-effort-renovate-castro-theater\">so much debate\u003c/a>, anger and town halls, the new seats aren’t technically folding chairs, but to me they still look like seats at a school assembly, with toothpick legs. They’re on six-inch risers with improved sight lines, and they’re padded and have cup holders, but if AMC installed these seats at their theaters they’d go out of business immediately. \u003c/p>\n\u003cp>Sitting in the seats with Mary Conde, the senior vice president of Another Planet, I ask: you must know that some people will complain about this, right?\u003c/p>\n\u003cp>She nods. “We are prepared for that,” Conde says.\u003c/p>\n\u003cfigure id=\"attachment_13986463\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-5_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13986463\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-5_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-5_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-5_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-5_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Another Planet Entertainment Senior Vice President Mary Conde, Senator Scott Wiener, drag artist D’Arcy Drollinger and Mayor Daniel Lurie help cut the ribbon during the Castro Theatre’s grand reopening on Feb. 6, 2026. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>he cops are milling around on Castro Street, trying to keep the teeming crowd on the sidewalk. It’s the Castro’s grand re-opening on Friday night, and politicians, drag queens, a marching band, a guy with a sign reading “\u003ca href=\"https://bsky.app/profile/gmeline.bsky.social/post/3mead4xikds26\">THIS SUCKS\u003c/a>,” security workers, lookie-loos, local merchants and movie fans have all congealed in front of the theater. \u003c/p>\n\u003cp>“Who’s Sam Smith?” one of the cops asks, looking up at the marquee. “Some singer,” another replies, disinterestedly. “Here for two weeks, they say.”\u003c/p>\n\u003cp>Ruby Day from Beach Blanket Babylon sings “our national anthem,” “\u003ca href=\"https://youtu.be/dv6mHsXKI2c?si=0ZOJwbwF341-ijm2\">San Francisco\u003c/a>.” Castro Supervisor Rafael Mandelman says “Go queers in construction!” Mayor Lurie does his we’re-so-back Lurie thing. The ribbon gets cut, the marching band strikes up, and we’re off.\u003c/p>\n\u003cfigure id=\"attachment_13986464\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-8_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13986464\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-8_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-8_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-8_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/20260206_CastroTheatreGrandReopening-8_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The newly renovated ceiling at the Castro Theatre during its grand reopening on Feb. 6, 2026. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>People enter the theater and immediately look upward at the stunning new ceiling. One remembers “the \u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/12/castro_2.8.22_rosasandrew_23-copy_custom-54d51f69ab1b36290c8f6c747b6061b3de0f0c3d-1920x1281.jpe\">brown expanse that it used to be\u003c/a>.” The new 2,000-pound digital organ emerges from the stage, and a standing ovation ensues for David Hegarty, the Castro’s organist since 1978. He’s canonized as “St. Mellifluous” by the Sisters of Perpetual Indulgence. There’s a sing-along to “Mamma Mia” with 14 drag queens on stage. \u003c/p>\n\u003cp>Finally, after 42 minutes of pre-show, the movie starts. \u003c/p>\n\u003cp>This is my show-me-what-you-got moment. And, after the masking is adjusted, I have to say: the movie looks \u003cem>good\u003c/em>. The film print is clean, the focus is sharp and the presentation is bright, with a strong bulb in the projector. I also find that I don’t mind my seat at all, or how it feels. I am back at the Castro, this cathedral for film, watching a movie again. Could it be that all my worries were unfounded? What’s happening here?!\u003c/p>\n\u003cp>I will forever miss the old interior, and the sound system needs some fine-tuning. But I think to myself: I can live with this. \u003c/p>\n\u003cfigure id=\"attachment_13986465\" class=\"wp-caption aligncenter\" style=\"max-width: 1447px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_0955.jpg\" alt=\"\" width=\"1447\" height=\"2000\" class=\"size-full wp-image-13986465\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_0955.jpg 1447w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_0955-160x221.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_0955-768x1062.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/IMG_0955-1111x1536.jpg 1111w\" sizes=\"auto, (max-width: 1447px) 100vw, 1447px\">\u003cfigcaption class=\"wp-caption-text\">Organist Dave Hegarty is honored at the grand reopening of the Castro Theatre on Feb. 6, 2026. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At my age, I am trying to accept change. While \u003ca href=\"https://www.kqed.org/arts/13965624/oakland-as-last-game-songs-played-coliseum\">watching my last A’s game\u003c/a> at the Oakland Coliseum, another Bay Area cathedral, I considered the possibility that what makes a place special isn’t the place so much as the people. \u003c/p>\n\u003cp>Seared into my memory is the first movie I ever saw at the Castro: \u003cem>Grey Gardens\u003c/em>, which amazed me not only for its story but for the audience interaction. During \u003cem>Priscilla\u003c/em>, people cheer for Terence Stamp, who recently died, in the opening credits. They recite lines like “a cock in a frock on a rock” back to the screen. They laugh at the jokes, sing along to the drag numbers, and get silent for the emotional scenes. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And me? For 104 minutes, I get lost in the film, forget about the past four years, and realize that when the lights go down, it’s still the same Castro magic. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The operators of the Castro Theatre have announced the concerts that will take place after the venue’s reopening next year. Artists booked to play the Castro in 2026 include Lucy Dacus, Perfume Genius, Santigold, the Breeders, Father John Misty, the Format and others.\u003c/p>\n\u003cp>The slate of shows follows a sold-out, 20-date residency by singer Sam Smith, running Feb. 10–March 14 at the Castro.\u003c/p>\n\u003cp>The Castro Theatre, which had shown primarily film for over a century as one of the region’s last remaining movie palaces, has undergone renovation and remodeling by its new operators Another Planet Entertainment. Controversially, the Bay Area-based live music promotion company replaced the Castro’s theater-style raked floor and seating with flat tiers, outfitted with sliding rows, to accommodate a multi-use format.\u003c/p>\n\u003cp>[aside postID='arts_13981911']Along with the announced schedule of live music, drag, comedy, game shows and community events, Another Planet promises “film screenings and more to be announced soon.” The Frameline Film Festival is scheduled to run June 17–27 at the Castro. \u003c/p>\n\u003cp>A schedule of shows at the Castro Theatre is below. Presale tickets to many of the shows go on sale Thursday, Nov. 6, using the presale code \u003cstrong>hotcookie\u003c/strong>, a reference to one of the locally owned businesses on the street. (Two others are reportedly in the process of being \u003ca href=\"https://abc7news.com/post/legacy-san-francisco-castro-small-businesses-asked-leave-make-room-another-planet-entertainment/16911703/\">evicted to make room for Another Planet\u003c/a>.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Tickets to all shows go on sale to the general public Friday, Nov. 7. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>March 18: Amber Mark\u003cbr>\nMarch 20: Alaska\u003cbr>\nMarch 21: 49th & Main\u003cbr>\nMarch 24: Father John Misty\u003cbr>\nMarch 25: Father John Misty\u003cbr>\nMarch 26: Perfume Genius\u003cbr>\nMarch 28: Tycho\u003cbr>\nMarch 31: Nick Lowe\u003cbr>\nApril 8: Gayme Show with Matt Rogers and Dave Mizzoni\u003cbr>\nApril 11: Alyssa Edwards\u003cbr>\nApril 14: On Cinema Live! with Tim Heidecker and Gregg Turkington\u003cbr>\nApril 16: The Format\u003cbr>\nApril 17: The Format\u003cbr>\nApril 18: Vandelux\u003cbr>\nApril 19: CMAT\u003cbr>\nApril 25: Alice Phoebe Lou\u003cbr>\nApril 26: Jessica Kirson\u003cbr>\nApril 28: MARO\u003cbr>\nApril 30: Jonathan Van Ness\u003cbr>\nMay 3: José González\u003cbr>\nMay 16: Santigold\u003cbr>\nMay 18: Lucy Dacus\u003cbr>\nMay 19: Lucy Dacus\u003cbr>\nAug. 22: The Breeders\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The operators of the Castro Theatre have announced the concerts that will take place after the venue’s reopening next year. Artists booked to play the Castro in 2026 include Lucy Dacus, Perfume Genius, Santigold, the Breeders, Father John Misty, the Format and others.\u003c/p>\n\u003cp>The slate of shows follows a sold-out, 20-date residency by singer Sam Smith, running Feb. 10–March 14 at the Castro.\u003c/p>\n\u003cp>The Castro Theatre, which had shown primarily film for over a century as one of the region’s last remaining movie palaces, has undergone renovation and remodeling by its new operators Another Planet Entertainment. Controversially, the Bay Area-based live music promotion company replaced the Castro’s theater-style raked floor and seating with flat tiers, outfitted with sliding rows, to accommodate a multi-use format.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Along with the announced schedule of live music, drag, comedy, game shows and community events, Another Planet promises “film screenings and more to be announced soon.” The Frameline Film Festival is scheduled to run June 17–27 at the Castro. \u003c/p>\n\u003cp>A schedule of shows at the Castro Theatre is below. Presale tickets to many of the shows go on sale Thursday, Nov. 6, using the presale code \u003cstrong>hotcookie\u003c/strong>, a reference to one of the locally owned businesses on the street. (Two others are reportedly in the process of being \u003ca href=\"https://abc7news.com/post/legacy-san-francisco-castro-small-businesses-asked-leave-make-room-another-planet-entertainment/16911703/\">evicted to make room for Another Planet\u003c/a>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Tickets to all shows go on sale to the general public Friday, Nov. 7. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>March 18: Amber Mark\u003cbr>\nMarch 20: Alaska\u003cbr>\nMarch 21: 49th & Main\u003cbr>\nMarch 24: Father John Misty\u003cbr>\nMarch 25: Father John Misty\u003cbr>\nMarch 26: Perfume Genius\u003cbr>\nMarch 28: Tycho\u003cbr>\nMarch 31: Nick Lowe\u003cbr>\nApril 8: Gayme Show with Matt Rogers and Dave Mizzoni\u003cbr>\nApril 11: Alyssa Edwards\u003cbr>\nApril 14: On Cinema Live! with Tim Heidecker and Gregg Turkington\u003cbr>\nApril 16: The Format\u003cbr>\nApril 17: The Format\u003cbr>\nApril 18: Vandelux\u003cbr>\nApril 19: CMAT\u003cbr>\nApril 25: Alice Phoebe Lou\u003cbr>\nApril 26: Jessica Kirson\u003cbr>\nApril 28: MARO\u003cbr>\nApril 30: Jonathan Van Ness\u003cbr>\nMay 3: José González\u003cbr>\nMay 16: Santigold\u003cbr>\nMay 18: Lucy Dacus\u003cbr>\nMay 19: Lucy Dacus\u003cbr>\nAug. 22: The Breeders\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In February 2026, the \u003ca href=\"https://www.kqed.org/arts/tag/castro-theater\">Castro Theatre\u003c/a> will reopen its doors after two years with a concert residency by British hitmaker Sam Smith, ushering in the 103-year-old movie palace’s new era as a concert and entertainment venue.\u003c/p>\n\u003cp>Smith, who was recently spotted filming a music video in San Francisco’s historic gayborhood, posted a TikTok video of themself under the Castro Theatre’s marquee with the words “coming soon.” Their residency, named after their new ballad, “To Be Free,” quickly sold out the first 12 concert dates between Feb. 10 and 28. Another four shows on March 3, 4, 6 and 7 were announced on Oct. 9, and yet \u003cem>another\u003c/em> four shows on March 10, 11 13 and 14 were announced on Oct. 13. \u003ca href=\"https://www.ticketmaster.com/sam-smith-tickets/artist/1785301?camefrom=CFC_ANOTHERPLANET_PR&brand=anotherplanet&venueId=229558\">Tickets are available here\u003c/a>.\u003c/p>\n\u003cp>https://youtu.be/xSJy3LvWGkw?si=91KBfh_XDYR40o8y\u003c/p>\n\u003cp>Another Planet Entertainment, the production company that books Outside Lands and prominent venues such as Bill Graham Civic Auditorium, took over the Castro Theatre in 2022. The move sparked \u003ca href=\"https://www.kqed.org/forum/2010101890364/fans-of-san-franciscos-beloved-castro-theater-balk-at-proposed-changes\">backlash from some movie enthusiasts\u003c/a>, who objected to Another Planet deemphasizing film programming, removing the orchestra seats and flattening the raked auditorium.\u003c/p>\n\u003cp>Meanwhile, Another Planet has maintained that film will remain part of the Castro Theatre’s offerings, alongside concerts, talks, comedy shows and other events.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Our goal is to activate and re-energize the building with equity, inclusion, and community at the forefront,” Another Planet CEO Gregg Perloff said in a statement. “We look forward to contributing to the vibrancy and economic health of the Castro while honoring its legacy as an LGBTQ+ landmark and cultural anchor.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Castro Theatre recently completed renovations, with upgrades to its HVAC, sound, lighting and video systems, as well as its restrooms and ADA accessibility. According to a press release from Another Planet, the auditorium floor has been reworked to allow flexibility for screenings, seated events and standing room-only shows. Another Planet projects that the theater will attract over 200,000 annual visitors, which could be a boon to the neighborhood’s bars, restaurants and other small businesses.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In February 2026, the \u003ca href=\"https://www.kqed.org/arts/tag/castro-theater\">Castro Theatre\u003c/a> will reopen its doors after two years with a concert residency by British hitmaker Sam Smith, ushering in the 103-year-old movie palace’s new era as a concert and entertainment venue.\u003c/p>\n\u003cp>Smith, who was recently spotted filming a music video in San Francisco’s historic gayborhood, posted a TikTok video of themself under the Castro Theatre’s marquee with the words “coming soon.” Their residency, named after their new ballad, “To Be Free,” quickly sold out the first 12 concert dates between Feb. 10 and 28. Another four shows on March 3, 4, 6 and 7 were announced on Oct. 9, and yet \u003cem>another\u003c/em> four shows on March 10, 11 13 and 14 were announced on Oct. 13. \u003ca href=\"https://www.ticketmaster.com/sam-smith-tickets/artist/1785301?camefrom=CFC_ANOTHERPLANET_PR&brand=anotherplanet&venueId=229558\">Tickets are available here\u003c/a>.\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/xSJy3LvWGkw'\n title='//www.youtube.com/embed/xSJy3LvWGkw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Another Planet Entertainment, the production company that books Outside Lands and prominent venues such as Bill Graham Civic Auditorium, took over the Castro Theatre in 2022. The move sparked \u003ca href=\"https://www.kqed.org/forum/2010101890364/fans-of-san-franciscos-beloved-castro-theater-balk-at-proposed-changes\">backlash from some movie enthusiasts\u003c/a>, who objected to Another Planet deemphasizing film programming, removing the orchestra seats and flattening the raked auditorium.\u003c/p>\n\u003cp>Meanwhile, Another Planet has maintained that film will remain part of the Castro Theatre’s offerings, alongside concerts, talks, comedy shows and other events.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "It’s Your Last Chance to See Movies at the Castro As They Were Meant to Be Seen",
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"content": "\u003cp>\u003cem>This post has been updated as more movies have been added to the Castro Theatre’s schedule.\u003c/em>\u003c/p>\n\u003cp>The time has come: the \u003ca href=\"https://www.kqed.org/arts/tag/castro-theatre\">Castro Theatre\u003c/a> will close in early February for renovations. Over the next year or so, concert promoters Another Planet Entertainment will \u003ca href=\"https://www.kqed.org/arts/13917362/castro-theatre-seating-renovation-town-hall\">replace the historic movie palace’s classic raked theatrical seating\u003c/a> with flat tiers better suited to standing-room concerts. This is good news if you’re the type of person, say, who wishes \u003ca href=\"https://tommysjoynt.com/\">Tommy’s Joynt\u003c/a> would take all that old junk off their walls, rip out the hofbrau counter and start serving sushi instead. It’s bad news if you love movies. \u003c/p>\n\u003cp>Expect a large crowd, then, on Sunday, Jan. 14, when the Castro Theatre screens some of its final repertory films with the original and widely loved seating configuration. In a double feature, \u003cem>\u003ca href=\"https://www.midnitesformaniacs.com/event/blade-runner-the-final-cut-in-35mm-robocop-unrated-directors-cut-in-4k/\">Blade Runner\u003c/a>\u003c/em> plays on 35mm at 4:00 p.m., followed by \u003cem>\u003ca href=\"https://www.midnitesformaniacs.com/event/blade-runner-the-final-cut-in-35mm-robocop-unrated-directors-cut-in-4k/\">RoboCop\u003c/a>\u003c/em> at 6:30 p.m. Vintage sci-fi trailers run before and after, and the intermission features music by the Castro’s long-standing organist David Hegarty. \u003c/p>\n\u003cp>Then, on Jan. 26, the Castro shows \u003cem>All of Us Strangers\u003c/em>; followed by \u003cem>Stop Making Sense\u003c/em> and \u003cem>Singin’ in the Rain\u003c/em> on Jan. 27; a \u003cem>Beauty and the Beast\u003c/em> sing-along and \u003cem>2001: A Space Odyssey\u003c/em> (in 70mm) on Jan. 28; the Pet Shop Boys’ live concert film \u003cem>Dreamworld: The Greatest Hits Live at the Royal Arena Copenhagen\u003c/em> on Jan. 31; and a sing-along of \u003cem>Victor Victoria\u003c/em> on Feb. 4.\u003c/p>\n\u003cp>[aside postID='arts_13917362']For the past two years, under the Castro’s new management, Jesse Hawthorne Ficks’ monthly \u003ca href=\"https://www.midnitesformaniacs.com/\">Movies for Maniacs\u003c/a> screenings at the Castro have largely replaced the once-daily pace of films on the theater’s calendar. “I am eagerly awaiting the restored reopening in the Summer/Fall of 2025,” Ficks said in an email. “People can reasonably expect to see Movies for Maniacs monthly repertory programming at the Castro after it reopens.” Another Planet Entertainment plans to utilize \u003ca href=\"https://www.kron4.com/news/castro-theatre-seats-not-a-landmark-sf-board-of-supervisors-say/\">temporary seats\u003c/a> for movies after the renovation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Meanwhile, on Thursday, Jan. 11, a post-mortem for the \u003ca href=\"https://www.kqed.org/news/11942942/san-franciscos-castro-theatre-a-cultural-temple-facing-a-fight-for-its-future\">fight to save the seating\u003c/a> at the Castro gets underway at the Roxie Theater in San Francisco. \u003cem>\u003ca href=\"https://roxie.com/film/the-fight-for-the-castro-theatre-lessons-for-queer-preservation/\">The Fight for the Castro Theatre: Lessons for Queer Preservation\u003c/a>\u003c/em> features a panel discussion with historians, preservationists and LGBTQ+ leaders to “tell the story of the City’s refusal to save the San Francisco landmark.” \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>\n\u003cp>\u003cem>‘Blade Runner’ and ‘RoboCop’ screen Sunday, Jan. 14, at the Castro Theatre in San Francisco. General admission is $21.50. \u003ca href=\"https://www.midnitesformaniacs.com/event/blade-runner-the-final-cut-in-35mm-robocop-unrated-directors-cut-in-4k/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This post has been updated as more movies have been added to the Castro Theatre’s schedule.\u003c/em>\u003c/p>\n\u003cp>The time has come: the \u003ca href=\"https://www.kqed.org/arts/tag/castro-theatre\">Castro Theatre\u003c/a> will close in early February for renovations. Over the next year or so, concert promoters Another Planet Entertainment will \u003ca href=\"https://www.kqed.org/arts/13917362/castro-theatre-seating-renovation-town-hall\">replace the historic movie palace’s classic raked theatrical seating\u003c/a> with flat tiers better suited to standing-room concerts. This is good news if you’re the type of person, say, who wishes \u003ca href=\"https://tommysjoynt.com/\">Tommy’s Joynt\u003c/a> would take all that old junk off their walls, rip out the hofbrau counter and start serving sushi instead. It’s bad news if you love movies. \u003c/p>\n\u003cp>Expect a large crowd, then, on Sunday, Jan. 14, when the Castro Theatre screens some of its final repertory films with the original and widely loved seating configuration. In a double feature, \u003cem>\u003ca href=\"https://www.midnitesformaniacs.com/event/blade-runner-the-final-cut-in-35mm-robocop-unrated-directors-cut-in-4k/\">Blade Runner\u003c/a>\u003c/em> plays on 35mm at 4:00 p.m., followed by \u003cem>\u003ca href=\"https://www.midnitesformaniacs.com/event/blade-runner-the-final-cut-in-35mm-robocop-unrated-directors-cut-in-4k/\">RoboCop\u003c/a>\u003c/em> at 6:30 p.m. Vintage sci-fi trailers run before and after, and the intermission features music by the Castro’s long-standing organist David Hegarty. \u003c/p>\n\u003cp>Then, on Jan. 26, the Castro shows \u003cem>All of Us Strangers\u003c/em>; followed by \u003cem>Stop Making Sense\u003c/em> and \u003cem>Singin’ in the Rain\u003c/em> on Jan. 27; a \u003cem>Beauty and the Beast\u003c/em> sing-along and \u003cem>2001: A Space Odyssey\u003c/em> (in 70mm) on Jan. 28; the Pet Shop Boys’ live concert film \u003cem>Dreamworld: The Greatest Hits Live at the Royal Arena Copenhagen\u003c/em> on Jan. 31; and a sing-along of \u003cem>Victor Victoria\u003c/em> on Feb. 4.