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This intimate, uncomfortable sequence is the whole movie in a nutshell: The camera never strays far from Linda’s face, immersing us in the cascading pressures that threaten to submerge her. Linda’s trajectory is a downward spiral (physician, heal thyself!), but my therapist tells me it’s always darkest just before the dawn.\u003c/p>\n\u003cfigure id=\"attachment_13984488\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NOUVELLE_VAGUE_n_00_50_48_21_2000.jpg\" alt=\"two men pushing cart with concealed camera trail man and woman on parisian street\" width=\"2000\" height=\"1459\" class=\"size-full wp-image-13984488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NOUVELLE_VAGUE_n_00_50_48_21_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NOUVELLE_VAGUE_n_00_50_48_21_2000-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NOUVELLE_VAGUE_n_00_50_48_21_2000-768x560.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NOUVELLE_VAGUE_n_00_50_48_21_2000-1536x1121.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Guillaume Marbeck as Jean-Luc Godard, Aubry Dullin as Jean-Paul Belmondo and Zoey Deutch as Jean Seberg in ‘Nouvelle Vague.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13983246/nouvelle-vague-movie-review-french-new-wave-linklater-on-godard-breathless\">Nouvelle Vague\u003c/a>’\u003c/h2>\n\u003cp>Jean-Luc Godard was the last of his many film-critic peers to direct a feature film. That made the cocky auteur slightly insecure, yet he made zero concessions to his radical approach or compromises to his unique vision. Richard Linklater’s marvelous French-language, black-and-white recreation of the making of \u003cem>Breathless\u003c/em> in Paris in 1959 chronicles the many ways the artist willfully risked a fall. Like provoking a mid-day café brawl with his producer, a physical manifestation of the philosophical tensions between art and commerce, improvisation and script, inspiration and pragmatism. Vive la révolution du cinéma!\u003c/p>\n\u003cfigure id=\"attachment_13984489\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/SentimentalValue_Renate_Reinsve_Stellan_Skarsga%CC%8Ard_Photo-Christian-Belgaux_2000.jpg\" alt=\"older man faces younger woman in front of hedge\" width=\"2000\" height=\"1202\" class=\"size-full wp-image-13984489\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/SentimentalValue_Renate_Reinsve_Stellan_Skarsgård_Photo-Christian-Belgaux_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/SentimentalValue_Renate_Reinsve_Stellan_Skarsgård_Photo-Christian-Belgaux_2000-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/SentimentalValue_Renate_Reinsve_Stellan_Skarsgård_Photo-Christian-Belgaux_2000-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/SentimentalValue_Renate_Reinsve_Stellan_Skarsgård_Photo-Christian-Belgaux_2000-1536x923.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Stellan Skarsgård and Renate Reinsve in ‘Sentimental Value.’ \u003ccite>(Christian Belgaux/NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13983315/sentimental-value-movie-review-joachim-trier-drama-stellan-skarsgard\">Sentimental Value\u003c/a>’\u003c/h2>\n\u003cp>In Joachim Trier’s richly layered drama, the fight over artistic expression is a family affair. You might think that legendary filmmaker Gustav Borg (Stellan Skarsgård) holds all the cards. However, his daughter Nora (Renate Reinsve) is a drama queen. Really. She’s a phenom whose acute stage fright — which she shockingly invokes to make out backstage with the stage manager — threatens to derail the opening night of her latest buzzy play. Trier blurs and blots the line between art and life in this dramatic opening, setting the terms of Gustav and Nora’s relationship.\u003c/p>\n\u003cfigure id=\"attachment_13984490\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/rev-1-OBAA-20250623_High_Res_JPEG_2000.jpg\" alt=\"seated young woman looks furtively to right\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13984490\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/rev-1-OBAA-20250623_High_Res_JPEG_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/rev-1-OBAA-20250623_High_Res_JPEG_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/rev-1-OBAA-20250623_High_Res_JPEG_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/rev-1-OBAA-20250623_High_Res_JPEG_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Chase Infiniti as Willa Ferguson in ‘One Battle After Another.’ \u003ccite>(Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13981463/one-battle-after-another-movie-review-leonardo-dicaprio-paul-thomas-anderson-immigration-revolution-action\">One Battle After Another\u003c/a>‘\u003c/h2>\n\u003cp>Paul Thomas Anderson’s would-be SoCal epic is framed as a long-running grudge match between erstwhile revolutionaries and the military clampdown. (\u003ca href=\"https://www.youtube.com/watch?v=9XEnTxlBuGo\">Which side are you on, which side are you on?\u003c/a>) Willa (Chase Infiniti), a mixed-race teenager of unambiguous innocence, is caught in the crossfire. In a rare quiet moment amid the battlefield chaos and cacophony, alone in a sun-blazed car while men fight over her, she peers through the shadows on the windshield and takes her life into her own hands. Now Willa’s journey truly begins, while everyone else keeps on running in circles over the same old ground.\u003c/p>\n\u003cfigure id=\"attachment_13984491\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/08_4243_D012_00172_R_rgb_2000.jpg\" alt=\"woman with shaved head and white cream on skin sits on bed, hands bound\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13984491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/08_4243_D012_00172_R_rgb_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/08_4243_D012_00172_R_rgb_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/08_4243_D012_00172_R_rgb_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/08_4243_D012_00172_R_rgb_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Emma Stone as Michelle in director Yorgos Lanthimos’ ‘Bugonia.’Focus Features release. \u003ccite>(Atsushi Nishijima/Focus Features)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13982740/bugonia-movie-review-emma-stone-jesse-plemons-yorgos-lanthimos\">Bugonia\u003c/a>’\u003c/h2>\n\u003cp>High-powered biotech CEO Michelle (Emma Stone) isn’t on a journey so much as a mission. But it isn’t apparent until Michelle has been kidnapped and chained in a mad conspiracy theorist’s basement. Abused, humiliated and covered in blood, Michelle refuses to be a victim for even a nanosecond. Stone’s commitment to frequent collaborator Yorgos Lanthimos is extraordinary, notably in the moment her face hardens into a mask of fearless fury.\u003c/p>\n\u003cfigure id=\"attachment_13984492\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Train_Dreams_u_00_43_38_15_R_2000.jpg\" alt=\"white man holds axe, looks up at massive tree\" width=\"2000\" height=\"1373\" class=\"size-full wp-image-13984492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Train_Dreams_u_00_43_38_15_R_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Train_Dreams_u_00_43_38_15_R_2000-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Train_Dreams_u_00_43_38_15_R_2000-768x527.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Train_Dreams_u_00_43_38_15_R_2000-1536x1054.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Joel Edgerton as Robert Grainier in ‘Train Dreams.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13983447/train-dreams-review-movie\">Train Dreams\u003c/a>’\u003c/h2>\n\u003cp>Looking straight down on a green Pacific Northwest forest, we watch a branch inexorably fall from a great height onto a man. Is it random bad luck? God’s mighty hand? Nature’s way of avenging the violence that loggers do to trees? Or the accidental handiwork of another laborer? Robert Grainier (Joel Edgerton), the simple protagonist of Clint Bentley’s meditation on the effects of 20th-century progress on one individual, grapples as best he can with these and other questions. \u003c/p>\n\u003cfigure id=\"attachment_13984493\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000.jpg\" alt=\"blurry image of man running down busy city street with valise\" width=\"2000\" height=\"838\" class=\"size-full wp-image-13984493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000-1536x644.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Timothée Chalamet in ‘Marty Supreme.’ \u003ccite>(A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Marty Supreme’\u003c/h2>\n\u003cp>Table-tennis hotshot/shoe salesman Marty Mauser’s manic drive to escape the shabby New York confines of his 1950s existence is, essentially, one battle after another. Here’s one: Dead-set on flying to London for a major tournament, the perpetually broke Marty (Timothée Chalamet) forces a co-worker at gunpoint to open the safe so he can take his “back pay.” Josh Safdie’s astonishing film is a nonstop barrage of extreme moments. Alas, for all his sound and fury, Marty ain’t going nowhere.\u003c/p>\n\u003cfigure id=\"attachment_13984494\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/TTAL_SG_00067_v2_2000.jpg\" alt=\"people in 18th-century clothes raise arms together on ship deck\" width=\"2000\" height=\"828\" class=\"size-full wp-image-13984494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/TTAL_SG_00067_v2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/TTAL_SG_00067_v2_2000-160x66.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/TTAL_SG_00067_v2_2000-768x318.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/TTAL_SG_00067_v2_2000-1536x636.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Amanda Seyfried and ensemble in ‘The Testament of Ann Lee.’ \u003ccite>(Searchlight Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Testament of Ann Lee’\u003c/h2>\n\u003cp>Mona Fastvold’s entrancing recreation of the Shaker religious movement contemplates the utopian aspirations of faith. In a turning point in the English sect’s development, its single-minded leader Ann Lee (Amanda Seyfried) declares that its future is in the New World. En route, a mid-Atlantic storm threatens the ship. Lee and her followers commandeer the deck for ecstatic prayer, braving the rain and the jeers of the disbelieving crew. On a rough and uncertain journey, it is helpful to be accompanied by your God, or a strong director. Some would say they are the same thing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Eight scintillating scenes from (some of) the year’s most compelling cinematic journeys.",