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For the past two years, under the Castro’s new management, Jesse Hawthorne Ficks’ monthly \u003ca href=\"https://www.midnitesformaniacs.com/\">Movies for Maniacs\u003c/a> screenings at the Castro have largely replaced the once-daily pace of films on the theater’s calendar. “I am eagerly awaiting the restored reopening in the Summer/Fall of 2025,” Ficks said in an email. “People can reasonably expect to see Movies for Maniacs monthly repertory programming at the Castro after it reopens.” Another Planet Entertainment plans to utilize \u003ca href=\"https://www.kron4.com/news/castro-theatre-seats-not-a-landmark-sf-board-of-supervisors-say/\">temporary seats\u003c/a> for movies after the renovation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Meanwhile, on Thursday, Jan. 11, a post-mortem for the \u003ca href=\"https://www.kqed.org/news/11942942/san-franciscos-castro-theatre-a-cultural-temple-facing-a-fight-for-its-future\">fight to save the seating\u003c/a> at the Castro gets underway at the Roxie Theater in San Francisco. \u003cem>\u003ca href=\"https://roxie.com/film/the-fight-for-the-castro-theatre-lessons-for-queer-preservation/\">The Fight for the Castro Theatre: Lessons for Queer Preservation\u003c/a>\u003c/em> features a panel discussion with historians, preservationists and LGBTQ+ leaders to “tell the story of the City’s refusal to save the San Francisco landmark.” \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>\n\u003cp>\u003cem>‘Blade Runner’ and ‘RoboCop’ screen Sunday, Jan. 14, at the Castro Theatre in San Francisco. General admission is $21.50. \u003ca href=\"https://www.midnitesformaniacs.com/event/blade-runner-the-final-cut-in-35mm-robocop-unrated-directors-cut-in-4k/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>This report contains a clarification.\u003c/em>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.kqed.org/arts/13917362/castro-theatre-seating-renovation-town-hall\">Castro Theatre\u003c/a> was where Joe Talbot got his very first film job. He was 19, had just dropped out of high school and was hired by \u003ca href=\"https://www.noircity.com/\">Noir City film festival\u003c/a> founder Eddie Muller to make a documentary about the festival’s history at the Castro.\u003c/p>\n\u003cp>Almost 10 years later, Talbot returned to the Castro Theatre — this time in a double-breasted gray suit and Giants cap — for the premiere of his 2019 film \u003ca href=\"https://www.kqed.org/pop/112325/the-last-black-man-in-san-francisco-is-about-who-belongs-in-the-city\" target=\"_blank\" rel=\"noopener\">\u003cem>The Last Black Man in San Francisco\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13917362']For Talbot, the most memorable part of the theater, which was a formative part of his childhood and his film education, is its velvety red seats.\u003c/p>\n\u003cp>But in June, the \u003ca href=\"https://www.kqed.org/news/11952358/sf-supes-ok-effort-renovate-castro-theater\" target=\"_blank\" rel=\"noopener\">San Francisco Board of Supervisors approved a controversial renovation plan\u003c/a> by the theater’s new management, the live music promoter Another Planet Entertainment (APE), to replace the Castro Theatre’s seating and raked floor with multi-level flat tiers suited for standing-room concerts. While APE has said the Castro Theatre will still show film, it will do so far less frequently, and moviegoers will have to sit on temporary chairs.\u003c/p>\n\u003cfigure id=\"attachment_10622105\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2015/05/JoeJimmie.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10622105\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/05/JoeJimmie-800x450.jpg\" alt=\"a white man in a suit and a Black man in a green jacket sit on a sidewalk looking at the camera\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/JoeJimmie.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/JoeJimmie-400x225.jpg 400w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Joe Talbot and Jimmie Fails on the set of ‘The Last Black Man in San Francisco.’ \u003ccite>(Courtesy of 'The Last Black Man in San Francisco')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What’s more, higher rental costs under the new management — and fewer seats for which to sell tickets — have put some local film festivals, like the one Talbot made his first paid film about, in jeopardy.\u003c/p>\n\u003cp>“I’m not a fan of it — it’s a big loss,” Talbot said. “It’s a bummer to have people occupying such a wonderful space that don’t appreciate its history or understand its importance.”\u003c/p>\n\u003ch2>‘Like a temple’\u003c/h2>\n\u003cp>Eddie Muller, the founder of the Noir City film festival who gave Talbot the job, has abandoned hope of a future at the Castro Theatre altogether.\u003c/p>\n\u003cp>“Taking out the seats reduces capacity, forces us to upcharge on tickets and makes it inhospitable for film festivals,” Muller said. “They’re changing the whole basic operational strategy of the venue.”\u003c/p>\n\u003cp>For those small festivals that have wanted to stay at the Castro, “now all the accouterments of film festivals are added costs, like hiring someone to operate the projectors, which used to be built in.”\u003c/p>\n\u003cp>Asked if festivals were being asked to shoulder additional costs for a projector and house manager, APE spokesperson David Perry said, “Yes, that is true.”\u003c/p>\n\u003cfigure id=\"attachment_13932962\" class=\"wp-caption aligncenter\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/ddieMuller.Castro.jpg\" alt=\"\" width=\"480\" height=\"321\" class=\"size-full wp-image-13932962\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ddieMuller.Castro.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ddieMuller.Castro-160x107.jpg 160w\" sizes=\"auto, (max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">Eddie Muller introduces a film at the Noir City film festival at the Castro Theatre. Having called San Francisco home since 2003, it moved to Oakland’s Grand Lake Theatre in 2022 after new management took over the Castro Theatre. \u003ccite>(Noir City )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During the latest installment of her film festival, \u003ca href=\"http://www.cinemaitaliasf.com/\">Cinema Italia\u003c/a>, Amelia Antonucci looked up at the illuminated grand ceiling of the Castro Theatre as she stood at the mezzanine and thought to herself, “this is magical.”\u003c/p>\n\u003cp>“The Castro is like a temple for classic Italian movies,” Antonucci said of its breathtaking and eccentric mishmash of Art Deco, Renaissance and Spanish architecture. “It’s the only place in San Francisco that has this kind of magic.”\u003c/p>\n\u003cp>For the past 10 years, Antonucci has organized the annual and sometimes biannual celebration of Italian film with the help of the Italian Consulate. But the 2022 festival might have been her last.\u003c/p>\n\u003cp>“Now only the festivals that can afford new costs, like Frameline, will continue,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13932964\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-57540368.jpg\" alt=\"(L-R) Actors Robin Williams, Virginia Madsen and Lily Tomlin arrive at the Castro theater for the closing night of the 2006 San Francisco International Film Festival (now known as SFFILM). \" width=\"1024\" height=\"683\" class=\"size-full wp-image-13932964\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-57540368.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-57540368-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-57540368-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-57540368-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-57540368-768x512.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Actors Robin Williams, Virginia Madsen and Lily Tomlin arrive at the Castro theater for the closing night of the 2006 San Francisco International Film Festival (now known as SFFILM). \u003ccite>(David Paul Morris/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Antonucci hosted her latest festival — her first under the theater’s new management — there were unexpected extra costs, she says, in addition to existing ones like venue rental fees and film licensing fees. Rather than allow her to use only volunteers as she had in the past, Antonucci said, APE required her to pay additional fees for their staff.\u003c/p>\n\u003cp>“APE said the price was the same, but that wasn’t true,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13917446\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917446\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-800x533.jpg\" alt=\"red seats in a beloved movie palace\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The interior of the Castro Theatre in San Francisco on Aug. 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Perry said that APE’s higher rental fees and expenses for the Castro are “totally in line” with other similarly sized venues, adding that, due to “artificially low” rent and fees, the Castro Theatre had not broken even for 10 years. \u003c/p>\n\u003cp>But as the physical space of the Castro Theatre changes to accommodate concerts and performances, festivals like Cinema Italia are under even more strain to meet costs.\u003c/p>\n\u003cp>With the reducing seating and increased rental fees, “I’m worried what that will mean for festivals like mine,” Antonucci said.\u003c/p>\n\u003ch2>An unsure future for some festivals\u003c/h2>\n\u003cp>The outlook is indeed brighter for Frameline. A festival representative told KQED in an email that the festival “will be at the venue for the entirety of APE’s 20-year lease.”\u003c/p>\n\u003cp>But for others, the future is still unclear. Even the smallest film festivals involve many moving parts and funding sources that have to be coordinated months — if not a year — in advance.\u003c/p>\n\u003cp>Berlin & Beyond Festival Director Sophoan Sorn told KQED in an email that the Castro Theatre was “unavailable” for his 2023 festival and that he has had no communication with APE about the 2024 festival. A representative for CAAMFest declined to comment, but added that the festival hasn’t had recent communication with APE.\u003c/p>\n\u003cp>The Jewish Film Festival declined to comment, while 3rd i, the Arab Film Festival and the Silent Film Festival could not be reached for comment.\u003c/p>\n\u003cfigure id=\"attachment_13932948\" class=\"wp-caption aligncenter\" style=\"max-width: 683px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1388628758.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932948\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1388628758.jpg\" alt=\"The Castro Theatre marquee reads 'SFFILM festival welcome back to the movies'\" width=\"683\" height=\"1024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388628758.jpg 683w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388628758-160x240.jpg 160w\" sizes=\"auto, (max-width: 683px) 100vw, 683px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Castro Theatre, was the venue for the 65th annual SFFILM Festival in 2022, but in 2023, following APE’s acquisition, the festival moved to other theaters. SFFILM Executive Director Anne Lai said the 2024 festival will be elsewhere due to renovations. \u003ccite>(Miikka Skaffari/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SFFILM Executive Director Anne Lai told KQED in an email that the Castro won’t be available for SFFILM’s 2024 festival, presumably because of renovation.\u003c/p>\n\u003cp>“What we are more eager to learn from them is what the rental costs and booking availability will be post-renovation so that we can accurately plan and budget,” she wrote.\u003c/p>\n\u003cp>[aside postid='arts_13929572']In a December \u003ca href=\"https://sffilm.org/a-letter-from-sffilm-executive-director-anne-lai/\" target=\"_blank\" rel=\"noopener\">statement\u003c/a>, Lai had expressed concerns about increased cost but also about accessibility and the theater’s importance in San Francisco’s queer history and culture.\u003c/p>\n\u003cp>Muller is skeptical about how APE will preserve the queer roots and community of the Castro Theatre. But he’s optimistic about Noir City’s new home across the Bay at Oakland’s Grand Lake Theatre, despite having to raise ticket prices to make up for the theater’s smaller capacity. The greater loss is a cultural and community one, Muller says.\u003c/p>\n\u003cp>“I honestly don’t feel sorry for myself — I feel sorry for the city,” he said. “The Castro was the last single-screen movie palace in San Francisco, and by changing it into a concert venue, you’re saying that San Francisco is giving up on movies.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Aug. 27: The story has been updated to more accurately reflect the additional expenses of renting the Castro for Cinema Italia.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This report contains a clarification.\u003c/em>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.kqed.org/arts/13917362/castro-theatre-seating-renovation-town-hall\">Castro Theatre\u003c/a> was where Joe Talbot got his very first film job. He was 19, had just dropped out of high school and was hired by \u003ca href=\"https://www.noircity.com/\">Noir City film festival\u003c/a> founder Eddie Muller to make a documentary about the festival’s history at the Castro.\u003c/p>\n\u003cp>Almost 10 years later, Talbot returned to the Castro Theatre — this time in a double-breasted gray suit and Giants cap — for the premiere of his 2019 film \u003ca href=\"https://www.kqed.org/pop/112325/the-last-black-man-in-san-francisco-is-about-who-belongs-in-the-city\" target=\"_blank\" rel=\"noopener\">\u003cem>The Last Black Man in San Francisco\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For Talbot, the most memorable part of the theater, which was a formative part of his childhood and his film education, is its velvety red seats.\u003c/p>\n\u003cp>But in June, the \u003ca href=\"https://www.kqed.org/news/11952358/sf-supes-ok-effort-renovate-castro-theater\" target=\"_blank\" rel=\"noopener\">San Francisco Board of Supervisors approved a controversial renovation plan\u003c/a> by the theater’s new management, the live music promoter Another Planet Entertainment (APE), to replace the Castro Theatre’s seating and raked floor with multi-level flat tiers suited for standing-room concerts. While APE has said the Castro Theatre will still show film, it will do so far less frequently, and moviegoers will have to sit on temporary chairs.\u003c/p>\n\u003cfigure id=\"attachment_10622105\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2015/05/JoeJimmie.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10622105\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/05/JoeJimmie-800x450.jpg\" alt=\"a white man in a suit and a Black man in a green jacket sit on a sidewalk looking at the camera\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/JoeJimmie.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/JoeJimmie-400x225.jpg 400w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Joe Talbot and Jimmie Fails on the set of ‘The Last Black Man in San Francisco.’ \u003ccite>(Courtesy of 'The Last Black Man in San Francisco')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What’s more, higher rental costs under the new management — and fewer seats for which to sell tickets — have put some local film festivals, like the one Talbot made his first paid film about, in jeopardy.\u003c/p>\n\u003cp>“I’m not a fan of it — it’s a big loss,” Talbot said. “It’s a bummer to have people occupying such a wonderful space that don’t appreciate its history or understand its importance.”\u003c/p>\n\u003ch2>‘Like a temple’\u003c/h2>\n\u003cp>Eddie Muller, the founder of the Noir City film festival who gave Talbot the job, has abandoned hope of a future at the Castro Theatre altogether.\u003c/p>\n\u003cp>“Taking out the seats reduces capacity, forces us to upcharge on tickets and makes it inhospitable for film festivals,” Muller said. “They’re changing the whole basic operational strategy of the venue.”\u003c/p>\n\u003cp>For those small festivals that have wanted to stay at the Castro, “now all the accouterments of film festivals are added costs, like hiring someone to operate the projectors, which used to be built in.”\u003c/p>\n\u003cp>Asked if festivals were being asked to shoulder additional costs for a projector and house manager, APE spokesperson David Perry said, “Yes, that is true.”\u003c/p>\n\u003cfigure id=\"attachment_13932962\" class=\"wp-caption aligncenter\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/ddieMuller.Castro.jpg\" alt=\"\" width=\"480\" height=\"321\" class=\"size-full wp-image-13932962\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ddieMuller.Castro.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ddieMuller.Castro-160x107.jpg 160w\" sizes=\"auto, (max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">Eddie Muller introduces a film at the Noir City film festival at the Castro Theatre. Having called San Francisco home since 2003, it moved to Oakland’s Grand Lake Theatre in 2022 after new management took over the Castro Theatre. \u003ccite>(Noir City )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During the latest installment of her film festival, \u003ca href=\"http://www.cinemaitaliasf.com/\">Cinema Italia\u003c/a>, Amelia Antonucci looked up at the illuminated grand ceiling of the Castro Theatre as she stood at the mezzanine and thought to herself, “this is magical.”\u003c/p>\n\u003cp>“The Castro is like a temple for classic Italian movies,” Antonucci said of its breathtaking and eccentric mishmash of Art Deco, Renaissance and Spanish architecture. “It’s the only place in San Francisco that has this kind of magic.”\u003c/p>\n\u003cp>For the past 10 years, Antonucci has organized the annual and sometimes biannual celebration of Italian film with the help of the Italian Consulate. But the 2022 festival might have been her last.\u003c/p>\n\u003cp>“Now only the festivals that can afford new costs, like Frameline, will continue,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13932964\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-57540368.jpg\" alt=\"(L-R) Actors Robin Williams, Virginia Madsen and Lily Tomlin arrive at the Castro theater for the closing night of the 2006 San Francisco International Film Festival (now known as SFFILM). \" width=\"1024\" height=\"683\" class=\"size-full wp-image-13932964\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-57540368.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-57540368-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-57540368-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-57540368-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-57540368-768x512.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Actors Robin Williams, Virginia Madsen and Lily Tomlin arrive at the Castro theater for the closing night of the 2006 San Francisco International Film Festival (now known as SFFILM). \u003ccite>(David Paul Morris/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Antonucci hosted her latest festival — her first under the theater’s new management — there were unexpected extra costs, she says, in addition to existing ones like venue rental fees and film licensing fees. Rather than allow her to use only volunteers as she had in the past, Antonucci said, APE required her to pay additional fees for their staff.\u003c/p>\n\u003cp>“APE said the price was the same, but that wasn’t true,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13917446\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917446\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-800x533.jpg\" alt=\"red seats in a beloved movie palace\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The interior of the Castro Theatre in San Francisco on Aug. 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Perry said that APE’s higher rental fees and expenses for the Castro are “totally in line” with other similarly sized venues, adding that, due to “artificially low” rent and fees, the Castro Theatre had not broken even for 10 years. \u003c/p>\n\u003cp>But as the physical space of the Castro Theatre changes to accommodate concerts and performances, festivals like Cinema Italia are under even more strain to meet costs.\u003c/p>\n\u003cp>With the reducing seating and increased rental fees, “I’m worried what that will mean for festivals like mine,” Antonucci said.\u003c/p>\n\u003ch2>An unsure future for some festivals\u003c/h2>\n\u003cp>The outlook is indeed brighter for Frameline. A festival representative told KQED in an email that the festival “will be at the venue for the entirety of APE’s 20-year lease.”\u003c/p>\n\u003cp>But for others, the future is still unclear. Even the smallest film festivals involve many moving parts and funding sources that have to be coordinated months — if not a year — in advance.\u003c/p>\n\u003cp>Berlin & Beyond Festival Director Sophoan Sorn told KQED in an email that the Castro Theatre was “unavailable” for his 2023 festival and that he has had no communication with APE about the 2024 festival. A representative for CAAMFest declined to comment, but added that the festival hasn’t had recent communication with APE.\u003c/p>\n\u003cp>The Jewish Film Festival declined to comment, while 3rd i, the Arab Film Festival and the Silent Film Festival could not be reached for comment.\u003c/p>\n\u003cfigure id=\"attachment_13932948\" class=\"wp-caption aligncenter\" style=\"max-width: 683px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1388628758.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932948\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1388628758.jpg\" alt=\"The Castro Theatre marquee reads 'SFFILM festival welcome back to the movies'\" width=\"683\" height=\"1024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388628758.jpg 683w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388628758-160x240.jpg 160w\" sizes=\"auto, (max-width: 683px) 100vw, 683px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Castro Theatre, was the venue for the 65th annual SFFILM Festival in 2022, but in 2023, following APE’s acquisition, the festival moved to other theaters. SFFILM Executive Director Anne Lai said the 2024 festival will be elsewhere due to renovations. \u003ccite>(Miikka Skaffari/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SFFILM Executive Director Anne Lai told KQED in an email that the Castro won’t be available for SFFILM’s 2024 festival, presumably because of renovation.\u003c/p>\n\u003cp>“What we are more eager to learn from them is what the rental costs and booking availability will be post-renovation so that we can accurately plan and budget,” she wrote.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In a December \u003ca href=\"https://sffilm.org/a-letter-from-sffilm-executive-director-anne-lai/\" target=\"_blank\" rel=\"noopener\">statement\u003c/a>, Lai had expressed concerns about increased cost but also about accessibility and the theater’s importance in San Francisco’s queer history and culture.\u003c/p>\n\u003cp>Muller is skeptical about how APE will preserve the queer roots and community of the Castro Theatre. But he’s optimistic about Noir City’s new home across the Bay at Oakland’s Grand Lake Theatre, despite having to raise ticket prices to make up for the theater’s smaller capacity. The greater loss is a cultural and community one, Muller says.\u003c/p>\n\u003cp>“I honestly don’t feel sorry for myself — I feel sorry for the city,” he said. “The Castro was the last single-screen movie palace in San Francisco, and by changing it into a concert venue, you’re saying that San Francisco is giving up on movies.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Aug. 27: The story has been updated to more accurately reflect the additional expenses of renting the Castro for Cinema Italia.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "heklina-castro-memorial",