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"title": "The Best Movie Moments of 2025 | KQED",
"description": "Eight scintillating scenes from (some of) the year’s most compelling cinematic journeys.",
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"headline": "The Best Movie Moments of 2025",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This week, we’re looking back on the best art, music, food, movies and more from the year. \u003ca href=\"https://www.kqed.org/arts/tag/best-of-2025\">See our entire Best of 2025 guide here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>The imperative of narrative films, indeed of all storytelling, is forward movement. Our insistent, perennial question is, “And \u003cem>then\u003c/em> what happened?” But “what” only matters if we care about “who,” and how they react and respond to what happens.\u003c/p>\n\u003cp>The characters who stuck with me this year were on singular, propulsive journeys. They may have boarded a ship or hopped a train or ridden a spaceship, or stayed home and picked up a camera or a Ping-Pong paddle. They made unexpected and valuable discoveries, and I was glad to be along for the ride.\u003c/p>\n\u003cfigure id=\"attachment_13984487\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/LEGS04_Courtesy-of-A24_2000.jpg\" alt=\"woman on therapist couch, man taking notes beside her\" width=\"2000\" height=\"808\" class=\"size-full wp-image-13984487\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/LEGS04_Courtesy-of-A24_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/LEGS04_Courtesy-of-A24_2000-160x65.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/LEGS04_Courtesy-of-A24_2000-768x310.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/LEGS04_Courtesy-of-A24_2000-1536x621.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Conan O’Brien and Rose Byrne in ‘If I Had Legs I’d Kick You.’ \u003ccite>(Logan White/A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13982228/rose-byrne-astonishes-in-the-gripping-if-i-had-legs-id-kick-you\">If I Had Legs I’d Kick You\u003c/a>’\u003c/h2>\n\u003cp>Mary Bronstein’s desperate portrait of a struggling mother (and therapist) on her own begins with an extreme close-up of Linda (Rose Byrne) not-so-calmly listening to \u003cem>her\u003c/em> therapist and young daughter. This intimate, uncomfortable sequence is the whole movie in a nutshell: The camera never strays far from Linda’s face, immersing us in the cascading pressures that threaten to submerge her. Linda’s trajectory is a downward spiral (physician, heal thyself!), but my therapist tells me it’s always darkest just before the dawn.\u003c/p>\n\u003cfigure id=\"attachment_13984488\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NOUVELLE_VAGUE_n_00_50_48_21_2000.jpg\" alt=\"two men pushing cart with concealed camera trail man and woman on parisian street\" width=\"2000\" height=\"1459\" class=\"size-full wp-image-13984488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NOUVELLE_VAGUE_n_00_50_48_21_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NOUVELLE_VAGUE_n_00_50_48_21_2000-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NOUVELLE_VAGUE_n_00_50_48_21_2000-768x560.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NOUVELLE_VAGUE_n_00_50_48_21_2000-1536x1121.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Guillaume Marbeck as Jean-Luc Godard, Aubry Dullin as Jean-Paul Belmondo and Zoey Deutch as Jean Seberg in ‘Nouvelle Vague.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13983246/nouvelle-vague-movie-review-french-new-wave-linklater-on-godard-breathless\">Nouvelle Vague\u003c/a>’\u003c/h2>\n\u003cp>Jean-Luc Godard was the last of his many film-critic peers to direct a feature film. That made the cocky auteur slightly insecure, yet he made zero concessions to his radical approach or compromises to his unique vision. Richard Linklater’s marvelous French-language, black-and-white recreation of the making of \u003cem>Breathless\u003c/em> in Paris in 1959 chronicles the many ways the artist willfully risked a fall. Like provoking a mid-day café brawl with his producer, a physical manifestation of the philosophical tensions between art and commerce, improvisation and script, inspiration and pragmatism. Vive la révolution du cinéma!\u003c/p>\n\u003cfigure id=\"attachment_13984489\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/SentimentalValue_Renate_Reinsve_Stellan_Skarsga%CC%8Ard_Photo-Christian-Belgaux_2000.jpg\" alt=\"older man faces younger woman in front of hedge\" width=\"2000\" height=\"1202\" class=\"size-full wp-image-13984489\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/SentimentalValue_Renate_Reinsve_Stellan_Skarsgård_Photo-Christian-Belgaux_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/SentimentalValue_Renate_Reinsve_Stellan_Skarsgård_Photo-Christian-Belgaux_2000-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/SentimentalValue_Renate_Reinsve_Stellan_Skarsgård_Photo-Christian-Belgaux_2000-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/SentimentalValue_Renate_Reinsve_Stellan_Skarsgård_Photo-Christian-Belgaux_2000-1536x923.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Stellan Skarsgård and Renate Reinsve in ‘Sentimental Value.’ \u003ccite>(Christian Belgaux/NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13983315/sentimental-value-movie-review-joachim-trier-drama-stellan-skarsgard\">Sentimental Value\u003c/a>’\u003c/h2>\n\u003cp>In Joachim Trier’s richly layered drama, the fight over artistic expression is a family affair. You might think that legendary filmmaker Gustav Borg (Stellan Skarsgård) holds all the cards. However, his daughter Nora (Renate Reinsve) is a drama queen. Really. She’s a phenom whose acute stage fright — which she shockingly invokes to make out backstage with the stage manager — threatens to derail the opening night of her latest buzzy play. Trier blurs and blots the line between art and life in this dramatic opening, setting the terms of Gustav and Nora’s relationship.\u003c/p>\n\u003cfigure id=\"attachment_13984490\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/rev-1-OBAA-20250623_High_Res_JPEG_2000.jpg\" alt=\"seated young woman looks furtively to right\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13984490\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/rev-1-OBAA-20250623_High_Res_JPEG_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/rev-1-OBAA-20250623_High_Res_JPEG_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/rev-1-OBAA-20250623_High_Res_JPEG_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/rev-1-OBAA-20250623_High_Res_JPEG_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Chase Infiniti as Willa Ferguson in ‘One Battle After Another.’ \u003ccite>(Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13981463/one-battle-after-another-movie-review-leonardo-dicaprio-paul-thomas-anderson-immigration-revolution-action\">One Battle After Another\u003c/a>‘\u003c/h2>\n\u003cp>Paul Thomas Anderson’s would-be SoCal epic is framed as a long-running grudge match between erstwhile revolutionaries and the military clampdown. (\u003ca href=\"https://www.youtube.com/watch?v=9XEnTxlBuGo\">Which side are you on, which side are you on?\u003c/a>) Willa (Chase Infiniti), a mixed-race teenager of unambiguous innocence, is caught in the crossfire. In a rare quiet moment amid the battlefield chaos and cacophony, alone in a sun-blazed car while men fight over her, she peers through the shadows on the windshield and takes her life into her own hands. Now Willa’s journey truly begins, while everyone else keeps on running in circles over the same old ground.