"title": "The Castro Honored Heklina with Drag, Music and Cackles",
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"headTitle": "The Castro Honored Heklina with Drag, Music and Cackles | KQED",
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"content": "\u003cp>Heklina first arrived in San Francisco in the early ’90s, “with no real plan,” as she put in a \u003ca href=\"https://www.youtube.com/watch?v=61qbUimYg9g&t=823s\">KQED documentary from 2015\u003c/a>. “Immediately, I fell in love with it, and I felt right at home.” [aside postid='arts_13927233']\u003c/p>\n\u003cp>And on Tuesday evening, San Francisco returned that love to Heklina, who helped transform drag and elevate queer nightlife in the Bay Area over the past three decades. Heklina died unexpectedly on April 3 in London, where she had traveled to star in the drag parody \u003ci>Mommie Queerest\u003c/i> at the Soho Theatre alongside her close friend Peaches Christ.\u003c/p>\n\u003cp>Friends of Heklina organized a memorial at the Castro Theatre, its iconic marquee emblazoned with Heklina’s name. Tickets sold out weeks in advance, so organizers closed down the entire block outside the theater, from Market to 18th Street, to bring in jumbotrons that live-streamed the memorial to a crowd of hundreds of well-wishers and admirers.\u003c/p>\n\u003cfigure id=\"attachment_13929606\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929606\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/RS65859_051_KQED_HeklinaMemorialCastro_05232023-qut.jpg\" alt=\"Two drag artists speak with microphones to a large crowd in front of San Francisco's Castro Theater.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65859_051_KQED_HeklinaMemorialCastro_05232023-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65859_051_KQED_HeklinaMemorialCastro_05232023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65859_051_KQED_HeklinaMemorialCastro_05232023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65859_051_KQED_HeklinaMemorialCastro_05232023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65859_051_KQED_HeklinaMemorialCastro_05232023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65859_051_KQED_HeklinaMemorialCastro_05232023-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sister Roma (left) and Dulce De Leche (right) speak during a memorial for Heklina outside the Castro Theatre in San Francisco on May 23, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Heklina was not just a talented and versatile performer, she also dedicated herself to making more spaces available for drag in San Francisco. In 1996, she created the long-running show Trannyshack at The Stud (which she later renamed Mother), offering a platform for funny, rebellious and experimental new performers. Heklina also co-founded the popular SoMa club and cabaret Oasis in 2015 alongside D’Arcy Drollinger. Although she sold her ownership stake in 2019, she remained a beloved fixture there. Most recently, she hosted the popular Daytime Realness party at El Rio in the Mission.\u003c/p>\n\u003cfigure id=\"attachment_13929614\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929614\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/RS65812_001_KQED_HeklinaMemorialCastro_05232023-qut.jpg\" alt=\"Two drag performers, dressed up in very colorful wigs and puffy dresses, smile at the camera.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65812_001_KQED_HeklinaMemorialCastro_05232023-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65812_001_KQED_HeklinaMemorialCastro_05232023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65812_001_KQED_HeklinaMemorialCastro_05232023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65812_001_KQED_HeklinaMemorialCastro_05232023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65812_001_KQED_HeklinaMemorialCastro_05232023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65812_001_KQED_HeklinaMemorialCastro_05232023-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Pippi Lovestocking (left) and Mutha Chucka pose for a photo outside the Castro Theatre in San Francisco on May 23, 2023, before a memorial for Heklina, who died in April. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many remember Heklina for her firecracker personality, which she owned in her drag. “I just feel like I’m living a very, perhaps to most people, abnormal life. I make a living doing something that is … not considered normal,” Heklina said in 2015. “When you’re walking down the street in makeup and a dress and high heels and all that stuff, you do get an attitude change. You become much more bold, [because] people yell things at you and you just have to be ready to take everything on.”\u003c/p>\n\u003cfigure id=\"attachment_13929627\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929627\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/RS65865_056_KQED_HeklinaMemorialCastro_05232023-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65865_056_KQED_HeklinaMemorialCastro_05232023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65865_056_KQED_HeklinaMemorialCastro_05232023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65865_056_KQED_HeklinaMemorialCastro_05232023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65865_056_KQED_HeklinaMemorialCastro_05232023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65865_056_KQED_HeklinaMemorialCastro_05232023-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65865_056_KQED_HeklinaMemorialCastro_05232023-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">During a memorial for Heklina, photos of her play onscreen outside of the Castro Theatre in San Francisco on May 23, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the memorial hosted by LOL McFiercen and Dulce De Leche, Heklina’s longtime friend Nancy French took the stage to lead a moment of silence, but quickly changed her mind. “A basic moment of silence is not going to work,” French said. “It’s so basic, she would have hated it.”\u003c/p>\n\u003cp>French asked the crowd to join her in a “community cackle,” referring to Heklina’s loud and distinct laugh. With that, Castro Street filled with hundreds of cackles.\u003c/p>\n\u003cfigure id=\"attachment_13929607\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929607\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/RS65862_054_KQED_HeklinaMemorialCastro_05232023-qut.jpg\" alt=\"A crowd of hundreds, of all ages, stands outside on San Francisco's Castro Street and laughs, many with smiles on their faces. In the background, there are balloons in the shape of the letters that spell out "Heklina."\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65862_054_KQED_HeklinaMemorialCastro_05232023-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65862_054_KQED_HeklinaMemorialCastro_05232023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65862_054_KQED_HeklinaMemorialCastro_05232023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65862_054_KQED_HeklinaMemorialCastro_05232023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65862_054_KQED_HeklinaMemorialCastro_05232023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65862_054_KQED_HeklinaMemorialCastro_05232023-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Hundreds join Heklina’s friend Nancy French in a ‘community cackle’ outside the Castro Theatre in San Francisco on May 23, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jennifer Hofmann, 53, of San Francisco, stood outside the Castro Theatre to pay her respects for Heklina. “[Heklina] helped me grow up to figure out who I was in San Francisco,” she said, noting how meaningful it was for her to see Heklina perform at Trannyshack in the ’90s.\u003c/p>\n\u003cp>“She made it OK that drag wasn’t perfect. She made it OK that you could make ugly drag and people would love that and throw dollars at you, too,” Hoffman said. “As long as you had something to say and were willing to get up on stage and do it, you were always welcome.”\u003c/p>\n\u003cp>“She welcomed everyone,” Hoffman continued. “She sassed everyone. If you got sassed by Heklina, you felt like you’ve made it.”\u003c/p>\n\u003cfigure id=\"attachment_13929611\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929611\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/RS65857_049_KQED_HeklinaMemorialCastro_05232023-qut.jpg\" alt=\"A drag performer holds a microphone in one hand, and with the other, holds a marker and draws a beauty mark on the face of a woman standing in the crowd outside the Castro Theater.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65857_049_KQED_HeklinaMemorialCastro_05232023-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65857_049_KQED_HeklinaMemorialCastro_05232023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65857_049_KQED_HeklinaMemorialCastro_05232023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65857_049_KQED_HeklinaMemorialCastro_05232023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65857_049_KQED_HeklinaMemorialCastro_05232023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65857_049_KQED_HeklinaMemorialCastro_05232023-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Co-host LOL McFiercen paints a beauty mark on Linda Lee’s face in honor of Heklina during a memorial outside of the Castro Theatre in San Francisco on May 23, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Darwin Bell, 57, moved to San Francisco in 1987, and Heklina was first drag queen he ever saw perform. “It was very punk rock,” he said of that first show.\u003c/p>\n\u003cp>Heklina embraced more transgressive forms of drag, he recalled, adding that he hopes that San Francisco doesn’t lose that edge without her around. Bell and his friends went to so many shows featuring or organized by Heklina that they would joke among themselves, “At the end of the world, there’s going to be Cher, roaches and Heklina.”\u003c/p>\n\u003cp>“I never even thought there would be world without Heklina,” he said. “She was always kind of bitter and funny and mean, and I just never thought there would be a world without her.”\u003c/p>\n\u003cfigure id=\"attachment_13929613\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929613\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/RS65852_042_KQED_HeklinaMemorialCastro_05232023-qut.jpg\" alt=\"A large crowd stands on Castro Street in front of Castro Theater, and in the middle of the crowed, a young couple hugs and kisses.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65852_042_KQED_HeklinaMemorialCastro_05232023-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65852_042_KQED_HeklinaMemorialCastro_05232023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65852_042_KQED_HeklinaMemorialCastro_05232023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65852_042_KQED_HeklinaMemorialCastro_05232023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65852_042_KQED_HeklinaMemorialCastro_05232023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65852_042_KQED_HeklinaMemorialCastro_05232023-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Despite the strong winds, a crowd of hundreds gathers outside of the Castro Theatre to watch drag performances in honor of Heklina. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Inside, the Castro Theatre’s 1,407 seats filled up. Close friends of Heklina, including D’Arcy Drollinger and Peaches Christ, took the stage to share some of their fondest memories — infused with Heklina’s relentless humor and love for San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13929618\" class=\"wp-caption aligncenter\" style=\"max-width: 2392px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929618\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2.jpg\" alt=\"Three drag artists stand on a stage. All are wearing very elaborate dresses and big wigs.\" width=\"2392\" height=\"1594\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2.jpg 2392w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2-1920x1279.jpg 1920w\" sizes=\"(max-width: 2392px) 100vw, 2392px\">\u003cfigcaption class=\"wp-caption-text\">Dozens of Heklina’s closest friends and collaborators spoke and performed inside the Castro Theatre, including D’Arcy Drollinger, Sister Roma and Peaches Christ (left to right). \u003ccite>(Gooch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13929617\" class=\"wp-caption aligncenter\" style=\"max-width: 2446px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929617\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Fauxique-1.jpg\" alt='A large group of drag performers dance and sing on a stage. In the middle of them is a drag queen with a very large wig and a ribbon that reads \"Fauxnique.\"' width=\"2446\" height=\"1631\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fauxique-1.jpg 2446w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fauxique-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fauxique-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fauxique-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fauxique-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fauxique-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fauxique-1-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fauxique-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 2446px) 100vw, 2446px\">\u003cfigcaption class=\"wp-caption-text\">During her performance, Fauxnique brought out many other drag performers who collaborated with Heklina. \u003ccite>(Gooch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the memorial, Margey DeCuir, a San Francisco resident who watched the livestream on Castro Street, wrote to KQED to share that for her, Heklina’s memorial not only honored her life, but represented “the strength and loyalty of the queer community, to come and gather in grief.”\u003c/p>\n\u003cp>“Heklina touched lives globally,” she wrote, “and her memorial was a much needed embrace within the community.”\u003c/p>\n\u003cfigure id=\"attachment_13929605\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929605\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/024_KQED_HeklinaMemorialCastro_05232023.jpg\" alt=\"Two people share a deep hug and smile while they stand outdoors in San Francisco's Castro Street, surrounded by a large crowd.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/024_KQED_HeklinaMemorialCastro_05232023.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/024_KQED_HeklinaMemorialCastro_05232023-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/024_KQED_HeklinaMemorialCastro_05232023-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/024_KQED_HeklinaMemorialCastro_05232023-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/024_KQED_HeklinaMemorialCastro_05232023-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/024_KQED_HeklinaMemorialCastro_05232023-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alexander Tom hugs friend Margey DeCuir (left) during a memorial for Heklina outside of the Castro Theatre in San Francisco on May 23, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>This article includes reporting from KQED’s \u003ca href=\"https://www.kqed.org/author/nvoynovskaya\">Nastia Voynovskaya\u003c/a>.\u003c/em>\u003cbr>\n[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Hundreds spilled out of the sold-out Castro Theatre for a street party in homage to the beloved drag queen.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Heklina first arrived in San Francisco in the early ’90s, “with no real plan,” as she put in a \u003ca href=\"https://www.youtube.com/watch?v=61qbUimYg9g&t=823s\">KQED documentary from 2015\u003c/a>. “Immediately, I fell in love with it, and I felt right at home.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And on Tuesday evening, San Francisco returned that love to Heklina, who helped transform drag and elevate queer nightlife in the Bay Area over the past three decades. Heklina died unexpectedly on April 3 in London, where she had traveled to star in the drag parody \u003ci>Mommie Queerest\u003c/i> at the Soho Theatre alongside her close friend Peaches Christ.\u003c/p>\n\u003cp>Friends of Heklina organized a memorial at the Castro Theatre, its iconic marquee emblazoned with Heklina’s name. Tickets sold out weeks in advance, so organizers closed down the entire block outside the theater, from Market to 18th Street, to bring in jumbotrons that live-streamed the memorial to a crowd of hundreds of well-wishers and admirers.\u003c/p>\n\u003cfigure id=\"attachment_13929606\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929606\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/RS65859_051_KQED_HeklinaMemorialCastro_05232023-qut.jpg\" alt=\"Two drag artists speak with microphones to a large crowd in front of San Francisco's Castro Theater.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65859_051_KQED_HeklinaMemorialCastro_05232023-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65859_051_KQED_HeklinaMemorialCastro_05232023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65859_051_KQED_HeklinaMemorialCastro_05232023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65859_051_KQED_HeklinaMemorialCastro_05232023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65859_051_KQED_HeklinaMemorialCastro_05232023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65859_051_KQED_HeklinaMemorialCastro_05232023-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sister Roma (left) and Dulce De Leche (right) speak during a memorial for Heklina outside the Castro Theatre in San Francisco on May 23, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Heklina was not just a talented and versatile performer, she also dedicated herself to making more spaces available for drag in San Francisco. In 1996, she created the long-running show Trannyshack at The Stud (which she later renamed Mother), offering a platform for funny, rebellious and experimental new performers. Heklina also co-founded the popular SoMa club and cabaret Oasis in 2015 alongside D’Arcy Drollinger. Although she sold her ownership stake in 2019, she remained a beloved fixture there. Most recently, she hosted the popular Daytime Realness party at El Rio in the Mission.\u003c/p>\n\u003cfigure id=\"attachment_13929614\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929614\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/RS65812_001_KQED_HeklinaMemorialCastro_05232023-qut.jpg\" alt=\"Two drag performers, dressed up in very colorful wigs and puffy dresses, smile at the camera.