\u003c/p>\n\u003cfigure id=\"attachment_13984491\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/08_4243_D012_00172_R_rgb_2000.jpg\" alt=\"woman with shaved head and white cream on skin sits on bed, hands bound\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13984491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/08_4243_D012_00172_R_rgb_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/08_4243_D012_00172_R_rgb_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/08_4243_D012_00172_R_rgb_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/08_4243_D012_00172_R_rgb_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Emma Stone as Michelle in director Yorgos Lanthimos’ ‘Bugonia.’Focus Features release. \u003ccite>(Atsushi Nishijima/Focus Features)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13982740/bugonia-movie-review-emma-stone-jesse-plemons-yorgos-lanthimos\">Bugonia\u003c/a>’\u003c/h2>\n\u003cp>High-powered biotech CEO Michelle (Emma Stone) isn’t on a journey so much as a mission. But it isn’t apparent until Michelle has been kidnapped and chained in a mad conspiracy theorist’s basement. Abused, humiliated and covered in blood, Michelle refuses to be a victim for even a nanosecond. Stone’s commitment to frequent collaborator Yorgos Lanthimos is extraordinary, notably in the moment her face hardens into a mask of fearless fury.\u003c/p>\n\u003cfigure id=\"attachment_13984492\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Train_Dreams_u_00_43_38_15_R_2000.jpg\" alt=\"white man holds axe, looks up at massive tree\" width=\"2000\" height=\"1373\" class=\"size-full wp-image-13984492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Train_Dreams_u_00_43_38_15_R_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Train_Dreams_u_00_43_38_15_R_2000-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Train_Dreams_u_00_43_38_15_R_2000-768x527.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Train_Dreams_u_00_43_38_15_R_2000-1536x1054.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Joel Edgerton as Robert Grainier in ‘Train Dreams.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13983447/train-dreams-review-movie\">Train Dreams\u003c/a>’\u003c/h2>\n\u003cp>Looking straight down on a green Pacific Northwest forest, we watch a branch inexorably fall from a great height onto a man. Is it random bad luck? God’s mighty hand? Nature’s way of avenging the violence that loggers do to trees? Or the accidental handiwork of another laborer? Robert Grainier (Joel Edgerton), the simple protagonist of Clint Bentley’s meditation on the effects of 20th-century progress on one individual, grapples as best he can with these and other questions. \u003c/p>\n\u003cfigure id=\"attachment_13984493\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000.jpg\" alt=\"blurry image of man running down busy city street with valise\" width=\"2000\" height=\"838\" class=\"size-full wp-image-13984493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000-1536x644.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Timothée Chalamet in ‘Marty Supreme.’ \u003ccite>(A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Marty Supreme’\u003c/h2>\n\u003cp>Table-tennis hotshot/shoe salesman Marty Mauser’s manic drive to escape the shabby New York confines of his 1950s existence is, essentially, one battle after another. Here’s one: Dead-set on flying to London for a major tournament, the perpetually broke Marty (Timothée Chalamet) forces a co-worker at gunpoint to open the safe so he can take his “back pay.” Josh Safdie’s astonishing film is a nonstop barrage of extreme moments. Alas, for all his sound and fury, Marty ain’t going nowhere.\u003c/p>\n\u003cfigure id=\"attachment_13984494\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/TTAL_SG_00067_v2_2000.jpg\" alt=\"people in 18th-century clothes raise arms together on ship deck\" width=\"2000\" height=\"828\" class=\"size-full wp-image-13984494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/TTAL_SG_00067_v2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/TTAL_SG_00067_v2_2000-160x66.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/TTAL_SG_00067_v2_2000-768x318.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/TTAL_SG_00067_v2_2000-1536x636.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Amanda Seyfried and ensemble in ‘The Testament of Ann Lee.’ \u003ccite>(Searchlight Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Testament of Ann Lee’\u003c/h2>\n\u003cp>Mona Fastvold’s entrancing recreation of the Shaker religious movement contemplates the utopian aspirations of faith. In a turning point in the English sect’s development, its single-minded leader Ann Lee (Amanda Seyfried) declares that its future is in the New World. En route, a mid-Atlantic storm threatens the ship. Lee and her followers commandeer the deck for ecstatic prayer, braving the rain and the jeers of the disbelieving crew. On a rough and uncertain journey, it is helpful to be accompanied by your God, or a strong director. Some would say they are the same thing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/sffilm\">SFFILM\u003c/a> has awarded $543,000 in grants to film filmmakers from around the world. The funding, \u003ca href=\"https://sffilm.org/sffilm-announces-543k-in-grants-for-filmmakers/\">announced today\u003c/a>, will support over 30 projects ranging from short films to full-length documentaries.\u003c/p>\n\u003cp>While the artistic development grants support filmmakers as far away as Haiti, Honduras, Ghana and Guatemala, a handful of recipients have Bay Area ties — and are telling Bay Area stories. San Francisco-based \u003ca href=\"https://snikflix.com/about\">Sahand Nikoukar\u003c/a>, Berkeley filmmaker \u003ca href=\"https://www.eliviashaw.com/\">Elivia Shaw\u003c/a>, and Stanford professor \u003ca href=\"https://art.stanford.edu/people/jamie-meltzer\">Jamie Meltzer\u003c/a>, as well as San Francisco born-and-raised artist \u003ca href=\"https://www.bravenewfilms.org/roisin_isner\">Róisín Isner\u003c/a> and Richmond’s own \u003ca href=\"https://mariavictoriaponce.com/\">Vicky Ponce\u003c/a> are all SFFILM grantees.\u003c/p>\n\u003cp>Ponce says the funds will assist her with post-production for her comical coming-of-age film, \u003cem>Juan Po and The Last Day of School\u003c/em>.\u003c/p>\n\u003cp>The story, written by Ponce, centers on a 13-year-old boy who wants to impress his teacher, so he gets an in-home perm done by his pops — and then the teenager has to manage the hairy situation that comes thereafter.\u003c/p>\n\u003cp>“It’s about Sierreño music, broccoli haircuts and all the things all the kids are into,” says Ponce during a phone call. A filmmaker whose \u003ca href=\"https://www.kqed.org/arts/13921773/maria-victoria-ponce\">past works\u003c/a> explore the awkward stages of youth and the importance of family connections, she says this feel-good tale is both universal and very grounded in the Bay Area.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She says having a good story, one that will capture audiences, is just part of the equation when she’s looking for funding these days. After \u003ca href=\"https://www.kqed.org/arts/13975921/national-endowment-for-the-arts-grant-cancellations\">major cuts to national arts funding\u003c/a> this year, “the pot has become smaller,” Ponce says. “People are applying for the same things.” \u003c/p>\n\u003cp>Her saving grace as a full-time filmmaker has come from local grants like the one she just received, the SFFILM/San Francisco Conservatory of Music Sound and Cinema Fellowship, which specifically helps develop an original soundtrack.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s exciting get to save $6,000–$10,000, not having to worry about someone creating my post-music,” says Ponce. “It’s exciting that there are still some grants out there for Bay Area artists.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/sffilm\">SFFILM\u003c/a> has awarded $543,000 in grants to film filmmakers from around the world. The funding, \u003ca href=\"https://sffilm.org/sffilm-announces-543k-in-grants-for-filmmakers/\">announced today\u003c/a>, will support over 30 projects ranging from short films to full-length documentaries.\u003c/p>\n\u003cp>While the artistic development grants support filmmakers as far away as Haiti, Honduras, Ghana and Guatemala, a handful of recipients have Bay Area ties — and are telling Bay Area stories. San Francisco-based \u003ca href=\"https://snikflix.com/about\">Sahand Nikoukar\u003c/a>, Berkeley filmmaker \u003ca href=\"https://www.eliviashaw.com/\">Elivia Shaw\u003c/a>, and Stanford professor \u003ca href=\"https://art.stanford.edu/people/jamie-meltzer\">Jamie Meltzer\u003c/a>, as well as San Francisco born-and-raised artist \u003ca href=\"https://www.bravenewfilms.org/roisin_isner\">Róisín Isner\u003c/a> and Richmond’s own \u003ca href=\"https://mariavictoriaponce.com/\">Vicky Ponce\u003c/a> are all SFFILM grantees.\u003c/p>\n\u003cp>Ponce says the funds will assist her with post-production for her comical coming-of-age film, \u003cem>Juan Po and The Last Day of School\u003c/em>.\u003c/p>\n\u003cp>The story, written by Ponce, centers on a 13-year-old boy who wants to impress his teacher, so he gets an in-home perm done by his pops — and then the teenager has to manage the hairy situation that comes thereafter.\u003c/p>\n\u003cp>“It’s about Sierreño music, broccoli haircuts and all the things all the kids are into,” says Ponce during a phone call. A filmmaker whose \u003ca href=\"https://www.kqed.org/arts/13921773/maria-victoria-ponce\">past works\u003c/a> explore the awkward stages of youth and the importance of family connections, she says this feel-good tale is both universal and very grounded in the Bay Area.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She says having a good story, one that will capture audiences, is just part of the equation when she’s looking for funding these days. After \u003ca href=\"https://www.kqed.org/arts/13975921/national-endowment-for-the-arts-grant-cancellations\">major cuts to national arts funding\u003c/a> this year, “the pot has become smaller,” Ponce says. “People are applying for the same things.” \u003c/p>\n\u003cp>Her saving grace as a full-time filmmaker has come from local grants like the one she just received, the SFFILM/San Francisco Conservatory of Music Sound and Cinema Fellowship, which specifically helps develop an original soundtrack.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s exciting get to save $6,000–$10,000, not having to worry about someone creating my post-music,” says Ponce. “It’s exciting that there are still some grants out there for Bay Area artists.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In His New Film, Oakland Rapper Bryce Savoy Explores Fatherhood Through Generations",
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"content": "\u003cp>On New Year’s Day, 2024, hip-hop artist Bryce Savoy’s life was irrevocably changed: His biggest fan, his father Bryce Fluellen, tragically passed away at 53 years old. Among the important lessons Big Bryce (as he was known to friends and family) imparted on his son were that everything one wants to do in life is ripe for the taking, and what life offers is not restricted to one lane. [aside postid='arts_13983443']\u003c/p>\n\u003cp>Originally from Ann Arbor, Michigan, Big Bryce attended Howard University where he met Tee Tee from Hercules, California. They fell in love and moved to East Oakland, where Savoy was born and raised. Big Bryce worked as a chef and was involved in the food-justice movement; he did cooking demos for the American Heart Association, and made healthy and accessible food his life’s work until his untimely death. His advocacy led him to Los Angeles, where he worked in food policy and taught entrepreneurship in underserved communities through \u003ca href=\"https://everytable.com/pages/about\">Everytable\u003c/a>.\u003c/p>\n\u003cp>Savoy eventually left Oakland and moved to LA to pursue music and, more importantly, be closer to his father. Unbeknownst to him, he’d be spending his father’s final years with him.\u003c/p>\n\u003cp>In Savoy’s grief, he processed the best way he knew how, recording a four-track EP titled \u003ci>Big Bryce Son\u003c/i>, which includes a heartfelt title track. Big Bryce’s death was followed by the birth of Savoy’s son Zimri — monumental life events occurring just ten months apart.\u003c/p>\n\u003cp>“I think I realized how much life and death sit in the same house,” Savoy tells KQED. “They occupy the same space in life, in terms of a beginning and an end.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/b-NYAegfPDk?si=CRqXhRqGWYHZDGfM\u003c/p>\n\u003cp>Despite the joy Zimri brings Savoy, the fact that Zimri will never meet his grandfather compounds his grief, as does Zimri arriving into this world with serious health complications. So Savoy decided to capture this moment in time in a short documentary, also titled \u003ci>Big Bryce Son\u003c/i>.\u003c/p>\n\u003cp>Savoy hosts the \u003ca href=\"https://luma.com/euus0fft\">documentary’s Oakland premiere on Friday, Nov. 14\u003c/a>, at Rhythm Section Art Lounge for two screenings at 7:30 p.m. and 9 p.m.\u003c/p>\n\u003cp>“That’s my gift, to be able to transmute whatever grieving, trauma or suffering I’m going through over my life, and being able to put it into my artistry,” Savoy says. “It’s powerful because it’s all of our stories. We’re all going to experience grief. We’re all going to experience trials and tribulations.”\u003c/p>\n\u003cfigure id=\"attachment_13983612\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983612\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_0781.jpg\" alt=\"A father and his adult son put their arms around each other. \" width=\"2048\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_0781.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_0781-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_0781-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_0781-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_0781-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Bryce Fluellen (right) imparted many lessons about following one’s creative path. \u003ccite>(Courtesy of Bryce Savoy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the documentary’s 30-minute run time, more than a dozen interviews with loved ones filmed across California tell this tale of fatherhood across generations. Viewers hear from Big Bryce in his own words, taken from a \u003ca href=\"https://youtube.com/playlist?list=PLpYbHFVGjoX0P5BfAeblzv_F2u3McAtRT&si=EiXeMw0Ffkx8l05a\">father-son podcast\u003c/a> they recorded together.\u003c/p>\n\u003cp>Big Bryce compliments Savoy for being a point guard in his rap career, unafraid to hand the ball to others so they can contribute or shine. Later, he reflects on his son’s two albums, \u003ci>Neighborhood Diamonds\u003c/i> and \u003ci>King Diamond\u003c/i> with the highest praise hip-hop heads can give: “No skips.” Seeing Savoy’s reaction tells the whole story: Big Bryce poured love into his son that empowered Savoy to chase his dreams and persevere through obstacles. His latest LP, \u003ci>\u003ca href=\"https://youtu.be/5g2aGen5Fnw?si=MZ4tdGE_IvZkLrsz\">Just Keep Shining\u003c/a>\u003c/i>, released on Nov. 3, gets its name from the mantra that’s kept Savoy going through his grief.\u003c/p>\n\u003cp>https://youtu.be/U1FJemD7sJk?si=QbDSuJTLFVv_p7TD\u003c/p>\n\u003cp>“I know I’m going through the most trying, most transformational, toughest times of my life right now, but I’m the most inspired,” Savoy says. “All the opportunities that I’ve wanted in life are coming rapidly. That’s not for nothing. It’s a testament to my perseverance and resilience, and that’s what this project represents for sure.”\u003c/p>\n\u003cp>Hip-hop is a constant, unifying and driving force in Savoy’s life. When he was a baby, his uncle, Bay Area rap legend G-Nut, would delight him with raps. His older cousin is rapper G Maly, and they’ve been making music together their whole lives, going on 20-plus years of official releases.\u003c/p>\n\u003cp>Savoy has expanded his entrepreneurship to media projects that depict Black life with nuance through his Neighborhood Diamonds brand. \u003ci>Big Bryce Son\u003c/i> the documentary does that by following a narrative thread that embraces familial love and rejects anti-Black stereotypes about broken families. The philosophy behind Neighborhood Diamonds — to find, recognize and support diamonds in the rough — stems from how Big Bryce moved through the world. Savoy infuses that spirit into his music and entrepreneurship, and he intends to pass it down to his son Zimri. It’s all rooted in Oakland.\u003c/p>\n\u003cp>“It’s never been about the fame,” Savoy says. “It’s about being inspiring, empowering and uplifting others in my community, and making a living off my artistry.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://luma.com/euus0fft\">‘Big Bryce Son’ screens at Rhythm Section Art Lounge (2744 Eat 11th Street, Oakland) on Nov. 14\u003c/a> at 7 p.m. and 9:30 p.m., followed by a performance by Bryce Savoy and a Q&A. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On New Year’s Day, 2024, hip-hop artist Bryce Savoy’s life was irrevocably changed: His biggest fan, his father Bryce Fluellen, tragically passed away at 53 years old. Among the important lessons Big Bryce (as he was known to friends and family) imparted on his son were that everything one wants to do in life is ripe for the taking, and what life offers is not restricted to one lane. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Originally from Ann Arbor, Michigan, Big Bryce attended Howard University where he met Tee Tee from Hercules, California. They fell in love and moved to East Oakland, where Savoy was born and raised. Big Bryce worked as a chef and was involved in the food-justice movement; he did cooking demos for the American Heart Association, and made healthy and accessible food his life’s work until his untimely death. His advocacy led him to Los Angeles, where he worked in food policy and taught entrepreneurship in underserved communities through \u003ca href=\"https://everytable.com/pages/about\">Everytable\u003c/a>.\u003c/p>\n\u003cp>Savoy eventually left Oakland and moved to LA to pursue music and, more importantly, be closer to his father. Unbeknownst to him, he’d be spending his father’s final years with him.\u003c/p>\n\u003cp>In Savoy’s grief, he processed the best way he knew how, recording a four-track EP titled \u003ci>Big Bryce Son\u003c/i>, which includes a heartfelt title track. Big Bryce’s death was followed by the birth of Savoy’s son Zimri — monumental life events occurring just ten months apart.\u003c/p>\n\u003cp>“I think I realized how much life and death sit in the same house,” Savoy tells KQED. “They occupy the same space in life, in terms of a beginning and an end.