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65812_001_KQED_HeklinaMemorialCastro_05232023-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65812_001_KQED_HeklinaMemorialCastro_05232023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65812_001_KQED_HeklinaMemorialCastro_05232023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65812_001_KQED_HeklinaMemorialCastro_05232023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65812_001_KQED_HeklinaMemorialCastro_05232023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65812_001_KQED_HeklinaMemorialCastro_05232023-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Pippi Lovestocking (left) and Mutha Chucka pose for a photo outside the Castro Theatre in San Francisco on May 23, 2023, before a memorial for Heklina, who died in April. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many remember Heklina for her firecracker personality, which she owned in her drag. “I just feel like I’m living a very, perhaps to most people, abnormal life. I make a living doing something that is … not considered normal,” Heklina said in 2015. “When you’re walking down the street in makeup and a dress and high heels and all that stuff, you do get an attitude change. You become much more bold, [because] people yell things at you and you just have to be ready to take everything on.”\u003c/p>\n\u003cfigure id=\"attachment_13929627\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929627\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/RS65865_056_KQED_HeklinaMemorialCastro_05232023-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65865_056_KQED_HeklinaMemorialCastro_05232023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65865_056_KQED_HeklinaMemorialCastro_05232023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65865_056_KQED_HeklinaMemorialCastro_05232023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65865_056_KQED_HeklinaMemorialCastro_05232023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65865_056_KQED_HeklinaMemorialCastro_05232023-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65865_056_KQED_HeklinaMemorialCastro_05232023-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">During a memorial for Heklina, photos of her play onscreen outside of the Castro Theatre in San Francisco on May 23, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the memorial hosted by LOL McFiercen and Dulce De Leche, Heklina’s longtime friend Nancy French took the stage to lead a moment of silence, but quickly changed her mind. “A basic moment of silence is not going to work,” French said. “It’s so basic, she would have hated it.”\u003c/p>\n\u003cp>French asked the crowd to join her in a “community cackle,” referring to Heklina’s loud and distinct laugh. With that, Castro Street filled with hundreds of cackles.\u003c/p>\n\u003cfigure id=\"attachment_13929607\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929607\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/RS65862_054_KQED_HeklinaMemorialCastro_05232023-qut.jpg\" alt=\"A crowd of hundreds, of all ages, stands outside on San Francisco's Castro Street and laughs, many with smiles on their faces. In the background, there are balloons in the shape of the letters that spell out "Heklina."\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65862_054_KQED_HeklinaMemorialCastro_05232023-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65862_054_KQED_HeklinaMemorialCastro_05232023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65862_054_KQED_HeklinaMemorialCastro_05232023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65862_054_KQED_HeklinaMemorialCastro_05232023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65862_054_KQED_HeklinaMemorialCastro_05232023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65862_054_KQED_HeklinaMemorialCastro_05232023-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Hundreds join Heklina’s friend Nancy French in a ‘community cackle’ outside the Castro Theatre in San Francisco on May 23, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jennifer Hofmann, 53, of San Francisco, stood outside the Castro Theatre to pay her respects for Heklina. “[Heklina] helped me grow up to figure out who I was in San Francisco,” she said, noting how meaningful it was for her to see Heklina perform at Trannyshack in the ’90s.\u003c/p>\n\u003cp>“She made it OK that drag wasn’t perfect. She made it OK that you could make ugly drag and people would love that and throw dollars at you, too,” Hoffman said. “As long as you had something to say and were willing to get up on stage and do it, you were always welcome.”\u003c/p>\n\u003cp>“She welcomed everyone,” Hoffman continued. “She sassed everyone. If you got sassed by Heklina, you felt like you’ve made it.”\u003c/p>\n\u003cfigure id=\"attachment_13929611\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929611\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/RS65857_049_KQED_HeklinaMemorialCastro_05232023-qut.jpg\" alt=\"A drag performer holds a microphone in one hand, and with the other, holds a marker and draws a beauty mark on the face of a woman standing in the crowd outside the Castro Theater.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65857_049_KQED_HeklinaMemorialCastro_05232023-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65857_049_KQED_HeklinaMemorialCastro_05232023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65857_049_KQED_HeklinaMemorialCastro_05232023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65857_049_KQED_HeklinaMemorialCastro_05232023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65857_049_KQED_HeklinaMemorialCastro_05232023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65857_049_KQED_HeklinaMemorialCastro_05232023-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Co-host LOL McFiercen paints a beauty mark on Linda Lee’s face in honor of Heklina during a memorial outside of the Castro Theatre in San Francisco on May 23, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Darwin Bell, 57, moved to San Francisco in 1987, and Heklina was first drag queen he ever saw perform. “It was very punk rock,” he said of that first show.\u003c/p>\n\u003cp>Heklina embraced more transgressive forms of drag, he recalled, adding that he hopes that San Francisco doesn’t lose that edge without her around. Bell and his friends went to so many shows featuring or organized by Heklina that they would joke among themselves, “At the end of the world, there’s going to be Cher, roaches and Heklina.”\u003c/p>\n\u003cp>“I never even thought there would be world without Heklina,” he said. “She was always kind of bitter and funny and mean, and I just never thought there would be a world without her.”\u003c/p>\n\u003cfigure id=\"attachment_13929613\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929613\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/RS65852_042_KQED_HeklinaMemorialCastro_05232023-qut.jpg\" alt=\"A large crowd stands on Castro Street in front of Castro Theater, and in the middle of the crowed, a young couple hugs and kisses.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65852_042_KQED_HeklinaMemorialCastro_05232023-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65852_042_KQED_HeklinaMemorialCastro_05232023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65852_042_KQED_HeklinaMemorialCastro_05232023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65852_042_KQED_HeklinaMemorialCastro_05232023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65852_042_KQED_HeklinaMemorialCastro_05232023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65852_042_KQED_HeklinaMemorialCastro_05232023-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Despite the strong winds, a crowd of hundreds gathers outside of the Castro Theatre to watch drag performances in honor of Heklina. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Inside, the Castro Theatre’s 1,407 seats filled up. Close friends of Heklina, including D’Arcy Drollinger and Peaches Christ, took the stage to share some of their fondest memories — infused with Heklina’s relentless humor and love for San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13929618\" class=\"wp-caption aligncenter\" style=\"max-width: 2392px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929618\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2.jpg\" alt=\"Three drag artists stand on a stage. All are wearing very elaborate dresses and big wigs.\" width=\"2392\" height=\"1594\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2.jpg 2392w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2-1920x1279.jpg 1920w\" sizes=\"(max-width: 2392px) 100vw, 2392px\">\u003cfigcaption class=\"wp-caption-text\">Dozens of Heklina’s closest friends and collaborators spoke and performed inside the Castro Theatre, including D’Arcy Drollinger, Sister Roma and Peaches Christ (left to right). \u003ccite>(Gooch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13929617\" class=\"wp-caption aligncenter\" style=\"max-width: 2446px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929617\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Fauxique-1.jpg\" alt='A large group of drag performers dance and sing on a stage. In the middle of them is a drag queen with a very large wig and a ribbon that reads \"Fauxnique.\"' width=\"2446\" height=\"1631\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fauxique-1.jpg 2446w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fauxique-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fauxique-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fauxique-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fauxique-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fauxique-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fauxique-1-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fauxique-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 2446px) 100vw, 2446px\">\u003cfigcaption class=\"wp-caption-text\">During her performance, Fauxnique brought out many other drag performers who collaborated with Heklina. \u003ccite>(Gooch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the memorial, Margey DeCuir, a San Francisco resident who watched the livestream on Castro Street, wrote to KQED to share that for her, Heklina’s memorial not only honored her life, but represented “the strength and loyalty of the queer community, to come and gather in grief.”\u003c/p>\n\u003cp>“Heklina touched lives globally,” she wrote, “and her memorial was a much needed embrace within the community.”\u003c/p>\n\u003cfigure id=\"attachment_13929605\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929605\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/024_KQED_HeklinaMemorialCastro_05232023.jpg\" alt=\"Two people share a deep hug and smile while they stand outdoors in San Francisco's Castro Street, surrounded by a large crowd.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/024_KQED_HeklinaMemorialCastro_05232023.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/024_KQED_HeklinaMemorialCastro_05232023-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/024_KQED_HeklinaMemorialCastro_05232023-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/024_KQED_HeklinaMemorialCastro_05232023-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/024_KQED_HeklinaMemorialCastro_05232023-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/024_KQED_HeklinaMemorialCastro_05232023-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alexander Tom hugs friend Margey DeCuir (left) during a memorial for Heklina outside of the Castro Theatre in San Francisco on May 23, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>This article includes reporting from KQED’s \u003ca href=\"https://www.kqed.org/author/nvoynovskaya\">Nastia Voynovskaya\u003c/a>.\u003c/em>\u003cbr>\n\u003c/p>\u003c/div>",
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"title": "There’s Only One Castro Theatre. Why Change It Now?",
"headTitle": "There’s Only One Castro Theatre. Why Change It Now? | KQED",
"content": "\u003cfigure id=\"attachment_13917427\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917427\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Castro.MAIN_-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.MAIN_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.MAIN_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.MAIN_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.MAIN_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.MAIN_-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.MAIN_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The interior of the Castro Theatre in San Francisco on Aug. 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em; float: left; line-height: 0.733em; padding: 0.05em 0.1em 0 0; font-family: times, serif, georgia;\">F\u003c/span>irst things first: Everybody loves the Castro Theatre.\u003c/p>\n\u003cp>That much should be evident during a town hall this Thursday, Aug. 11, hosted by \u003ca href=\"https://www.kqed.org/arts/13908311/castro-theatre-to-become-live-music-and-events-venue-after-renovation\" target=\"_blank\" rel=\"noopener noreferrer\">the theater’s new operators\u003c/a>, the live-music promoters \u003ca href=\"https://apeconcerts.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Another Planet Entertainment\u003c/a>. But love for the Castro Theatre may be where consensus ends on Thursday.\u003c/p>\n\u003cp>Another Planet Entertainment (APE) is proposing a restoration and renovation of the 100-year-old theater, which includes the ceiling, marquee, proscenium, dressing rooms, bathrooms, ADA compliance and more—upgrades widely welcomed. One part of APE’s proposal, however, has inspired over 5,000 opponents to sign \u003ca href=\"https://www.change.org/p/save-the-castro-theatre\" rel=\"noopener noreferrer\" target=\"_blank\">a petition\u003c/a> launched by the nonprofit Castro Theatre Conservancy, which names famous film directors like Martin Scorsese, Steven Spielberg and Francis Ford Coppola among its supporters.\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>\u003ca href=\"#castrotheatre\">Want to share your thoughts on the Castro Theatre with KQED?\u003c/a>\u003c/strong>\u003c/li>\n\u003c/ul>\n\u003cp>The controversy comes down to the raked theater floor and the Castro’s traditional orchestra-style theater seating, which APE has proposed replacing with removable seats on multi-level, flat platforms more conducive to standing-room concerts. (\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Plans-429-Castro-Street.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">The plans submitted\u003c/a> to San Francisco’s planning department \u003ca href=\"https://meyersound.com/wp-content/uploads/2016/12/fox_theater_7.jpg\" target=\"_blank\" rel=\"noopener noreferrer\">look similar to the Fox Theater in Oakland\u003c/a>, which APE helped restore and now operates.)\u003c/p>\n\u003cfigure id=\"attachment_13917433\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917433\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Castro.seating.jpg\" alt=\"\" width=\"800\" height=\"554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.seating.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.seating-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.seating-768x532.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of plans for the Castro Theatre submitted to the Planning Department, showing concession/bar areas in the back of the theater and multi-level tiers, which would be equipped for removable seating. The building’s new operators call the plans “very, very preliminary.” \u003ccite>(San Francisco Planning Department)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Why in the world would anyone change a historic theater that everyone loves? In short, APE’s answer is that the Castro needs some TLC, which APE can offer, but only if it’s allowed to present more than just film, including live music. And in order to present live music in a profitable, sustainable way, APE believes it needs to install a multi-level floor, or else audiences won’t come and it won’t make enough money to keep the doors open.\u003c/p>\n\u003cp>If you’re wondering why a bunch of seats stir such passion, you can get an earful of answers on Thursday night, sitting in those very seats where a century of San Francisco moviegoers have gazed up at a flickering screen and had life-changing experiences. As APE sees it, they’re preserving a crown jewel of the neighborhood, and paving a way to keep it open for another 100 years. But to so many who love it, the Castro is church, and altering its seating would be like ripping out the pews at Grace Cathedral.\u003c/p>\n\u003cfigure id=\"attachment_13917424\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917424\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Castro.Seatsfromavobe-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Seatsfromavobe-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Seatsfromavobe-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Seatsfromavobe-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Seatsfromavobe-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Seatsfromavobe-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Seatsfromavobe.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The seats and carpet on the orchestra level of the Castro Theatre in San Francisco on Aug. 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em; float: left; line-height: 0.733em; padding: 0.05em 0.1em 0 0; font-family: times, serif, georgia;\">P\u003c/span>eter Pastreich is among the film congregation. “If they are able to flatten the floors and remove all of those seats, the building will no longer be suitable for film,” Pastreich says. “They’ll make it great for rock concerts and other events, and virtually unusable for all kinds of other things, particularly film.”\u003c/p>\n\u003cp>Pastreich is the executive director of the nonprofit \u003ca href=\"https://www.savethecastrotheatre.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Castro Theatre Conservancy\u003c/a>, formed in June, which opposes APE’s floor plans. He admits that it’s virtually impossible in the modern day to keep a large, single-screen movie theater running on movies alone, at least with a for-profit model. In 2020, he says, members of his group approached the owners of the theater—Bay Properties, Inc., run by the Nasser family, whose ancestors built the theater in 1922—with a proposal to operate the Castro as a nonprofit, similar to the Roxie Theater in San Francisco or Film Forum in New York City.\u003c/p>\n\u003cp>[aside postID='arts_13908311']“Instead, they made a deal with APE. Which isn’t really a problem, until APE converts the theater,” Pastreich says, noting that while APE plans to present film at the Castro, it operates no other venues that regularly show film.\u003c/p>\n\u003cp>“I’ve heard Gregg Perloff from Another Planet say, ‘The public will tell us what they want to see, and we will respond to that.’ Well, what that means, I fear, is if they can sell 1,400 tickets to Metallica, and only 300 tickets to a showing of \u003cem>Casablanca\u003c/em>, of course they’re going to bring in Metallica and not \u003cem>Casablanca\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_13917446\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917446\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The interior of the Castro Theatre in San Francisco on Aug. 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Conservancy is asking District 8 Supervisor Rafael Mandelman to amend his enhanced landmark designation for the theater, which preserves “the full historical, architectural, aesthetic and cultural interest and value of the Castro Theatre,” to specifically include preservation of the orchestra-style seating. (Mandelman did not reply to a request for comment.) They are joined by the Castro LGBTQ+ Cultural District, which warns against “the intangible assets that are in danger of being lost if film repertory programming is ended at the theater.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>They’re not alone in their worries, as evidenced by the \u003ca href=\"https://www.instagram.com/p/CY69fTPrI4G/\" target=\"_blank\" rel=\"noopener noreferrer\">online comments\u003c/a> on the announcement of the Castro’s new management. And the Conservancy boasts the support of legendary film directors including Martin Scorcese, Francis Ford Coppola, Joel Coen, Paul Thomas Anderson, Steven Spielberg, Barry Jenkins, Guillermo del Toro, Terry Zwigoff, and John Waters, as well as San Francisco figures like Art Agnos, Jello Biafra, Cleve Jones, Sister Roma and Rebecca Solnit.\u003c/p>\n\u003cp>As for Thursday’s town hall hosted by APE, Pastreich is dismayed at the lack of a livestreaming option, as well as the format. His group has been given just five minutes to present, he says. “And the Q&A is handled by [former Supervisor] Bevan Dufty, who’s on the APE payroll, so he can recognize or not recognize whomever he wishes.”\u003c/p>\n\u003cp>Still, he’s hoping for a minor miracle: that film fans will voice such overwhelming opposition that APE will change their plans. “And realize,” he says, “that they’ve miscalculated.”\u003c/p>\n\u003cfigure id=\"attachment_13917426\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917426\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Castro.Projector-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Projector-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Projector-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Projector-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Projector-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Projector-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Projector.