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/b-NYAegfPDk'\n title='//www.youtube.com/embed/b-NYAegfPDk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Despite the joy Zimri brings Savoy, the fact that Zimri will never meet his grandfather compounds his grief, as does Zimri arriving into this world with serious health complications. So Savoy decided to capture this moment in time in a short documentary, also titled \u003ci>Big Bryce Son\u003c/i>.\u003c/p>\n\u003cp>Savoy hosts the \u003ca href=\"https://luma.com/euus0fft\">documentary’s Oakland premiere on Friday, Nov. 14\u003c/a>, at Rhythm Section Art Lounge for two screenings at 7:30 p.m. and 9 p.m.\u003c/p>\n\u003cp>“That’s my gift, to be able to transmute whatever grieving, trauma or suffering I’m going through over my life, and being able to put it into my artistry,” Savoy says. “It’s powerful because it’s all of our stories. We’re all going to experience grief. We’re all going to experience trials and tribulations.”\u003c/p>\n\u003cfigure id=\"attachment_13983612\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983612\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_0781.jpg\" alt=\"A father and his adult son put their arms around each other. \" width=\"2048\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_0781.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_0781-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_0781-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_0781-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_0781-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Bryce Fluellen (right) imparted many lessons about following one’s creative path. \u003ccite>(Courtesy of Bryce Savoy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the documentary’s 30-minute run time, more than a dozen interviews with loved ones filmed across California tell this tale of fatherhood across generations. Viewers hear from Big Bryce in his own words, taken from a \u003ca href=\"https://youtube.com/playlist?list=PLpYbHFVGjoX0P5BfAeblzv_F2u3McAtRT&si=EiXeMw0Ffkx8l05a\">father-son podcast\u003c/a> they recorded together.\u003c/p>\n\u003cp>Big Bryce compliments Savoy for being a point guard in his rap career, unafraid to hand the ball to others so they can contribute or shine. Later, he reflects on his son’s two albums, \u003ci>Neighborhood Diamonds\u003c/i> and \u003ci>King Diamond\u003c/i> with the highest praise hip-hop heads can give: “No skips.” Seeing Savoy’s reaction tells the whole story: Big Bryce poured love into his son that empowered Savoy to chase his dreams and persevere through obstacles. His latest LP, \u003ci>\u003ca href=\"https://youtu.be/5g2aGen5Fnw?si=MZ4tdGE_IvZkLrsz\">Just Keep Shining\u003c/a>\u003c/i>, released on Nov. 3, gets its name from the mantra that’s kept Savoy going through his grief.\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/U1FJemD7sJk'\n title='//www.youtube.com/embed/U1FJemD7sJk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I know I’m going through the most trying, most transformational, toughest times of my life right now, but I’m the most inspired,” Savoy says. “All the opportunities that I’ve wanted in life are coming rapidly. That’s not for nothing. It’s a testament to my perseverance and resilience, and that’s what this project represents for sure.”\u003c/p>\n\u003cp>Hip-hop is a constant, unifying and driving force in Savoy’s life. When he was a baby, his uncle, Bay Area rap legend G-Nut, would delight him with raps. His older cousin is rapper G Maly, and they’ve been making music together their whole lives, going on 20-plus years of official releases.\u003c/p>\n\u003cp>Savoy has expanded his entrepreneurship to media projects that depict Black life with nuance through his Neighborhood Diamonds brand. \u003ci>Big Bryce Son\u003c/i> the documentary does that by following a narrative thread that embraces familial love and rejects anti-Black stereotypes about broken families. The philosophy behind Neighborhood Diamonds — to find, recognize and support diamonds in the rough — stems from how Big Bryce moved through the world. Savoy infuses that spirit into his music and entrepreneurship, and he intends to pass it down to his son Zimri. It’s all rooted in Oakland.\u003c/p>\n\u003cp>“It’s never been about the fame,” Savoy says. “It’s about being inspiring, empowering and uplifting others in my community, and making a living off my artistry.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://luma.com/euus0fft\">‘Big Bryce Son’ screens at Rhythm Section Art Lounge (2744 Eat 11th Street, Oakland) on Nov. 14\u003c/a> at 7 p.m. and 9:30 p.m., followed by a performance by Bryce Savoy and a Q&A. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Annemarie Jacir’s \u003ca href=\"https://arabfilm29.eventive.org/films/68ede939c29a8a39aee41cf2\">\u003ci>Palestine 36\u003c/i>\u003c/a> debuted at the Toronto Film Festival earlier this fall to a 15-minute standing ovation — the longest in the festival’s history. The historical drama is the only feature film shot in Gaza within the past two years, as Israeli missiles flew overhead.\u003c/p>\n\u003cp>Critics have hailed \u003ci>Palestine 36\u003c/i> as a stirring and deeply human depiction of a 1936 rebellion against British colonial rule, centered on the story of Yusuf, a young man whose village is threatened by displacement.\u003c/p>\n\u003cp>In an \u003ca href=\"https://www.youtube.com/watch?v=XnoNd98Gqvo\">interview with the Enlightenment Podcast\u003c/a>, Jacir connected the 1930s uprising to today’s movement for Palestinian freedom and human rights. “There’s the story of trauma and how trauma passes from generation to generation,” she said, “but there’s also the story of resistance and how we’re refusing that erasure.”\u003c/p>\n\u003cp>https://youtu.be/2sTVlhmxwEU?si=VlIxGoB-rJCW-7gA\u003c/p>\n\u003cp>\u003ci>Palestine 36\u003c/i> arrives in the Bay Area this week to kick off the \u003ca href=\"https://arabfilm29.eventive.org/welcome\">Arab Film Festival\u003c/a> with two screenings on Nov. 6 at San Francisco’s Kabuki Theater, and another on Nov. 14 at the New Parkway in Oakland. The film is Palestine’s official submission to the 2026 Academy Awards.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The festival runs through Nov. 15 and includes a diverse selection of feature films and shorts, including several other Palestinian stories. Cherien Dabis’ \u003ca href=\"https://arabfilm29.eventive.org/films/68eec122950e09bff3087c76\">\u003ci>All That’s Left of You\u003c/i>\u003c/a>, the official Academy Awards submission for Jordan, begins with a teenage Palestinian boy protesting the Israeli occupation in 1988, and rewinds time to the 1948 Nakba, when his family was driven from their home. \u003ca href=\"https://arabfilm29.eventive.org/films/6900593f49051a23aea04a85\">\u003ci>The Voice of Hind Rajab\u003c/i>\u003c/a>, the Oscar submission for Tunisia, is a narrative film about the true story of a five-year-old girl from Gaza whose killing spurred \u003ca href=\"https://www.ohchr.org/en/press-releases/2024/07/gaza-killing-hind-rajab-and-her-family-war-crime-too-many-warn-experts\">war crime accusations against Israel\u003c/a>.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The 29th annual \u003ca href=\"https://arabfilm29.eventive.org/welcome\">Arab Film Festival\u003c/a> hits theaters in San Francisco, Oakland and San Jose Nov. 6–15; some of the films are available for streaming.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Annemarie Jacir’s \u003ca href=\"https://arabfilm29.eventive.org/films/68ede939c29a8a39aee41cf2\">\u003ci>Palestine 36\u003c/i>\u003c/a> debuted at the Toronto Film Festival earlier this fall to a 15-minute standing ovation — the longest in the festival’s history. The historical drama is the only feature film shot in Gaza within the past two years, as Israeli missiles flew overhead.\u003c/p>\n\u003cp>Critics have hailed \u003ci>Palestine 36\u003c/i> as a stirring and deeply human depiction of a 1936 rebellion against British colonial rule, centered on the story of Yusuf, a young man whose village is threatened by displacement.\u003c/p>\n\u003cp>In an \u003ca href=\"https://www.youtube.com/watch?v=XnoNd98Gqvo\">interview with the Enlightenment Podcast\u003c/a>, Jacir connected the 1930s uprising to today’s movement for Palestinian freedom and human rights. “There’s the story of trauma and how trauma passes from generation to generation,” she said, “but there’s also the story of resistance and how we’re refusing that erasure.”\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/2sTVlhmxwEU'\n title='//www.youtube.com/embed/2sTVlhmxwEU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ci>Palestine 36\u003c/i> arrives in the Bay Area this week to kick off the \u003ca href=\"https://arabfilm29.eventive.org/welcome\">Arab Film Festival\u003c/a> with two screenings on Nov. 6 at San Francisco’s Kabuki Theater, and another on Nov. 14 at the New Parkway in Oakland. The film is Palestine’s official submission to the 2026 Academy Awards.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The festival runs through Nov. 15 and includes a diverse selection of feature films and shorts, including several other Palestinian stories. Cherien Dabis’ \u003ca href=\"https://arabfilm29.eventive.org/films/68eec122950e09bff3087c76\">\u003ci>All That’s Left of You\u003c/i>\u003c/a>, the official Academy Awards submission for Jordan, begins with a teenage Palestinian boy protesting the Israeli occupation in 1988, and rewinds time to the 1948 Nakba, when his family was driven from their home. \u003ca href=\"https://arabfilm29.eventive.org/films/6900593f49051a23aea04a85\">\u003ci>The Voice of Hind Rajab\u003c/i>\u003c/a>, the Oscar submission for Tunisia, is a narrative film about the true story of a five-year-old girl from Gaza whose killing spurred \u003ca href=\"https://www.ohchr.org/en/press-releases/2024/07/gaza-killing-hind-rajab-and-her-family-war-crime-too-many-warn-experts\">war crime accusations against Israel\u003c/a>.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The 29th annual \u003ca href=\"https://arabfilm29.eventive.org/welcome\">Arab Film Festival\u003c/a> hits theaters in San Francisco, Oakland and San Jose Nov. 6–15; some of the films are available for streaming.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Our girl Minnie Goetze would be in her mid-20s now, if movie time followed the logic of real time. Instead, the central character in the 2015 film \u003ci>\u003ca href=\"https://www.kqed.org/arts/10892979/diary-tells-a-coming-of-age-tale-rarely-seen-on-film\">The Diary of a Teenage Girl\u003c/a>\u003c/i> is forever 15 in 1976 San Francisco, figuring out who she is in the context of sex, family and her artistic dreams.\u003c/p>\n\u003cp>Even a decade after its release, Marielle Heller’s debut film remains a rare thing: a girl’s coming-of-age story that a) acknowledges its protagonist’s sexual desires; and b) doesn’t punish her for acting on them. These would be reasons enough to revisit the movie, but a \u003ca href=\"https://roxie.com/film/the-diary-of-a-teenage-girl/\">Nov. 4 screening at the Roxie\u003c/a>, co-presented by the San Francisco Film Commission (Film SF) and SFFILM, further celebrates \u003ci>Diary of a Teenage Girl\u003c/i>’s relationship to San Francisco.\u003c/p>\n\u003cp>“It was essential to me to authentically capture the city’s iconic look, feel, and spirit,” Heller said in a statement released by Film SF. “It wouldn’t have been the same anywhere else.” Heller, whose most recent film was \u003ci>\u003ca href=\"https://www.kqed.org/arts/13969167/nightbitch-movie-review-amy-adams-motherhood-wild-feminism\">Nightbitch\u003c/a>\u003c/i>, grew up in Alameda.\u003c/p>\n\u003cp>Adapted from Phoebe Gloeckner’s \u003ca href=\"https://en.wikipedia.org/wiki/The_Diary_of_a_Teenage_Girl:_An_Account_in_Words_and_Pictures\">semi-autobiographical graphic novel\u003c/a>, \u003ci>Diary of a Teenage Girl\u003c/i> follows Minnie (a breakout Bel Powley) in her pursuit of the suboptimal but “handsomest” Monroe Rutherford (Alexander Skarsgård), her mother’s 35-year-old boyfriend.\u003c/p>\n\u003cfigure id=\"attachment_13983108\" class=\"wp-caption aligncenter\" style=\"max-width: 726px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983108\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/diary-of-a-teenage-girl-kristen-wiig.jpg\" alt=\"teenage girl and woman sit at table with meal on plates\" width=\"726\" height=\"478\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/diary-of-a-teenage-girl-kristen-wiig.jpg 726w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/diary-of-a-teenage-girl-kristen-wiig-160x105.jpg 160w\" sizes=\"auto, (max-width: 726px) 100vw, 726px\">\u003cfigcaption class=\"wp-caption-text\">Bel Powley as Minnie Goetze and Kristen Wiig as her mother, Charlotte Goetze in ‘The Diary of a Teenage Girl.’ \u003ccite>(Sam Emerson/Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Everyone watching knows this is a bad idea, but this is Minnie’s story, and she’s ecstatic: “I had sex today … Holy shit!” Powley embodies Minnie and all her emotional turbulence with the help of incisive, sometimes hilarious voiceovers. Animated sequences that further illustrate Minnie’s inner life pay homage to her idol, the cartoonist \u003ca href=\"https://www.kqed.org/arts/13831138/make-way-for-the-queen-aline-kominsky-crumb-returns-to-sf\">Aline Kominsky\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The thrills, self-knowledge and, yes, fallout of Minnie’s decisions are never formulaic, in part because \u003ci>Diary of a Teenage Girl\u003c/i> is rooted in such a specific time and place. The movie benefited from Film SF’s “Scene in San Francisco” incentive program, which offers productions rebates of up to $600,000 in city fees.\u003c/p>\n\u003cp>For those interested in behind-the-scenes stories, the Roxie’s 10th anniversary screening will include a Q&A with the movie’s line producer Debbie Brubaker, first assistant director Brian Benson and set decorator Susie Alegria.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://roxie.com/film/the-diary-of-a-teenage-girl/\">The Diary of a Teenage Girl\u003c/a>’ screens Nov. 4, 2025 at 6 p.m. at the Roxie (3125 16th St., San Francisco).\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Our girl Minnie Goetze would be in her mid-20s now, if movie time followed the logic of real time. Instead, the central character in the 2015 film \u003ci>\u003ca href=\"https://www.kqed.org/arts/10892979/diary-tells-a-coming-of-age-tale-rarely-seen-on-film\">The Diary of a Teenage Girl\u003c/a>\u003c/i> is forever 15 in 1976 San Francisco, figuring out who she is in the context of sex, family and her artistic dreams.\u003c/p>\n\u003cp>Even a decade after its release, Marielle Heller’s debut film remains a rare thing: a girl’s coming-of-age story that a) acknowledges its protagonist’s sexual desires; and b) doesn’t punish her for acting on them. These would be reasons enough to revisit the movie, but a \u003ca href=\"https://roxie.com/film/the-diary-of-a-teenage-girl/\">Nov. 4 screening at the Roxie\u003c/a>, co-presented by the San Francisco Film Commission (Film SF) and SFFILM, further celebrates \u003ci>Diary of a Teenage Girl\u003c/i>’s relationship to San Francisco.\u003c/p>\n\u003cp>“It was essential to me to authentically capture the city’s iconic look, feel, and spirit,” Heller said in a statement released by Film SF. “It wouldn’t have been the same anywhere else.” Heller, whose most recent film was \u003ci>\u003ca href=\"https://www.kqed.org/arts/13969167/nightbitch-movie-review-amy-adams-motherhood-wild-feminism\">Nightbitch\u003c/a>\u003c/i>, grew up in Alameda.\u003c/p>\n\u003cp>Adapted from Phoebe Gloeckner’s \u003ca href=\"https://en.wikipedia.org/wiki/The_Diary_of_a_Teenage_Girl:_An_Account_in_Words_and_Pictures\">semi-autobiographical graphic novel\u003c/a>, \u003ci>Diary of a Teenage Girl\u003c/i> follows Minnie (a breakout Bel Powley) in her pursuit of the suboptimal but “handsomest” Monroe Rutherford (Alexander Skarsgård), her mother’s 35-year-old boyfriend.\u003c/p>\n\u003cfigure id=\"attachment_13983108\" class=\"wp-caption aligncenter\" style=\"max-width: 726px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983108\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/diary-of-a-teenage-girl-kristen-wiig.jpg\" alt=\"teenage girl and woman sit at table with meal on plates\" width=\"726\" height=\"478\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/diary-of-a-teenage-girl-kristen-wiig.jpg 726w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/diary-of-a-teenage-girl-kristen-wiig-160x105.jpg 160w\" sizes=\"auto, (max-width: 726px) 100vw, 726px\">\u003cfigcaption class=\"wp-caption-text\">Bel Powley as Minnie Goetze and Kristen Wiig as her mother, Charlotte Goetze in ‘The Diary of a Teenage Girl.’ \u003ccite>(Sam Emerson/Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Everyone watching knows this is a bad idea, but this is Minnie’s story, and she’s ecstatic: “I had sex today … Holy shit!” Powley embodies Minnie and all her emotional turbulence with the help of incisive, sometimes hilarious voiceovers. Animated sequences that further illustrate Minnie’s inner life pay homage to her idol, the cartoonist \u003ca href=\"https://www.kqed.org/arts/13831138/make-way-for-the-queen-aline-kominsky-crumb-returns-to-sf\">Aline Kominsky\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The thrills, self-knowledge and, yes, fallout of Minnie’s decisions are never formulaic, in part because \u003ci>Diary of a Teenage Girl\u003c/i> is rooted in such a specific time and place. The movie benefited from Film SF’s “Scene in San Francisco” incentive program, which offers productions rebates of up to $600,000 in city fees.\u003c/p>\n\u003cp>For those interested in behind-the-scenes stories, the Roxie’s 10th anniversary screening will include a Q&A with the movie’s line producer Debbie Brubaker, first assistant director Brian Benson and set decorator Susie Alegria.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://roxie.com/film/the-diary-of-a-teenage-girl/\">The Diary of a Teenage Girl\u003c/a>’ screens Nov. 4, 2025 at 6 p.m. at the Roxie (3125 16th St., San Francisco).\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Springsteen: Deliver Me From Nowhere’ Is a Dull Backstage Tour",