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Century projector at the Castro Theatre in San Francisco on Aug. 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em; float: left; line-height: 0.733em; padding: 0.05em 0.1em 0 0; font-family: times, serif, georgia;\">O\u003c/span>n the phone, David Perry is adamant: “Film is, has been and always will be part of the Castro Theatre experience,” he says.\u003c/p>\n\u003cp>The owner of a public relations firm, Perry, like former Supervisor Dufty, was hired by APE this year specifically to manage controversy about the Castro Theatre. Like many, he recalls fondly his first visit to the theatre, in 1986. But in 2022, he says, “single-screen theaters around the country are on life support. That’s the reality in which we live.” A 1,400 seat theater, he says, needs to diversify its offerings to be sustainable.\u003c/p>\n\u003cp>Perry insists that the floor plans submitted to the city “are very, very much preliminary plans,” subject to input from sightline specialists, architects, and the film community. He denies the charge made by the Castro Theatre Conservancy that smaller film festivals and LGBTQ+ organizations will be “priced out” of using the Castro as a community resource, and clarifies that APE will keep the Castro’s rare 70mm projector that visiting filmmakers like Paul Thomas Anderson have utilized in the past.\u003c/p>\n\u003cfigure id=\"attachment_13917425\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917425\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Castro.Proscenium-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Proscenium-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Proscenium-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Proscenium-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Proscenium-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Proscenium-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Proscenium.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The original 1922 proscenium of the Castro Theatre in San Francisco on Aug. 10, 2022, which Another Planet plans to restore. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Perry takes issue with the criticism that APE is a giant, corporate promoter that’s out of step with the independent, community-focused history and spirit of the theater. (The company puts on the Outside Lands music festival every year, which \u003ca href=\"https://news.pollstar.com/2019/08/27/by-the-numbers-outside-lands-grosses-highest-yet-29-6-million/\" target=\"_blank\" rel=\"noopener noreferrer\">in 2019 grossed $29.6 million\u003c/a>.) Perry describes APE as a “small, local business” that “understands the Castro.”\u003c/p>\n\u003cp>Like the Paramount in Oakland or the Orpheum in Los Angeles, the Castro could theoretically host concerts, comedy, events and film with the theatre seating intact, as it’s already done for years. Asked why APE couldn’t simply keep the current seats—and consider removing the first five to eight rows for concerts—Perry defers to APE’s experience, and their “good sense of what it takes to program a multi-use venue.”\u003c/p>\n\u003cp>APE also has a good sense of what it takes to compete in the live music market. Their two direct rivals, Live Nation and Goldenvoice, operate multiple theaters and ballrooms in San Francisco: the Warfield (capacity 2,300), the Masonic Auditorium (3,481), the Fillmore (1,300), and the Regency Ballroom (1,400). APE, on the other hand, operates the small Independent (500) and the large Bill Graham Civic Auditorium (8,500), with no mid-sized options in between.\u003c/p>\n\u003cfigure id=\"attachment_13917434\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917434\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Castro.Marquee-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Marquee-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Marquee-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Marquee-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Marquee-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Marquee-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Marquee.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Another Planet Entertainment plans restorations of both the marquee and neon “blade” of the Castro Theatre in San Francisco’s Castro District, pictured here on July 28, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So, in San Francisco, APE needs a venue like the Castro to stay competitive. Which explains why, as APE CEO Gregg Perloff told KQED in January, APE approached the Nassers during the pandemic with a proposal to operate the theater.\u003c/p>\n\u003cp>“They were looking for the right stewardship for the theater,” Perloff said. “This is their baby. And we need to respect the tremendous work they’ve done in making the theater a part of the community.”\u003c/p>\n\u003cp>The Castro has become such a part of the community, in fact, that generations of moviegoers feel a strong sense of ownership over the theater. Part of what’s happening now is the shock that they are not the owners; the Nassers are, and they’re entitled to do what they want with it.\u003c/p>\n\u003cp>But the way the Castro Theatre has become such a community asset is primarily through film. As Sister Roma of the Sisters of Perpetual Indulgence asks, “Do we really need another concrete concert hall when glamorous film houses are disappearing around the country?”\u003c/p>\n\u003cp>In other words: while there are already plenty of music venues in San Francisco, there’s only one Castro Theatre.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cem>A \u003ca href=\"https://www.castrotheatre.com/community-meeting/\" target=\"_blank\" rel=\"noopener noreferrer\">Town Hall on the future of the Castro Theatre\u003c/a> takes place at 6pm on Thursday, Aug. 11, at the Castro Theatre in San Francisco. Questions and comments for the Q&A must be submitted at the event via an online portal. \u003ca href=\"https://www.castrotheatre.com/community-meeting/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003ch2>\u003ca id=\"castrotheatre\">\u003c/a>Share your thoughts\u003c/h2>\n\u003cp>However the future may look for the Castro Theatre, a live-music promoter taking over its operations marks an end of an era for this iconic space. And ahead of these potential changes, here at KQED we want to take a moment to highlight your memories of the venue.\u003c/p>\n\u003cp>Tell us using the box below: \u003cstrong>What was your favorite movie you saw at the Castro Theatre? The most memorable night you had? The best (or worst) date you went on?\u003c/strong>\u003c/p>\n\u003cp>Share your thoughts, and we’d love to feature your words here on KQED.org and on our social media channels.\u003c/p>\n\u003cp>[hearken id=”9857″ src=”https://modules.wearehearken.com/kqed/embed/9857.js”]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13917427\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917427\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Castro.MAIN_-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.MAIN_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.MAIN_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.MAIN_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.MAIN_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.MAIN_-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.MAIN_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The interior of the Castro Theatre in San Francisco on Aug. 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em; float: left; line-height: 0.733em; padding: 0.05em 0.1em 0 0; font-family: times, serif, georgia;\">F\u003c/span>irst things first: Everybody loves the Castro Theatre.\u003c/p>\n\u003cp>That much should be evident during a town hall this Thursday, Aug. 11, hosted by \u003ca href=\"https://www.kqed.org/arts/13908311/castro-theatre-to-become-live-music-and-events-venue-after-renovation\" target=\"_blank\" rel=\"noopener noreferrer\">the theater’s new operators\u003c/a>, the live-music promoters \u003ca href=\"https://apeconcerts.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Another Planet Entertainment\u003c/a>. But love for the Castro Theatre may be where consensus ends on Thursday.\u003c/p>\n\u003cp>Another Planet Entertainment (APE) is proposing a restoration and renovation of the 100-year-old theater, which includes the ceiling, marquee, proscenium, dressing rooms, bathrooms, ADA compliance and more—upgrades widely welcomed. One part of APE’s proposal, however, has inspired over 5,000 opponents to sign \u003ca href=\"https://www.change.org/p/save-the-castro-theatre\" rel=\"noopener noreferrer\" target=\"_blank\">a petition\u003c/a> launched by the nonprofit Castro Theatre Conservancy, which names famous film directors like Martin Scorsese, Steven Spielberg and Francis Ford Coppola among its supporters.\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>\u003ca href=\"#castrotheatre\">Want to share your thoughts on the Castro Theatre with KQED?\u003c/a>\u003c/strong>\u003c/li>\n\u003c/ul>\n\u003cp>The controversy comes down to the raked theater floor and the Castro’s traditional orchestra-style theater seating, which APE has proposed replacing with removable seats on multi-level, flat platforms more conducive to standing-room concerts. (\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Plans-429-Castro-Street.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">The plans submitted\u003c/a> to San Francisco’s planning department \u003ca href=\"https://meyersound.com/wp-content/uploads/2016/12/fox_theater_7.jpg\" target=\"_blank\" rel=\"noopener noreferrer\">look similar to the Fox Theater in Oakland\u003c/a>, which APE helped restore and now operates.)\u003c/p>\n\u003cfigure id=\"attachment_13917433\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917433\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Castro.seating.jpg\" alt=\"\" width=\"800\" height=\"554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.seating.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.seating-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.seating-768x532.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of plans for the Castro Theatre submitted to the Planning Department, showing concession/bar areas in the back of the theater and multi-level tiers, which would be equipped for removable seating. The building’s new operators call the plans “very, very preliminary.” \u003ccite>(San Francisco Planning Department)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Why in the world would anyone change a historic theater that everyone loves? In short, APE’s answer is that the Castro needs some TLC, which APE can offer, but only if it’s allowed to present more than just film, including live music. And in order to present live music in a profitable, sustainable way, APE believes it needs to install a multi-level floor, or else audiences won’t come and it won’t make enough money to keep the doors open.\u003c/p>\n\u003cp>If you’re wondering why a bunch of seats stir such passion, you can get an earful of answers on Thursday night, sitting in those very seats where a century of San Francisco moviegoers have gazed up at a flickering screen and had life-changing experiences. As APE sees it, they’re preserving a crown jewel of the neighborhood, and paving a way to keep it open for another 100 years. But to so many who love it, the Castro is church, and altering its seating would be like ripping out the pews at Grace Cathedral.\u003c/p>\n\u003cfigure id=\"attachment_13917424\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917424\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Castro.Seatsfromavobe-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Seatsfromavobe-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Seatsfromavobe-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Seatsfromavobe-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Seatsfromavobe-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Seatsfromavobe-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Seatsfromavobe.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The seats and carpet on the orchestra level of the Castro Theatre in San Francisco on Aug. 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em; float: left; line-height: 0.733em; padding: 0.05em 0.1em 0 0; font-family: times, serif, georgia;\">P\u003c/span>eter Pastreich is among the film congregation. “If they are able to flatten the floors and remove all of those seats, the building will no longer be suitable for film,” Pastreich says. “They’ll make it great for rock concerts and other events, and virtually unusable for all kinds of other things, particularly film.”\u003c/p>\n\u003cp>Pastreich is the executive director of the nonprofit \u003ca href=\"https://www.savethecastrotheatre.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Castro Theatre Conservancy\u003c/a>, formed in June, which opposes APE’s floor plans. He admits that it’s virtually impossible in the modern day to keep a large, single-screen movie theater running on movies alone, at least with a for-profit model. In 2020, he says, members of his group approached the owners of the theater—Bay Properties, Inc., run by the Nasser family, whose ancestors built the theater in 1922—with a proposal to operate the Castro as a nonprofit, similar to the Roxie Theater in San Francisco or Film Forum in New York City.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Instead, they made a deal with APE. Which isn’t really a problem, until APE converts the theater,” Pastreich says, noting that while APE plans to present film at the Castro, it operates no other venues that regularly show film.\u003c/p>\n\u003cp>“I’ve heard Gregg Perloff from Another Planet say, ‘The public will tell us what they want to see, and we will respond to that.’ Well, what that means, I fear, is if they can sell 1,400 tickets to Metallica, and only 300 tickets to a showing of \u003cem>Casablanca\u003c/em>, of course they’re going to bring in Metallica and not \u003cem>Casablanca\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_13917446\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917446\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The interior of the Castro Theatre in San Francisco on Aug. 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Conservancy is asking District 8 Supervisor Rafael Mandelman to amend his enhanced landmark designation for the theater, which preserves “the full historical, architectural, aesthetic and cultural interest and value of the Castro Theatre,” to specifically include preservation of the orchestra-style seating. (Mandelman did not reply to a request for comment.) They are joined by the Castro LGBTQ+ Cultural District, which warns against “the intangible assets that are in danger of being lost if film repertory programming is ended at the theater.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>They’re not alone in their worries, as evidenced by the \u003ca href=\"https://www.instagram.com/p/CY69fTPrI4G/\" target=\"_blank\" rel=\"noopener noreferrer\">online comments\u003c/a> on the announcement of the Castro’s new management. And the Conservancy boasts the support of legendary film directors including Martin Scorcese, Francis Ford Coppola, Joel Coen, Paul Thomas Anderson, Steven Spielberg, Barry Jenkins, Guillermo del Toro, Terry Zwigoff, and John Waters, as well as San Francisco figures like Art Agnos, Jello Biafra, Cleve Jones, Sister Roma and Rebecca Solnit.\u003c/p>\n\u003cp>As for Thursday’s town hall hosted by APE, Pastreich is dismayed at the lack of a livestreaming option, as well as the format. His group has been given just five minutes to present, he says. “And the Q&A is handled by [former Supervisor] Bevan Dufty, who’s on the APE payroll, so he can recognize or not recognize whomever he wishes.”\u003c/p>\n\u003cp>Still, he’s hoping for a minor miracle: that film fans will voice such overwhelming opposition that APE will change their plans. “And realize,” he says, “that they’ve miscalculated.”\u003c/p>\n\u003cfigure id=\"attachment_13917426\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917426\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Castro.Projector-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Projector-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Projector-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Projector-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Projector-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Projector-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Projector.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Century projector at the Castro Theatre in San Francisco on Aug. 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em; float: left; line-height: 0.733em; padding: 0.05em 0.1em 0 0; font-family: times, serif, georgia;\">O\u003c/span>n the phone, David Perry is adamant: “Film is, has been and always will be part of the Castro Theatre experience,” he says.\u003c/p>\n\u003cp>The owner of a public relations firm, Perry, like former Supervisor Dufty, was hired by APE this year specifically to manage controversy about the Castro Theatre. Like many, he recalls fondly his first visit to the theatre, in 1986. But in 2022, he says, “single-screen theaters around the country are on life support. That’s the reality in which we live.” A 1,400 seat theater, he says, needs to diversify its offerings to be sustainable.\u003c/p>\n\u003cp>Perry insists that the floor plans submitted to the city “are very, very much preliminary plans,” subject to input from sightline specialists, architects, and the film community. He denies the charge made by the Castro Theatre Conservancy that smaller film festivals and LGBTQ+ organizations will be “priced out” of using the Castro as a community resource, and clarifies that APE will keep the Castro’s rare 70mm projector that visiting filmmakers like Paul Thomas Anderson have utilized in the past.\u003c/p>\n\u003cfigure id=\"attachment_13917425\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917425\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Castro.Proscenium-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Proscenium-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Proscenium-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Proscenium-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Proscenium-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Proscenium-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Proscenium.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The original 1922 proscenium of the Castro Theatre in San Francisco on Aug. 10, 2022, which Another Planet plans to restore. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Perry takes issue with the criticism that APE is a giant, corporate promoter that’s out of step with the independent, community-focused history and spirit of the theater. (The company puts on the Outside Lands music festival every year, which \u003ca href=\"https://news.pollstar.com/2019/08/27/by-the-numbers-outside-lands-grosses-highest-yet-29-6-million/\" target=\"_blank\" rel=\"noopener noreferrer\">in 2019 grossed $29.6 million\u003c/a>.) Perry describes APE as a “small, local business” that “understands the Castro.”\u003c/p>\n\u003cp>Like the Paramount in Oakland or the Orpheum in Los Angeles, the Castro could theoretically host concerts, comedy, events and film with the theatre seating intact, as it’s already done for years. Asked why APE couldn’t simply keep the current seats—and consider removing the first five to eight rows for concerts—Perry defers to APE’s experience, and their “good sense of what it takes to program a multi-use venue.”\u003c/p>\n\u003cp>APE also has a good sense of what it takes to compete in the live music market. Their two direct rivals, Live Nation and Goldenvoice, operate multiple theaters and ballrooms in San Francisco: the Warfield (capacity 2,300), the Masonic Auditorium (3,481), the Fillmore (1,300), and the Regency Ballroom (1,400). APE, on the other hand, operates the small Independent (500) and the large Bill Graham Civic Auditorium (8,500), with no mid-sized options in between.\u003c/p>\n\u003cfigure id=\"attachment_13917434\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917434\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Castro.Marquee-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Marquee-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Marquee-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Marquee-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Marquee-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Marquee-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Marquee.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Another Planet Entertainment plans restorations of both the marquee and neon “blade” of the Castro Theatre in San Francisco’s Castro District, pictured here on July 28, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So, in San Francisco, APE needs a venue like the Castro to stay competitive. Which explains why, as APE CEO Gregg Perloff told KQED in January, APE approached the Nassers during the pandemic with a proposal to operate the theater.\u003c/p>\n\u003cp>“They were looking for the right stewardship for the theater,” Perloff said. “This is their baby. And we need to respect the tremendous work they’ve done in making the theater a part of the community.”\u003c/p>\n\u003cp>The Castro has become such a part of the community, in fact, that generations of moviegoers feel a strong sense of ownership over the theater. Part of what’s happening now is the shock that they are not the owners; the Nassers are, and they’re entitled to do what they want with it.\u003c/p>\n\u003cp>But the way the Castro Theatre has become such a community asset is primarily through film. As Sister Roma of the Sisters of Perpetual Indulgence asks, “Do we really need another concrete concert hall when glamorous film houses are disappearing around the country?”\u003c/p>\n\u003cp>In other words: while there are already plenty of music venues in San Francisco, there’s only one Castro Theatre.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cem>A \u003ca href=\"https://www.castrotheatre.com/community-meeting/\" target=\"_blank\" rel=\"noopener noreferrer\">Town Hall on the future of the Castro Theatre\u003c/a> takes place at 6pm on Thursday, Aug. 11, at the Castro Theatre in San Francisco. Questions and comments for the Q&A must be submitted at the event via an online portal. \u003ca href=\"https://www.castrotheatre.com/community-meeting/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003ch2>\u003ca id=\"castrotheatre\">\u003c/a>Share your thoughts\u003c/h2>\n\u003cp>However the future may look for the Castro Theatre, a live-music promoter taking over its operations marks an end of an era for this iconic space. And ahead of these potential changes, here at KQED we want to take a moment to highlight your memories of the venue.\u003c/p>\n\u003cp>Tell us using the box below: \u003cstrong>What was your favorite movie you saw at the Castro Theatre? The most memorable night you had? The best (or worst) date you went on?\u003c/strong>\u003c/p>\n\u003cp>Share your thoughts, and we’d love to feature your words here on KQED.org and on our social media channels.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Small, Sweet Bay Area Theaters Reopen Just in Time for Final Summer Days",