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"content": "\u003cfigure id=\"attachment_13982802\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_03.jpg\" alt=\"sweaty man sings into mic, eyes closed\" width=\"1920\" height=\"804\" class=\"size-full wp-image-13982802\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_03.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_03-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_03-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_03-1536x643.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jeremy Allen White as Bruce Springsteen in ‘Springsteen: Deliver Me From Nowhere.’ \u003ccite>(20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the last Velvet Underground studio record (that featured any of the original members), Lou Reed sang about a girl — she was just five years old! — whose life was saved by \u003ca href=\"https://www.youtube.com/watch?v=1Dahqz-R49I\">rock ’n’ roll\u003c/a>. Maybe you could identify. You know who else was saved? Bruce Springsteen.\u003c/p>\n\u003cp>For Lou and his protagonist, AM radio announced an exciting and different world than the one they were raised in. For Bruce, the twang of a disembodied voice backed by an electric guitar suggested a way out of his shy silence, his overbearing father’s house and his hometown.\u003c/p>\n\u003cp>[aside postID='arts_13982740']When \u003cem>Springsteen: Deliver Me From Nowhere\u003c/em> — a compromised movie about an unwavering artist, scripted and directed by Scott Cooper (\u003cem>Crazy Heart\u003c/em>) from Warren Zanes’ nonfiction book — begins in 1981, Springsteen is 32 years old and a star of some magnitude. But he hasn’t left New Jersey. He tours with his band, of course, and the last one (in support of \u003cem>The River\u003c/em>) included a European leg, but he always comes home, although his parents have decamped to Southern California and he has no place to stay.\u003c/p>\n\u003cp>In honoring his roots and retaining his humility, Cooper suggests, Springsteen allows his integrity to mask unresolved childhood issues. Opening with a black-and-white sequence of his mother sending young Bruce into a bar to tell his dad to come home, the film is threaded with disturbing flashbacks of a misguided and abusive father. Bruce can banish those memories on the road (the real meaning of “born to run,” perhaps), but they invade his private hours.\u003c/p>\n\u003cfigure id=\"attachment_13982803\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982803\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_05.jpg\" alt=\"man in office with stacks of paper, on phone with head in hand\" width=\"1920\" height=\"804\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_05.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_05-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_05-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_05-1536x643.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jeremy Strong as Jon Landau in ‘Springsteen: Deliver Me From Nowhere.’ \u003ccite>(20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Manager and advisor Jon Landau (Jeremy Strong) — who famously wrote in a 1974 concert review, “I saw rock and roll’s future and its name is Bruce Springsteen” — has rented a house in a woodsy corner of Joisey for the Boss (played by Jeremy Allen White) to brood, write songs and occasionally venture out to a club (The Stone Pony, naturally) to play Little Richard covers with the house band.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Springsteen records his new stuff unaccompanied in his bedroom on a four-track, lo-fi Teac cassette deck. At one point, he asks the engineer pal who supplied the machine to run the tapes through an echo system so they sound, Bruce says, “like Elvis’ \u003ci>Sun Sessions\u003c/i>.”\u003c/p>\n\u003cp>\u003cem>Springsteen: Deliver Me From Nowhere\u003c/em> is one of those movies where every scene has one clear and explicit purpose. (It is the antithesis of last year’s stellar Dylan movie, \u003ca href=\"https://www.kqed.org/arts/13969721/a-complete-unknown-movie-review-timothee-chalamet\">\u003cem>A Complete Unknown\u003c/em>\u003c/a>.) The artist’s impulse to be true to himself in the face of the pressures and expectations of success is joylessly stated and restated. More interesting, but more difficult to dramatize and potentially fraught with cliché, is the idea of going back — geographically and temporally — in order to go forward.\u003c/p>\n\u003cp>In this context I note that Springsteen meets a woman. Their relationship consumes a fair amount of screen time yet adds shockingly little to the movie. Faye (Odessa Young) has a blue-collar job while Springsteen is inevitably on another trajectory. Perhaps he’s attracted to the familiar — he grew up on the same streets as Faye — but his identity and his place in the world is shifting.\u003c/p>\n\u003cp>Unfortunately, \u003cem>Springsteen: Deliver Me From Nowhere\u003c/em> is constrained by a screenplay that barely nods at money and class, a character who communicates best with a pen and a guitar, and an actor who can’t convey Springsteen’s internal feelings. An aversion to melodrama is admirable, the absence of drama is not.\u003c/p>\n\u003cfigure id=\"attachment_13982804\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982804\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_07.jpg\" alt=\"man kneels next to bed in front of recording equipment\" width=\"1920\" height=\"803\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_07.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_07-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_07-768x321.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_07-1536x642.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jeremy Allen White as Bruce Springsteen in ‘Springsteen: Deliver Me From Nowhere.’ \u003ccite>(20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We could have a long, interesting conversation about the degree to which Springsteen is derivative versus original. He’s always acknowledged his influences, certainly. In the months covered by the film, he is depicted as an artist still finding his voice. When he insists on releasing the demo tapes as his next album, \u003cem>Nebraska\u003c/em>, he declares to Landau, et al. that the songs resonate with him and don’t sound like anything else — forgetting how Elvis inspired him.\u003c/p>\n\u003cp>The larger contradiction that the movie glosses over has to do with Springsteen’s implied depression. We are given to understand that the alienation of the characters, and the bleakness of the songs, that comprise \u003cem>Nebraska\u003c/em> don’t necessarily illustrate an artist’s instinctive and perhaps self-destructive rejection of mainstream success. (Neil Young’s follow-up to \u003cem>Harvest\u003c/em>, \u003cem>Time Fades Away\u003c/em>, is the textbook example.) Instead they are a mirror of Springsteen’s guilt-ridden and tortured soul.\u003c/p>\n\u003cp>However, \u003cem>Springsteen: Deliver Me From Nowhere\u003c/em> makes no secret of the fact that the musician also wrote “I’m On Fire,” “Glory Days” and “Born in the U.S.A.” at the house. On the contrary, much is made of various parties wanting Bruce to release this material (with a couple potential hit singles, presumably, like the execrable “Hungry Heart” from \u003cem>The River\u003c/em>) as his next record.\u003c/p>\n\u003cp>Some viewers, blinded by the light from the projector, will accept Scott Cooper’s depiction of an artist in breakdown confronting the demons of his childhood. It’s only rock ’n’ roll, but exorcisms should be more terrifying, and certainly more fun.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Springsteen: Deliver Me From Nowhere’ opens in theaters nationally on Oct. 24, 2025.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13982802\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_03.jpg\" alt=\"sweaty man sings into mic, eyes closed\" width=\"1920\" height=\"804\" class=\"size-full wp-image-13982802\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_03.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_03-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_03-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_03-1536x643.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jeremy Allen White as Bruce Springsteen in ‘Springsteen: Deliver Me From Nowhere.’ \u003ccite>(20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the last Velvet Underground studio record (that featured any of the original members), Lou Reed sang about a girl — she was just five years old! — whose life was saved by \u003ca href=\"https://www.youtube.com/watch?v=1Dahqz-R49I\">rock ’n’ roll\u003c/a>. Maybe you could identify. You know who else was saved? Bruce Springsteen.\u003c/p>\n\u003cp>For Lou and his protagonist, AM radio announced an exciting and different world than the one they were raised in. For Bruce, the twang of a disembodied voice backed by an electric guitar suggested a way out of his shy silence, his overbearing father’s house and his hometown.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>When \u003cem>Springsteen: Deliver Me From Nowhere\u003c/em> — a compromised movie about an unwavering artist, scripted and directed by Scott Cooper (\u003cem>Crazy Heart\u003c/em>) from Warren Zanes’ nonfiction book — begins in 1981, Springsteen is 32 years old and a star of some magnitude. But he hasn’t left New Jersey. He tours with his band, of course, and the last one (in support of \u003cem>The River\u003c/em>) included a European leg, but he always comes home, although his parents have decamped to Southern California and he has no place to stay.