"headTitle": "Small, Sweet Bay Area Theaters Reopen Just in Time for Final Summer Days | KQED",
"content": "\u003cp>Summer brings some much-needed good news about several of the Bay Area’s most delightful movie theaters. By now, the “bad news” theme has become redundant, every story about a beloved venue uniquely terrible in the specifics. COVID-19 caused a number of screens to close in the past few years, including Landmark’s Embarcadero Cinema and \u003ca href=\"https://www.kqed.org/arts/13892596/historic-west-portal-theater-closes-permanently-due-to-pandemic\" rel=\"noopener noreferrer\" target=\"_blank\">West Portal’s CinéArts\u003c/a> at the Empire. The pandemic spurred the elimination of the \u003ca href=\"https://www.kqed.org/arts/13900656/sfmoma-cuts-bay-area-alternative-film\" rel=\"noopener noreferrer\" target=\"_blank\">SFMOMA’s film programming\u003c/a>, while the \u003ca href=\"https://hoodline.com/2022/07/another-planet-entertainment-announces-town-hall-meeting-on-controversial-changes-to-historic-castro-theatre/\" rel=\"noopener noreferrer\" target=\"_blank\">Castro Theatre’s future\u003c/a> is uncertain.\u003c/p>\n\u003cp>The venues that survive have navigated rocky paths. While some cinemas reverted to standard procedures a while ago—and some barely closed at all, except when mandated by local governments in the first months of the pandemic—other Bay Area movie theaters have only recently resumed programming. Against the current trend of packing summer theater schedules with action hero franchise flicks, many of these enduring institutions focus on vintage fare and the opportunity to see movies in a particularly charming context with others—spaced out on an enormous lawn, for example.\u003c/p>\n\u003cp>At this stage of the pandemic, there are numerous options for moviegoers: indoor screenings, with and without masks mandated; free outdoor shows; and even a drive-in for loved ones and pods to take in a Friday night film in one vehicle.\u003c/p>\n\u003cfigure id=\"attachment_13917014\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/GettyImages-598748922_1200.jpg\" alt=\"Angled up view of marquee advertising old films\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13917014\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-598748922_1200.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-598748922_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-598748922_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-598748922_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-598748922_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-598748922_1200-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The marquee for the Stanford Theatre on University Avenue, Palo Alto in 2016. \u003ccite>(Photo via Smith Collection/Gado/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Palo Alto’s movie palace is back\u003c/h2>\n\u003cp>Closed since March 1, 2020, the \u003ca href=\"https://stanfordtheatre.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Stanford Theatre\u003c/a> in Palo Alto reopened in July with a new ventilation and air-conditioning system added to the 1925 building. Little else has changed for the red velvet curtain cinema, where a live organist plays the house Wurlitzer between classic double features, which cost just $7 ($5 for youth and seniors). If stars like Cary Grant, Katharine Hepburn and Humphrey Bogart are favorites—or you want to get acquainted with any of them—you likely either already love this Peninsula movie palace or need to make plans to pay a visit. \u003c/p>\n\u003cp>Even before the cinema added central air, summer has been a delightful time to disappear into an afternoon double bill. A favorite golden age pairing back in July 2017 had me snagging front-row seats—literally—to take in \u003cem>The Desk Set\u003c/em> as a matinee, followed by a live music intermission before \u003cem>The African Queen\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The cinema stays affordable thanks to being entirely sustained by the Packard Humanities Institute, the nonprofit foundation founded by David Woodley Packard, an accomplished academic, \u003ca href=\"https://packhum.org/preserved.html\" rel=\"noopener noreferrer\" target=\"_blank\">tireless film preservationist\u003c/a>, and the son of Hewlett-Packard’s co-founder. \u003c/p>\n\u003cp>The \u003ca href=\"https://stanfordtheatre.org/calendars/Summer%202022.html\" rel=\"noopener noreferrer\" target=\"_blank\">Stanford Theatre schedule\u003c/a> is planned out through September, and available to view online. Tickets at the formerly all-cash box office can now be purchased with a credit or debit card, but this decidedly throwback theater still does only in-person ticket sales, and seating is first come, first serve. \u003c/p>\n\u003cfigure id=\"attachment_13917033\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/GettyImages-87226353_1200.jpg\" alt=\"Black-and-white image of movie set, men on horses and lights above\" width=\"1200\" height=\"948\" class=\"size-full wp-image-13917033\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-87226353_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-87226353_1200-800x632.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-87226353_1200-1020x806.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-87226353_1200-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-87226353_1200-768x607.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Filming a Broncho Billy movie at Essanay Studios in Chicago, circa 1915. Broncho Billy, America’s first cowboy hero of the silver screen, is the second figure from the left, wearing chaps and a white hat. \u003ccite>(Photo by Chicago History Museum/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Shh! No talking during the movie\u003c/h2>\n\u003cp>Tucked away in the Fremont district of Niles, the \u003ca href=\"https://nilesfilmmuseum.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Niles Essanay Silent Film Museum\u003c/a> reopened in July after a two-year COVID closure. Its first 2022 in-person event, its annual Charlie Chaplin Days, paid homage to the icon who joined the Essanay motion picture studio at the end of 1914, months before his dramatic rise to worldwide fame the following year.\u003c/p>\n\u003cp>Founded in Chicago in 1907, the Essanay studio relocated to the enclave of Niles in 1912, seeking reprieve from the harsh Midwestern winters. Today, the company is best known for its enduring silent comedies, including the prolific work of the production studio’s co-founder, Gilbert “Broncho Billy” Anderson, who wrote, acted in, and edited many of the studio’s early films such as \u003cem>Mr. Flip\u003c/em>.\u003c/p>\n\u003cp>Rena Azevedo Kiehn, who directs the museum’s special programs and numerous community partnerships, notes that the silent film museum is reopening slowly, with no concessions at this time and COVID protections maintained for all. “We’re being respectful of the fact that a lot of our patrons and docents are seniors,” she said. Requiring masks and proof of vaccination for weekend-long lineups of talks and screenings, like last weekend’s Broncho Billy Days, keeps the programming accessible. \u003c/p>\n\u003cp>Depending on how the next few months unfold, the museum tentatively plans to continue special programs, like Halloween screenings, and ramp back up to regular weekly events by 2023. “We’d love to have more volunteers, which would allow us to do even more,” Kiehn added.\u003c/p>\n\u003cfigure id=\"attachment_13917034\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/west-side-story-epk_1200.jpg\" alt=\"Three women in red, yellow and orange dresses dance expressively on the street outside a bodega.\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13917034\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/west-side-story-epk_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/west-side-story-epk_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/west-side-story-epk_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/west-side-story-epk_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/west-side-story-epk_1200-768x576.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Steven Spielberg’s 2021 ‘West Side Story’ with Ariana DeBose (center) as Anita. \u003ccite>(20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>An encore for Marin’s drive-in\u003c/h2>\n\u003cp>Larkspur’s Lark Theater is once again running its \u003ca href=\"http://larktheater.net/movie-category/special-events/larkdrivein/\" rel=\"noopener noreferrer\" target=\"_blank\">summertime drive-in\u003c/a>. Presented in a Corte Madera parking lot between the marsh and shopping center, the naturally distanced Friday-night screenings include family-friendly features like \u003cem>Home Alone\u003c/em> and the new \u003cem>West Side Story\u003c/em>, and animated movies such as \u003cem>Shrek\u003c/em> and \u003cem>Ratatouille\u003c/em>.\u003c/p>\n\u003cp>Tickets for the drive-in are only sold online, with prices at $17 or $30 per vehicle depending on the number of occupants. Screenings begin shortly after sundown, with the start times after 8pm staggered through the end of the season as the summer days shorten. Be on time! Latecomers may be denied entry.\u003c/p>\n\u003ch2>More—free!—moviegoing options\u003c/h2>\n\u003cp>The San Francisco Parks Alliance continues its annual SF-centric \u003ca href=\"https://sanfranciscoparksalliance.org/projects/sundown-cinema/\" rel=\"noopener noreferrer\" target=\"_blank\">Sundown Cinema\u003c/a> series with free outdoor screenings at various city parks through the fall. The season finale, Addams Family Values, screens at the Jerry Garcia Amphitheater in John McLaren Park on Friday, Oct. 21.\u003c/p>\n\u003cp>The Berkeley Arts Museum and Pacific Film Archive will host \u003ca href=\"https://bampfa.org/program/free-outdoor-screenings-indelible-moments-may-i-have-dance\" rel=\"noopener noreferrer\" target=\"_blank\">three free screenings\u003c/a> in August on its huge outdoor LED screen at Addison and Oxford Streets. If you’re craving even more silent film viewings, the lineup includes Charlie Chaplin in 1925’s \u003cem>The Gold Rush\u003c/em>, as well as modern classics directed by Jean-Luc Godard and Spike Lee.\u003c/p>\n\u003cp>https://youtu.be/QzGzZ3O1ibs\u003c/p>\n\u003cp>Even travelers passing through SFO’s international terminal have the opportunity to pause for some respite with moving images. The SFO Museum’s \u003ca href=\"https://www.sfomuseum.org/programs/video-arts\" rel=\"noopener noreferrer\" target=\"_blank\">Video Arts screening area\u003c/a> shows contemporary short films for free in a much-needed oasis now open again, 7am–10pm daily. \u003c/p>\n\u003cp>Four years ago, pausing in the Video Arts cinema before a flight, I was captivated by the short film \u003cem>\u003ca href=\"https://vimeo.com/244555885\" rel=\"noopener noreferrer\" target=\"_blank\">The Monolith\u003c/a>\u003c/em>, about the changing view from New York painter Gwyneth Leech’s studio windows. Her artistic response to the unfolding construction—a rumination on transitions—was especially evocative to me. There I was, transiting between my current and former home, watching a film by chance in a microcinema. Even under pre-COVID circumstances, travel often makes me anxious and ill, as much as it delights me. But the screening room muffled the noise from the nearby security checkpoint, allowing me to relax and hyper-focus on the film. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>That afternoon, what could’ve been a forgettable waystation became a definitively memorable experience. Films seen in unique locales tend to stay with us, whether seen in historic theaters, parking lots or busy airports. We need only give ourselves over to a curator’s choice.\u003c/p>\n\n",
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"excerpt": "The pandemic’s been rough for filmgoing, but Bay Area venues are reopening—and reinstating beloved events.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Summer brings some much-needed good news about several of the Bay Area’s most delightful movie theaters. By now, the “bad news” theme has become redundant, every story about a beloved venue uniquely terrible in the specifics. COVID-19 caused a number of screens to close in the past few years, including Landmark’s Embarcadero Cinema and \u003ca href=\"https://www.kqed.org/arts/13892596/historic-west-portal-theater-closes-permanently-due-to-pandemic\" rel=\"noopener noreferrer\" target=\"_blank\">West Portal’s CinéArts\u003c/a> at the Empire. The pandemic spurred the elimination of the \u003ca href=\"https://www.kqed.org/arts/13900656/sfmoma-cuts-bay-area-alternative-film\" rel=\"noopener noreferrer\" target=\"_blank\">SFMOMA’s film programming\u003c/a>, while the \u003ca href=\"https://hoodline.com/2022/07/another-planet-entertainment-announces-town-hall-meeting-on-controversial-changes-to-historic-castro-theatre/\" rel=\"noopener noreferrer\" target=\"_blank\">Castro Theatre’s future\u003c/a> is uncertain.\u003c/p>\n\u003cp>The venues that survive have navigated rocky paths. While some cinemas reverted to standard procedures a while ago—and some barely closed at all, except when mandated by local governments in the first months of the pandemic—other Bay Area movie theaters have only recently resumed programming. Against the current trend of packing summer theater schedules with action hero franchise flicks, many of these enduring institutions focus on vintage fare and the opportunity to see movies in a particularly charming context with others—spaced out on an enormous lawn, for example.\u003c/p>\n\u003cp>At this stage of the pandemic, there are numerous options for moviegoers: indoor screenings, with and without masks mandated; free outdoor shows; and even a drive-in for loved ones and pods to take in a Friday night film in one vehicle.\u003c/p>\n\u003cfigure id=\"attachment_13917014\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/GettyImages-598748922_1200.jpg\" alt=\"Angled up view of marquee advertising old films\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13917014\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-598748922_1200.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-598748922_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-598748922_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-598748922_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-598748922_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-598748922_1200-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The marquee for the Stanford Theatre on University Avenue, Palo Alto in 2016. \u003ccite>(Photo via Smith Collection/Gado/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Palo Alto’s movie palace is back\u003c/h2>\n\u003cp>Closed since March 1, 2020, the \u003ca href=\"https://stanfordtheatre.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Stanford Theatre\u003c/a> in Palo Alto reopened in July with a new ventilation and air-conditioning system added to the 1925 building. Little else has changed for the red velvet curtain cinema, where a live organist plays the house Wurlitzer between classic double features, which cost just $7 ($5 for youth and seniors). If stars like Cary Grant, Katharine Hepburn and Humphrey Bogart are favorites—or you want to get acquainted with any of them—you likely either already love this Peninsula movie palace or need to make plans to pay a visit. \u003c/p>\n\u003cp>Even before the cinema added central air, summer has been a delightful time to disappear into an afternoon double bill. A favorite golden age pairing back in July 2017 had me snagging front-row seats—literally—to take in \u003cem>The Desk Set\u003c/em> as a matinee, followed by a live music intermission before \u003cem>The African Queen\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The cinema stays affordable thanks to being entirely sustained by the Packard Humanities Institute, the nonprofit foundation founded by David Woodley Packard, an accomplished academic, \u003ca href=\"https://packhum.org/preserved.html\" rel=\"noopener noreferrer\" target=\"_blank\">tireless film preservationist\u003c/a>, and the son of Hewlett-Packard’s co-founder. \u003c/p>\n\u003cp>The \u003ca href=\"https://stanfordtheatre.org/calendars/Summer%202022.html\" rel=\"noopener noreferrer\" target=\"_blank\">Stanford Theatre schedule\u003c/a> is planned out through September, and available to view online. Tickets at the formerly all-cash box office can now be purchased with a credit or debit card, but this decidedly throwback theater still does only in-person ticket sales, and seating is first come, first serve. \u003c/p>\n\u003cfigure id=\"attachment_13917033\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/GettyImages-87226353_1200.jpg\" alt=\"Black-and-white image of movie set, men on horses and lights above\" width=\"1200\" height=\"948\" class=\"size-full wp-image-13917033\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-87226353_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-87226353_1200-800x632.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-87226353_1200-1020x806.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-87226353_1200-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-87226353_1200-768x607.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Filming a Broncho Billy movie at Essanay Studios in Chicago, circa 1915. Broncho Billy, America’s first cowboy hero of the silver screen, is the second figure from the left, wearing chaps and a white hat. \u003ccite>(Photo by Chicago History Museum/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Shh! No talking during the movie\u003c/h2>\n\u003cp>Tucked away in the Fremont district of Niles, the \u003ca href=\"https://nilesfilmmuseum.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Niles Essanay Silent Film Museum\u003c/a> reopened in July after a two-year COVID closure. Its first 2022 in-person event, its annual Charlie Chaplin Days, paid homage to the icon who joined the Essanay motion picture studio at the end of 1914, months before his dramatic rise to worldwide fame the following year.\u003c/p>\n\u003cp>Founded in Chicago in 1907, the Essanay studio relocated to the enclave of Niles in 1912, seeking reprieve from the harsh Midwestern winters. Today, the company is best known for its enduring silent comedies, including the prolific work of the production studio’s co-founder, Gilbert “Broncho Billy” Anderson, who wrote, acted in, and edited many of the studio’s early films such as \u003cem>Mr. Flip\u003c/em>.\u003c/p>\n\u003cp>Rena Azevedo Kiehn, who directs the museum’s special programs and numerous community partnerships, notes that the silent film museum is reopening slowly, with no concessions at this time and COVID protections maintained for all. “We’re being respectful of the fact that a lot of our patrons and docents are seniors,” she said. Requiring masks and proof of vaccination for weekend-long lineups of talks and screenings, like last weekend’s Broncho Billy Days, keeps the programming accessible. \u003c/p>\n\u003cp>Depending on how the next few months unfold, the museum tentatively plans to continue special programs, like Halloween screenings, and ramp back up to regular weekly events by 2023. “We’d love to have more volunteers, which would allow us to do even more,” Kiehn added.\u003c/p>\n\u003cfigure id=\"attachment_13917034\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/west-side-story-epk_1200.jpg\" alt=\"Three women in red, yellow and orange dresses dance expressively on the street outside a bodega.\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13917034\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/west-side-story-epk_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/west-side-story-epk_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/west-side-story-epk_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/west-side-story-epk_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/west-side-story-epk_1200-768x576.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Steven Spielberg’s 2021 ‘West Side Story’ with Ariana DeBose (center) as Anita. \u003ccite>(20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>An encore for Marin’s drive-in\u003c/h2>\n\u003cp>Larkspur’s Lark Theater is once again running its \u003ca href=\"http://larktheater.net/movie-category/special-events/larkdrivein/\" rel=\"noopener noreferrer\" target=\"_blank\">summertime drive-in\u003c/a>. Presented in a Corte Madera parking lot between the marsh and shopping center, the naturally distanced Friday-night screenings include family-friendly features like \u003cem>Home Alone\u003c/em> and the new \u003cem>West Side Story\u003c/em>, and animated movies such as \u003cem>Shrek\u003c/em> and \u003cem>Ratatouille\u003c/em>.\u003c/p>\n\u003cp>Tickets for the drive-in are only sold online, with prices at $17 or $30 per vehicle depending on the number of occupants. Screenings begin shortly after sundown, with the start times after 8pm staggered through the end of the season as the summer days shorten. Be on time! Latecomers may be denied entry.\u003c/p>\n\u003ch2>More—free!—moviegoing options\u003c/h2>\n\u003cp>The San Francisco Parks Alliance continues its annual SF-centric \u003ca href=\"https://sanfranciscoparksalliance.org/projects/sundown-cinema/\" rel=\"noopener noreferrer\" target=\"_blank\">Sundown Cinema\u003c/a> series with free outdoor screenings at various city parks through the fall. The season finale, Addams Family Values, screens at the Jerry Garcia Amphitheater in John McLaren Park on Friday, Oct. 21.\u003c/p>\n\u003cp>The Berkeley Arts Museum and Pacific Film Archive will host \u003ca href=\"https://bampfa.org/program/free-outdoor-screenings-indelible-moments-may-i-have-dance\" rel=\"noopener noreferrer\" target=\"_blank\">three free screenings\u003c/a> in August on its huge outdoor LED screen at Addison and Oxford Streets. If you’re craving even more silent film viewings, the lineup includes Charlie Chaplin in 1925’s \u003cem>The Gold Rush\u003c/em>, as well as modern classics directed by Jean-Luc Godard and Spike Lee.\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/QzGzZ3O1ibs'\n title='//www.youtube.com/embed/QzGzZ3O1ibs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Even travelers passing through SFO’s international terminal have the opportunity to pause for some respite with moving images. The SFO Museum’s \u003ca href=\"https://www.sfomuseum.org/programs/video-arts\" rel=\"noopener noreferrer\" target=\"_blank\">Video Arts screening area\u003c/a> shows contemporary short films for free in a much-needed oasis now open again, 7am–10pm daily. \u003c/p>\n\u003cp>Four years ago, pausing in the Video Arts cinema before a flight, I was captivated by the short film \u003cem>\u003ca href=\"https://vimeo.com/244555885\" rel=\"noopener noreferrer\" target=\"_blank\">The Monolith\u003c/a>\u003c/em>, about the changing view from New York painter Gwyneth Leech’s studio windows. Her artistic response to the unfolding construction—a rumination on transitions—was especially evocative to me. There I was, transiting between my current and former home, watching a film by chance in a microcinema. Even under pre-COVID circumstances, travel often makes me anxious and ill, as much as it delights me. But the screening room muffled the noise from the nearby security checkpoint, allowing me to relax and hyper-focus on the film. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That afternoon, what could’ve been a forgettable waystation became a definitively memorable experience. Films seen in unique locales tend to stay with us, whether seen in historic theaters, parking lots or busy airports. We need only give ourselves over to a curator’s choice.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Top 10 Hottest Tickets at the SFFILM Festival’s Return to Theaters in 2022",
"headTitle": "The Top 10 Hottest Tickets at the SFFILM Festival’s Return to Theaters in 2022 | KQED",
"content": "\u003cp>I’ve been attending and covering the \u003ca href=\"https://sffilm.org/2022-festival-program/\" rel=\"noopener noreferrer\" target=\"_blank\">SFFILM Festival\u003c/a> (known as the San Francisco International Film Festival for nearly its entire existence) for 35 of its 65 years, and I can’t recall a time when its identity was murkier. To be sure, it was approaching a crossroads even before the pandemic, as the festival and film worlds—and San Francisco itself—had changed in ways that turned SFFILM from a pioneering beacon to a nice regional festival.\u003c/p>\n\u003cp>SFFILM was once the sun around which a handful of much smaller Bay Area film events revolved. Then the local calendar grew full with niche film festivals, crammed with local premieres. The audience for daring foreign films in the Bay Area—one of the top markets in the country for decades—declined. Meanwhile, streaming platforms, in the course of evolving into production houses on par with Hollywood’s legacy studios, have turned your home screen into a first-run theater.\u003c/p>\n\u003cp>[aside postID='arts_13908311']At the same time, the \u003ca href=\"https://sffilm.org/event/rachel-rosen-this-is-your-sffilm-life/\" rel=\"noopener noreferrer\" target=\"_blank\">departure of SFFILM’s popular director of programming Rachel Rosen\u003c/a> after the 2020 festival, and the subsequent departures of longtime programmers Audrey Chang and Amanda Salazar, heralded an abrupt changing of the guard. The current programming team, with the exception of SFFILM veteran Rod Armstrong, consists of newcomers.\u003c/p>\n\u003cp>So if the 2022 edition of the SFFILM Festival (playing April 21–May 1 at the Castro, Roxie, Vogue and Victoria Theaters in San Francisco, and in Berkeley at BAMPFA) feels more like Sundance Redux than Postcards from the Edge of the World, c’est la vie.\u003c/p>\n\u003cp>None of this, however, is meant to dampen your enthusiasm for the dozens of quality films among the 60-odd features and equivalent number of shorts. Here are my guesses as to the programs likely to sell out first.\u003c/p>\n\u003cfigure id=\"attachment_13911402\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/32sounds.FreeHistoryProject-800x533.jpg\" alt=\"A man stands with a microphone in a soundproof room \" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911402\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/32sounds.FreeHistoryProject-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/32sounds.FreeHistoryProject-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/32sounds.FreeHistoryProject-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/32sounds.FreeHistoryProject-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/32sounds.FreeHistoryProject-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/32sounds.FreeHistoryProject.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">’32 Sounds.’ \u003ccite>(Free History Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>’32 Sounds’\u003c/strong>\u003cbr>\n\u003cem>April 24, Castro Theatre\u003c/em>\u003cbr>\nSam Green began his career in San Francisco with the wonderful short documentary \u003cem>The Rainbow Man/John 3:16\u003c/em> and the essential feature doc \u003cem>The Weather Underground\u003c/em>. Before he relocated to New York, he devised a unique performance-oriented format that marries his onstage narration and live music to nonfiction film sequences. \u003cem>32 Sounds\u003c/em>, which premiered at Sundance, outfits every audience member with a headset for Green’s iconoclastic and beautifully guided road/head trip through the aural universe. Yes, the Castro is a big house, but trust me: You don’t want to miss this show.\u003c/p>\n\u003cfigure id=\"attachment_13911409\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/yeoh.ThomasLaisne.GettyImages-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13911409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/yeoh.ThomasLaisne.GettyImages-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/yeoh.ThomasLaisne.GettyImages-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/yeoh.ThomasLaisne.GettyImages-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/yeoh.ThomasLaisne.GettyImages-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/yeoh.ThomasLaisne.GettyImages-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/yeoh.ThomasLaisne.GettyImages.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michelle Yeoh. \u003ccite>(Thomas Laisne / Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>A Tribute to Michelle Yeoh: In Conversation with Sandra Oh\u003c/strong>\u003cbr>\n\u003cem>April 29, Castro Theatre\u003c/em>\u003cbr>\nLess than two weeks ago, the mere appearance of athletic, acrobatic Malaysian-born action superstar Michelle Yeoh was sufficient to pack the Castro. (OK, \u003ca href=\"https://sfstandard.com/arts-culture/photos-michelle-yeoh-co-stars-at-the-castro-theatre-debut-of-everything-everywhere-all-at-once/\" rel=\"noopener noreferrer\" target=\"_blank\">there was also a film premiere\u003c/a>, and her \u003cem>Everything Everywhere All at Once\u003c/em> costars and directors, but we all know who the draw was.) Surely there are more than enough Yeoh fans in the Bay Area to fill the vast movie house again, especially in the city that she calls her home away from home. (And, as a warmup, the festival is reprising \u003cem>Crouching Tiger, Hidden Dragon\u003c/em> (2000) on 35mm at the Castro on April 27.)\u003c/p>\n\u003cfigure id=\"attachment_13911400\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/marcel.SFFILM-800x433.jpg\" alt=\"\" width=\"800\" height=\"433\" class=\"size-medium wp-image-13911400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/marcel.SFFILM-800x433.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/marcel.SFFILM-1020x553.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/marcel.SFFILM-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/marcel.SFFILM-768x416.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/marcel.SFFILM-1536x832.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/marcel.SFFILM.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Marcel the Shell With Shoes On.’ \u003ccite>(Courtesy SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>A Tribute to Jenny Slate\u003c/strong>\u003cbr>\n\u003cem>April 22, Castro Theatre\u003c/em>\u003cbr>\nI’d be surprised if anyone is more surprised that Jenny Slate has become a household name than Jenny Slate. Sure, she’s been working nonstop (although often as a voice actor), going on two decades. But now she’s everywhere, with sufficient box-office clout to leverage her trilogy of animated web shorts into the new feature \u003cem>Marcell the Shell with Shoes On\u003c/em>. A laugh-filled, love-filled evening awaits.\u003c/p>\n\u003cfigure id=\"attachment_13911399\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/AmJusticeonTrial.SFFILM-800x559.jpg\" alt=\"\" width=\"800\" height=\"559\" class=\"size-medium wp-image-13911399\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/AmJusticeonTrial.SFFILM-800x559.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/AmJusticeonTrial.SFFILM-1020x712.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/AmJusticeonTrial.SFFILM-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/AmJusticeonTrial.SFFILM-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/AmJusticeonTrial.SFFILM-1536x1073.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/AmJusticeonTrial.SFFILM.jpg 1718w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘American Justice on Trial.’ \u003ccite>(Courtesy SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘American Justice on Trial’\u003c/strong>\u003cbr>\n\u003cem>April 22, Roxie Theater\u003c/em>\u003cbr>\nJudge-turned-author Lise Pearlman struggled for years to make a movie from her 2012 book, \u003cem>The Sky’s The Limit: People v. Newton, The Real Trial of the 20th Century?\u003c/em> She found top-drawer collaborators in Bay Area doc maker Andrew Abrahams (\u003cem>Under the Skin\u003c/em>) and Emmy-winning editor Herb Ferrette, who revisit Black Panther leader Huey P. Newton’s notorious 1967 death-penalty trial for the death of an Oakland policeman. The 40-minute film screens with A.K. Sandhu’s short, \u003cem>For Love and Legacy\u003c/em>, which follows sculptor Dana King as she creates a bust of Newton, \u003ca href=\"https://www.kqed.org/news/11893532/debut-of-dr-huey-p-newton-bust-spotlights-an-influential-black-panther-party-leader\" rel=\"noopener noreferrer\" target=\"_blank\">publicly installed last year\u003c/a> in West Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13911405\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/IDidntSee.ReidDavenport-800x450.jpg\" alt=\"A shadow of a man in a wheelchair across a crosswalk \" width=\"800\" height=\"450\" class=\"size-medium wp-image-13911405\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IDidntSee.ReidDavenport-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IDidntSee.ReidDavenport-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IDidntSee.ReidDavenport-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IDidntSee.ReidDavenport-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IDidntSee.ReidDavenport-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IDidntSee.ReidDavenport.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘I Didn’t See You There.’ \u003ccite>(Reid Davenport)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘I Didn’t See You There’\u003c/strong>\u003cbr>\n\u003cem>April 29, Victoria Theatre; April 30, BAMPFA\u003c/em>\u003cbr>\nReid Davenport’s bracing and beautiful view of Oakland and BART from a wheelchair is off-putting and endearing, pragmatic and poetic, contemporary and historic(al). A landmark in disability representation and one of the most valuable documentaries we’ll see all year. \u003cem>I Didn’t See You There\u003c/em> debuted at Sundance, when we covered it \u003ca href=\"https://www.kqed.org/arts/13908383/i-didnt-see-you-there-documentary-sundance-oakland-disability\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13911407\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/FireofLove.SFFILM-800x450.jpg\" alt=\"A person in a spacesuit-looking outfit in front of a giant fireball\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13911407\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/FireofLove.SFFILM-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/FireofLove.SFFILM-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/FireofLove.SFFILM-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/FireofLove.SFFILM-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/FireofLove.SFFILM-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/FireofLove.SFFILM.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Fire of Love.’ \u003ccite>(Courtesy SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Fire of Love’\u003c/strong>\u003cbr>\n\u003cem>April 23, Castro Theatre; April 24, BAMPFA\u003c/em>\u003cbr>\nSara Dosa’s heat-seeking portrait of French husband-and-wife volcano nerds, er, scientists Katia and Maurice Krafft opened Sundance to rapturous reviews. Crafted from troves of archival footage, \u003cem>Fire of Love\u003c/em> is the most accomplished film by the beloved Bay Area filmmaker and former SFFILM staffer, though I prefer her \u003cem>The Last Season\u003c/em> and \u003cem>The Seer and the Unseen\u003c/em> (both available on Kanopy, hint hint). An excellent date movie, for obvious reasons. \u003c/p>\n\u003cfigure id=\"attachment_13911401\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/Navalny.CNNFilms-800x450.jpg\" alt=\"A man sits at a desk \" width=\"800\" height=\"450\" class=\"size-medium wp-image-13911401\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Navalny.CNNFilms-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Navalny.CNNFilms-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Navalny.CNNFilms-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Navalny.CNNFilms-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Navalny.CNNFilms-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Navalny.CNNFilms.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Navalny.’ \u003ccite>(CNN Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Navalny’\u003c/strong>\u003cbr>\n\u003cem>April 23, Castro Theatre\u003c/em>\u003cbr>\nA late and wildly satisfying addition to the Sundance program, this doc has ripped-from-the-headlines political and hot-ticket frisson. The filmmaker had extraordinary access to Russian electoral candidate and opposition leader Alexei Navalny while he recovered in Germany from his Putin-ordered poisoning before courageously flying back to Moscow. Even before Putin’s invasion of Ukraine, and Navalny’s conviction last week for fraud and contempt of (kangaroo) court, \u003cem>Navalny\u003c/em> provided inspiration that people of character and conviction still roam the land.\u003c/p>\n\u003cfigure id=\"attachment_13911408\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/Happening.CourtesyIFCFilms-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13911408\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Happening.CourtesyIFCFilms-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Happening.CourtesyIFCFilms-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Happening.CourtesyIFCFilms-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Happening.CourtesyIFCFilms-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Happening.CourtesyIFCFilms-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Happening.CourtesyIFCFilms.jpg 1688w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Happening.’ \u003ccite>(Courtesy IFC Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Happening’\u003c/strong>\u003cbr>\n\u003cem>April 22, BAMPFA; April 23, Victoria Theatre\u003c/em>\u003cbr>\n\u003cstrong>‘The Janes’\u003c/strong>\u003cbr>\n\u003cem>April 30, Victoria Theatre\u003c/em>\u003cbr>\nAny day now, the headlines will announce the radical Supreme Court’s vote to overturn Roe v. Wade. Tia Lessin and Emma Pirdes’ prosaic yet galvanizing Sundance doc \u003cem>The Janes\u003c/em> collects the memories and testimony of the gutsy young Chicago women who devised and ran an illegal abortion-services operation in the late ’60s. Audrey Diwan’s \u003cem>Happening\u003c/em> is a devastating adaptation of Annie Ernaux’s autobiographical novel about a young French woman seeking to end an unwanted pregnancy in 1963.\u003c/p>\n\u003cfigure id=\"attachment_13911406\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/ChaCha.CRED_.CourtesySFFILM-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13911406\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ChaCha.CRED_.CourtesySFFILM-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ChaCha.CRED_.CourtesySFFILM-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ChaCha.CRED_.CourtesySFFILM-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ChaCha.CRED_.CourtesySFFILM-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ChaCha.CRED_.CourtesySFFILM-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ChaCha.CRED_.CourtesySFFILM.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Cha Cha Real Smooth.’ \u003ccite>(Courtesy SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Cha Cha Real Smooth’\u003c/strong>\u003cbr>\nApr. 30, Castro Theatre\u003cbr>\nThe festival’s Big Nights—Opening, Centerpiece, Closing—are, by definition, high-profile and quick sellers. I didn’t lead with them because, well, folks who like klieg lights and dressing up for movies and being the first on their block to see a new flick don’t need anyone’s encouragement to hop online and grab tickets.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But the Sundance crowd-pleaser \u003cem>Cha Cha Real Smooth\u003c/em> is the perfect Closing Night film: It manages to sustain and entertain the whole way through without being deep or even substantial, and boasts a mainstream star (Dakota Johnson) doing the indie-film thing. Writer-director-star Cooper Raiff—playing a charming, decent, newly coined college grad at loose ends—hugs the camera a little too much for my taste, but I have a hunch you’ll disagree.\u003c/p>\n\u003cp>[aside postID='arts_13870036']Jamie Sisley’s family drama \u003cem>Stay Awake\u003c/em> (April 21, Castro), featuring Chrissy Metz (\u003cem>This is Us\u003c/em>) as a mother addicted to opioids, marks an unexpectedly hard-hitting Opening Night selection. The fact-based Centerpiece pick, Abi Damaris Corbin’s \u003cem>892\u003c/em> (April 27, Castro), blends thriller elements with social concerns in its taut reenactment of an ex-Marine (John Boyega) who goes off in an Atlanta-area bank after Veterans Affairs bungles his disability payment.\u003c/p>\n\u003cp>Once upon a time, I could predict with some confidence that new films by Terence Davies (\u003cem>Benediction\u003c/em>) and Claire Denis (\u003cem>Both Sides of the Blade\u003c/em>) would sell out, along with \u003cem>Nothing Compares\u003c/em>, Kathryn Ferguson’s riveting reframing of Sinéad O’Connor as a no-fucks-to-give artist scarred by childhood abuse instead of the mischaracterizations of her as a shallow pop star/insulting heretic/fashion casualty/spoiled brat (take your pick) following her 1992 performance on \u003cem>Saturday Night Live\u003c/em>.\u003c/p>\n\u003cp>But who can say, at this tenuous moment in our relationship with movies, and the arts-agnostic attitude of so many of San Francisco’s newer arrivals? So my advice is the same as always: If a film catches your interest, don’t hesitate to buy a ticket.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The 65th SFFILM festival runs April 21–May 1, 2022, at various venues. \u003ca href=\"https://sffilm.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "Tributes to Michelle Yeoh and Jenny Slate, plus films about Huey P. Newton and Alexei Navalny, are among SFFILM's sure-to-sell-out events this year. ",
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"description": "Tributes to Michelle Yeoh and Jenny Slate, plus films about Huey P. Newton and Alexei Navalny, are among SFFILM's sure-to-sell-out events this year. ",
"title": "The Top 10 Hottest Tickets at the SFFILM Festival’s Return to Theaters in 2022 | KQED",
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"subhead": "Here are our picks to sell out, in an uncertain year.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I’ve been attending and covering the \u003ca href=\"https://sffilm.org/2022-festival-program/\" rel=\"noopener noreferrer\" target=\"_blank\">SFFILM Festival\u003c/a> (known as the San Francisco International Film Festival for nearly its entire existence) for 35 of its 65 years, and I can’t recall a time when its identity was murkier. To be sure, it was approaching a crossroads even before the pandemic, as the festival and film worlds—and San Francisco itself—had changed in ways that turned SFFILM from a pioneering beacon to a nice regional festival.\u003c/p>\n\u003cp>SFFILM was once the sun around which a handful of much smaller Bay Area film events revolved. Then the local calendar grew full with niche film festivals, crammed with local premieres. The audience for daring foreign films in the Bay Area—one of the top markets in the country for decades—declined. Meanwhile, streaming platforms, in the course of evolving into production houses on par with Hollywood’s legacy studios, have turned your home screen into a first-run theater.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At the same time, the \u003ca href=\"https://sffilm.org/event/rachel-rosen-this-is-your-sffilm-life/\" rel=\"noopener noreferrer\" target=\"_blank\">departure of SFFILM’s popular director of programming Rachel Rosen\u003c/a> after the 2020 festival, and the subsequent departures of longtime programmers Audrey Chang and Amanda Salazar, heralded an abrupt changing of the guard. The current programming team, with the exception of SFFILM veteran Rod Armstrong, consists of newcomers.\u003c/p>\n\u003cp>So if the 2022 edition of the SFFILM Festival (playing April 21–May 1 at the Castro, Roxie, Vogue and Victoria Theaters in San Francisco, and in Berkeley at BAMPFA) feels more like Sundance Redux than Postcards from the Edge of the World, c’est la vie.\u003c/p>\n\u003cp>None of this, however, is meant to dampen your enthusiasm for the dozens of quality films among the 60-odd features and equivalent number of shorts. Here are my guesses as to the programs likely to sell out first.\u003c/p>\n\u003cfigure id=\"attachment_13911402\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/32sounds.FreeHistoryProject-800x533.jpg\" alt=\"A man stands with a microphone in a soundproof room \" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911402\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/32sounds.FreeHistoryProject-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/32sounds.FreeHistoryProject-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/32sounds.FreeHistoryProject-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/32sounds.FreeHistoryProject-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/32sounds.FreeHistoryProject-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/32sounds.FreeHistoryProject.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">’32 Sounds.’ \u003ccite>(Free History Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>’32 Sounds’\u003c/strong>\u003cbr>\n\u003cem>April 24, Castro Theatre\u003c/em>\u003cbr>\nSam Green began his career in San Francisco with the wonderful short documentary \u003cem>The Rainbow Man/John 3:16\u003c/em> and the essential feature doc \u003cem>The Weather Underground\u003c/em>. Before he relocated to New York, he devised a unique performance-oriented format that marries his onstage narration and live music to nonfiction film sequences. \u003cem>32 Sounds\u003c/em>, which premiered at Sundance, outfits every audience member with a headset for Green’s iconoclastic and beautifully guided road/head trip through the aural universe. Yes, the Castro is a big house, but trust me: You don’t want to miss this show.\u003c/p>\n\u003cfigure id=\"attachment_13911409\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/yeoh.ThomasLaisne.GettyImages-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13911409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/yeoh.ThomasLaisne.GettyImages-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/yeoh.ThomasLaisne.GettyImages-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/yeoh.ThomasLaisne.GettyImages-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/yeoh.ThomasLaisne.GettyImages-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/yeoh.ThomasLaisne.GettyImages-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/yeoh.ThomasLaisne.GettyImages.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michelle Yeoh. \u003ccite>(Thomas Laisne / Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>A Tribute to Michelle Yeoh: In Conversation with Sandra Oh\u003c/strong>\u003cbr>\n\u003cem>April 29, Castro Theatre\u003c/em>\u003cbr>\nLess than two weeks ago, the mere appearance of athletic, acrobatic Malaysian-born action superstar Michelle Yeoh was sufficient to pack the Castro. (OK, \u003ca href=\"https://sfstandard.com/arts-culture/photos-michelle-yeoh-co-stars-at-the-castro-theatre-debut-of-everything-everywhere-all-at-once/\" rel=\"noopener noreferrer\" target=\"_blank\">there was also a film premiere\u003c/a>, and her \u003cem>Everything Everywhere All at Once\u003c/em> costars and directors, but we all know who the draw was.) Surely there are more than enough Yeoh fans in the Bay Area to fill the vast movie house again, especially in the city that she calls her home away from home. (And, as a warmup, the festival is reprising \u003cem>Crouching Tiger, Hidden Dragon\u003c/em> (2000) on 35mm at the Castro on April 27.)\u003c/p>\n\u003cfigure id=\"attachment_13911400\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/marcel.SFFILM-800x433.jpg\" alt=\"\" width=\"800\" height=\"433\" class=\"size-medium wp-image-13911400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/marcel.SFFILM-800x433.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/marcel.SFFILM-1020x553.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/marcel.SFFILM-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/marcel.SFFILM-768x416.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/marcel.SFFILM-1536x832.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/marcel.SFFILM.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Marcel the Shell With Shoes On.’ \u003ccite>(Courtesy SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>A Tribute to Jenny Slate\u003c/strong>\u003cbr>\n\u003cem>April 22, Castro Theatre\u003c/em>\u003cbr>\nI’d be surprised if anyone is more surprised that Jenny Slate has become a household name than Jenny Slate. Sure, she’s been working nonstop (although often as a voice actor), going on two decades. But now she’s everywhere, with sufficient box-office clout to leverage her trilogy of animated web shorts into the new feature \u003cem>Marcell the Shell with Shoes On\u003c/em>. A laugh-filled, love-filled evening awaits.\u003c/p>\n\u003cfigure id=\"attachment_13911399\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/AmJusticeonTrial.SFFILM-800x559.jpg\" alt=\"\" width=\"800\" height=\"559\" class=\"size-medium wp-image-13911399\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/AmJusticeonTrial.SFFILM-800x559.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/AmJusticeonTrial.SFFILM-1020x712.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/AmJusticeonTrial.SFFILM-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/AmJusticeonTrial.SFFILM-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/AmJusticeonTrial.SFFILM-1536x1073.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/AmJusticeonTrial.SFFILM.jpg 1718w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘American Justice on Trial.’ \u003ccite>(Courtesy SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘American Justice on Trial’\u003c/strong>\u003cbr>\n\u003cem>April 22, Roxie Theater\u003c/em>\u003cbr>\nJudge-turned-author Lise Pearlman struggled for years to make a movie from her 2012 book, \u003cem>The Sky’s The Limit: People v. Newton, The Real Trial of the 20th Century?\u003c/em> She found top-drawer collaborators in Bay Area doc maker Andrew Abrahams (\u003cem>Under the Skin\u003c/em>) and Emmy-winning editor Herb Ferrette, who revisit Black Panther leader Huey P. Newton’s notorious 1967 death-penalty trial for the death of an Oakland policeman. The 40-minute film screens with A.K. Sandhu’s short, \u003cem>For Love and Legacy\u003c/em>, which follows sculptor Dana King as she creates a bust of Newton, \u003ca href=\"https://www.kqed.org/news/11893532/debut-of-dr-huey-p-newton-bust-spotlights-an-influential-black-panther-party-leader\" rel=\"noopener noreferrer\" target=\"_blank\">publicly installed last year\u003c/a> in West Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13911405\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/IDidntSee.ReidDavenport-800x450.jpg\" alt=\"A shadow of a man in a wheelchair across a crosswalk \" width=\"800\" height=\"450\" class=\"size-medium wp-image-13911405\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IDidntSee.ReidDavenport-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IDidntSee.ReidDavenport-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IDidntSee.ReidDavenport-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IDidntSee.ReidDavenport-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IDidntSee.ReidDavenport-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IDidntSee.ReidDavenport.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘I Didn’t See You There.’ \u003ccite>(Reid Davenport)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘I Didn’t See You There’\u003c/strong>\u003cbr>\n\u003cem>April 29, Victoria Theatre; April 30, BAMPFA\u003c/em>\u003cbr>\nReid Davenport’s bracing and beautiful view of Oakland and BART from a wheelchair is off-putting and endearing, pragmatic and poetic, contemporary and historic(al). A landmark in disability representation and one of the most valuable documentaries we’ll see all year. \u003cem>I Didn’t See You There\u003c/em> debuted at Sundance, when we covered it \u003ca href=\"https://www.kqed.org/arts/13908383/i-didnt-see-you-there-documentary-sundance-oakland-disability\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13911407\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/FireofLove.SFFILM-800x450.jpg\" alt=\"A person in a spacesuit-looking outfit in front of a giant fireball\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13911407\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/FireofLove.SFFILM-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/FireofLove.SFFILM-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/FireofLove.SFFILM-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/FireofLove.SFFILM-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/FireofLove.SFFILM-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/FireofLove.SFFILM.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Fire of Love.’ \u003ccite>(Courtesy SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Fire of Love’\u003c/strong>\u003cbr>\n\u003cem>April 23, Castro Theatre; April 24, BAMPFA\u003c/em>\u003cbr>\nSara Dosa’s heat-seeking portrait of French husband-and-wife volcano nerds, er, scientists Katia and Maurice Krafft opened Sundance to rapturous reviews. Crafted from troves of archival footage, \u003cem>Fire of Love\u003c/em> is the most accomplished film by the beloved Bay Area filmmaker and former SFFILM staffer, though I prefer her \u003cem>The Last Season\u003c/em> and \u003cem>The Seer and the Unseen\u003c/em> (both available on Kanopy, hint hint). An excellent date movie, for obvious reasons. \u003c/p>\n\u003cfigure id=\"attachment_13911401\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/Navalny.CNNFilms-800x450.jpg\" alt=\"A man sits at a desk \" width=\"800\" height=\"450\" class=\"size-medium wp-image-13911401\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Navalny.CNNFilms-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Navalny.CNNFilms-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Navalny.CNNFilms-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Navalny.CNNFilms-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Navalny.CNNFilms-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Navalny.CNNFilms.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Navalny.’ \u003ccite>(CNN Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Navalny’\u003c/strong>\u003cbr>\n\u003cem>April 23, Castro Theatre\u003c/em>\u003cbr>\nA late and wildly satisfying addition to the Sundance program, this doc has ripped-from-the-headlines political and hot-ticket frisson. The filmmaker had extraordinary access to Russian electoral candidate and opposition leader Alexei Navalny while he recovered in Germany from his Putin-ordered poisoning before courageously flying back to Moscow. Even before Putin’s invasion of Ukraine, and Navalny’s conviction last week for fraud and contempt of (kangaroo) court, \u003cem>Navalny\u003c/em> provided inspiration that people of character and conviction still roam the land.\u003c/p>\n\u003cfigure id=\"attachment_13911408\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/Happening.CourtesyIFCFilms-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13911408\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Happening.CourtesyIFCFilms-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Happening.CourtesyIFCFilms-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Happening.CourtesyIFCFilms-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Happening.CourtesyIFCFilms-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Happening.CourtesyIFCFilms-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Happening.CourtesyIFCFilms.jpg 1688w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Happening.’ \u003ccite>(Courtesy IFC Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Happening’\u003c/strong>\u003cbr>\n\u003cem>April 22, BAMPFA; April 23, Victoria Theatre\u003c/em>\u003cbr>\n\u003cstrong>‘The Janes’\u003c/strong>\u003cbr>\n\u003cem>April 30, Victoria Theatre\u003c/em>\u003cbr>\nAny day now, the headlines will announce the radical Supreme Court’s vote to overturn Roe v. Wade. Tia Lessin and Emma Pirdes’ prosaic yet galvanizing Sundance doc \u003cem>The Janes\u003c/em> collects the memories and testimony of the gutsy young Chicago women who devised and ran an illegal abortion-services operation in the late ’60s. Audrey Diwan’s \u003cem>Happening\u003c/em> is a devastating adaptation of Annie Ernaux’s autobiographical novel about a young French woman seeking to end an unwanted pregnancy in 1963.\u003c/p>\n\u003cfigure id=\"attachment_13911406\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/ChaCha.CRED_.CourtesySFFILM-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13911406\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ChaCha.CRED_.CourtesySFFILM-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ChaCha.CRED_.CourtesySFFILM-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ChaCha.CRED_.CourtesySFFILM-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ChaCha.CRED_.CourtesySFFILM-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ChaCha.CRED_.CourtesySFFILM-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ChaCha.CRED_.CourtesySFFILM.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Cha Cha Real Smooth.’ \u003ccite>(Courtesy SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Cha Cha Real Smooth’\u003c/strong>\u003cbr>\nApr. 30, Castro Theatre\u003cbr>\nThe festival’s Big Nights—Opening, Centerpiece, Closing—are, by definition, high-profile and quick sellers. I didn’t lead with them because, well, folks who like klieg lights and dressing up for movies and being the first on their block to see a new flick don’t need anyone’s encouragement to hop online and grab tickets.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But the Sundance crowd-pleaser \u003cem>Cha Cha Real Smooth\u003c/em> is the perfect Closing Night film: It manages to sustain and entertain the whole way through without being deep or even substantial, and boasts a mainstream star (Dakota Johnson) doing the indie-film thing. Writer-director-star Cooper Raiff—playing a charming, decent, newly coined college grad at loose ends—hugs the camera a little too much for my taste, but I have a hunch you’ll disagree.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Jamie Sisley’s family drama \u003cem>Stay Awake\u003c/em> (April 21, Castro), featuring Chrissy Metz (\u003cem>This is Us\u003c/em>) as a mother addicted to opioids, marks an unexpectedly hard-hitting Opening Night selection. The fact-based Centerpiece pick, Abi Damaris Corbin’s \u003cem>892\u003c/em> (April 27, Castro), blends thriller elements with social concerns in its taut reenactment of an ex-Marine (John Boyega) who goes off in an Atlanta-area bank after Veterans Affairs bungles his disability payment.\u003c/p>\n\u003cp>Once upon a time, I could predict with some confidence that new films by Terence Davies (\u003cem>Benediction\u003c/em>) and Claire Denis (\u003cem>Both Sides of the Blade\u003c/em>) would sell out, along with \u003cem>Nothing Compares\u003c/em>, Kathryn Ferguson’s riveting reframing of Sinéad O’Connor as a no-fucks-to-give artist scarred by childhood abuse instead of the mischaracterizations of her as a shallow pop star/insulting heretic/fashion casualty/spoiled brat (take your pick) following her 1992 performance on \u003cem>Saturday Night Live\u003c/em>.\u003c/p>\n\u003cp>But who can say, at this tenuous moment in our relationship with movies, and the arts-agnostic attitude of so many of San Francisco’s newer arrivals? So my advice is the same as always: If a film catches your interest, don’t hesitate to buy a ticket.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The 65th SFFILM festival runs April 21–May 1, 2022, at various venues. \u003ca href=\"https://sffilm.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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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"title": "Questlove is Coming to the Castro Theatre for a 'Summer of Soul' Screening",
"headTitle": "Questlove is Coming to the Castro Theatre for a ‘Summer of Soul’ Screening | KQED",
"content": "\u003cp>During the summer of 1969, while Jimi Hendrix improvised his famous psychedelic rendition of the National Anthem at Woodstock, an equally significant festival was going down in New York City. The Harlem Cultural Festival spanned six weekends, with America’s leading funk, soul and gospel musicians performing to crowds of tens of thousands—a mega-event that channeled the revolutionary energy then coursing through the nation just as much as its whiter festival cousin, a hundred miles to the west.\u003c/p>\n\u003cp>[aside postID='arts_13899714']On Saturday, Nov. 6, SFFILM screens \u003cem>Summer of Soul (…Or, When the Revolution Could Not Be Televised)\u003c/em>, the acclaimed documentary on the so-called “Black Woodstock,” with producer Questlove appearing in person for a Q&A with rock journalist Ben Fong-Torres.\u003c/p>\n\u003cp>While the film is available on Hulu, its rarely seen footage of performances by Mahalia Jackson, Stevie Wonder, Nina Simone and others is best admired at larger-than-life size on the silver screen. The Castro Theatre’s ornate interior has only intermittently hosted public events since it shut down for the pandemic last March.\u003c/p>\n\u003cp>The documentary’s archival footage comes from Hal Tulchin, a television director who passed away in 2017. Tulchin filmed the entire Harlem Cultural Festival and preserved the reels for decades, but did not secure the full release of the footage during his lifetime. When the film was released in June, \u003cem>Summer of Soul\u003c/em> attracted widespread praise for its beautiful restoration of Tulchin’s reels and extensive set of interviews with the festival’s stars.\u003c/p>\n\u003cp>\u003cem>Summer of Soul\u003c/em> screens Saturday, Nov. 6, accompanied by a Q&A between Questlove and Ben Fong-Torres, at the Castro Theatre in San Francisco. \u003ca href=\"https://sffilm.org/event/summer-of-soul/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"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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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"radiolab": {
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
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