\u003c/p>\n\u003cp>In honoring his roots and retaining his humility, Cooper suggests, Springsteen allows his integrity to mask unresolved childhood issues. Opening with a black-and-white sequence of his mother sending young Bruce into a bar to tell his dad to come home, the film is threaded with disturbing flashbacks of a misguided and abusive father. Bruce can banish those memories on the road (the real meaning of “born to run,” perhaps), but they invade his private hours.\u003c/p>\n\u003cfigure id=\"attachment_13982803\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982803\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_05.jpg\" alt=\"man in office with stacks of paper, on phone with head in hand\" width=\"1920\" height=\"804\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_05.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_05-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_05-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_05-1536x643.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jeremy Strong as Jon Landau in ‘Springsteen: Deliver Me From Nowhere.’ \u003ccite>(20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Manager and advisor Jon Landau (Jeremy Strong) — who famously wrote in a 1974 concert review, “I saw rock and roll’s future and its name is Bruce Springsteen” — has rented a house in a woodsy corner of Joisey for the Boss (played by Jeremy Allen White) to brood, write songs and occasionally venture out to a club (The Stone Pony, naturally) to play Little Richard covers with the house band.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Springsteen records his new stuff unaccompanied in his bedroom on a four-track, lo-fi Teac cassette deck. At one point, he asks the engineer pal who supplied the machine to run the tapes through an echo system so they sound, Bruce says, “like Elvis’ \u003ci>Sun Sessions\u003c/i>.”\u003c/p>\n\u003cp>\u003cem>Springsteen: Deliver Me From Nowhere\u003c/em> is one of those movies where every scene has one clear and explicit purpose. (It is the antithesis of last year’s stellar Dylan movie, \u003ca href=\"https://www.kqed.org/arts/13969721/a-complete-unknown-movie-review-timothee-chalamet\">\u003cem>A Complete Unknown\u003c/em>\u003c/a>.) The artist’s impulse to be true to himself in the face of the pressures and expectations of success is joylessly stated and restated. More interesting, but more difficult to dramatize and potentially fraught with cliché, is the idea of going back — geographically and temporally — in order to go forward.\u003c/p>\n\u003cp>In this context I note that Springsteen meets a woman. Their relationship consumes a fair amount of screen time yet adds shockingly little to the movie. Faye (Odessa Young) has a blue-collar job while Springsteen is inevitably on another trajectory. Perhaps he’s attracted to the familiar — he grew up on the same streets as Faye — but his identity and his place in the world is shifting.\u003c/p>\n\u003cp>Unfortunately, \u003cem>Springsteen: Deliver Me From Nowhere\u003c/em> is constrained by a screenplay that barely nods at money and class, a character who communicates best with a pen and a guitar, and an actor who can’t convey Springsteen’s internal feelings. An aversion to melodrama is admirable, the absence of drama is not.\u003c/p>\n\u003cfigure id=\"attachment_13982804\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982804\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_07.jpg\" alt=\"man kneels next to bed in front of recording equipment\" width=\"1920\" height=\"803\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_07.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_07-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_07-768x321.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_07-1536x642.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jeremy Allen White as Bruce Springsteen in ‘Springsteen: Deliver Me From Nowhere.’ \u003ccite>(20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We could have a long, interesting conversation about the degree to which Springsteen is derivative versus original. He’s always acknowledged his influences, certainly. In the months covered by the film, he is depicted as an artist still finding his voice. When he insists on releasing the demo tapes as his next album, \u003cem>Nebraska\u003c/em>, he declares to Landau, et al. that the songs resonate with him and don’t sound like anything else — forgetting how Elvis inspired him.\u003c/p>\n\u003cp>The larger contradiction that the movie glosses over has to do with Springsteen’s implied depression. We are given to understand that the alienation of the characters, and the bleakness of the songs, that comprise \u003cem>Nebraska\u003c/em> don’t necessarily illustrate an artist’s instinctive and perhaps self-destructive rejection of mainstream success. (Neil Young’s follow-up to \u003cem>Harvest\u003c/em>, \u003cem>Time Fades Away\u003c/em>, is the textbook example.) Instead they are a mirror of Springsteen’s guilt-ridden and tortured soul.\u003c/p>\n\u003cp>However, \u003cem>Springsteen: Deliver Me From Nowhere\u003c/em> makes no secret of the fact that the musician also wrote “I’m On Fire,” “Glory Days” and “Born in the U.S.A.” at the house. On the contrary, much is made of various parties wanting Bruce to release this material (with a couple potential hit singles, presumably, like the execrable “Hungry Heart” from \u003cem>The River\u003c/em>) as his next record.\u003c/p>\n\u003cp>Some viewers, blinded by the light from the projector, will accept Scott Cooper’s depiction of an artist in breakdown confronting the demons of his childhood. It’s only rock ’n’ roll, but exorcisms should be more terrifying, and certainly more fun.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Springsteen: Deliver Me From Nowhere’ opens in theaters nationally on Oct. 24, 2025.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Richard Linklater and Ethan Hawke Reach the Heavens With ‘Blue Moon’",
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"content": "\u003cp>For a filmmaker once synonymous with slackerdom, \u003ca href=\"https://www.kqed.org/forum/201407171000/richard-linklater-elevates-the-ordinary-in-boyhood-2\">Richard Linklater\u003c/a> has proven to be one of the most prodigious and consistently excellent American filmmakers. A small but rich vein of the two dozen features he’s made have been portraits of artists, including \u003cem>Me and Orson Welles\u003c/em> and, if you like, \u003cem>School of Rock\u003c/em>.\u003c/p>\n\u003cp>This fall brings two more, one set at the dawn of a great career (\u003cem>Nouvelle Vague\u003c/em>, about \u003ca href=\"https://www.kqed.org/arts/13919055/jean-luc-godard-iconic-french-new-wave-director-dies-at-91\">Jean-Luc Godard\u003c/a> and the birth of the French New Wave) and another on the cusp of its tragic end: \u003cem>Blue Moon\u003c/em>, about lyricist \u003ca href=\"https://www.pbs.org/wnet/broadway/stars/lorenz-hart/\">Lorenz Hart\u003c/a>. Both are, in their way, joyous celebrations of brilliant, stubbornly uncompromising creative visionaries. And both are a grand time at the movies.\u003c/p>\n\u003cp>[aside postid='arts_13982072']\u003cem>Blue Moon\u003c/em>, the first to arrive of the two, is one of the more sheerly delightful movies of the year. It takes place at Sardi’s, in New York, on March 31, 1943. Down the street, \u003cem>Oklahoma!\u003c/em> is premiering, a debut that for Hart (Ethan Hawke) stings. His longtime collaborator, the composer Richard Rodgers, has made it not with Hart but with his new songwriting partner, Oscar Hammerstein II. Six months from this night, Hart will die from pneumonia after spending a cold night passed out outside an 8th Avenue bar. He was 48.\u003c/p>\n\u003cp>But while Broadway’s focus is on \u003cem>Oklahoma!\u003c/em> ours is on Larry, as everyone calls him. He’s holding court at Sardi’s before Rodgers (Andrew Scott) and the \u003cem>Oklahoma!\u003c/em> crowd rushes in. There, he is regaling Eddie the bartender (Bobby Cannavale) and a few others (including E.B. White, played by Patrick Kennedy) in a free-flowing monologue, as he tries to resist the glass of whiskey on the bar, laments the imminent sensation of \u003cem>Oklahoma!\u003c/em> and waxes poetic about some of his best lines.\u003c/p>\n\u003cp>“I’ve written a handful of words that are going to cheat death,” says Larry. Hart’s best work included American songbook standards like “My Funny Valentine,” “The Lady Is a Tramp,” “Bewitched, Bothered and Bewildered” and, of course, “Blue Moon.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But his appreciation for language goes far beyond himself. As much as he does a warm sip of bourbon, Larry savors any good quip, turn of phrase or mot juste. His favorite quote from \u003cem>Casablanca\u003c/em>, for example, is a telling one: “Nobody ever loved me that much.” Larry adores the movie and, in particular, Bogart, whom, he notes, is both short and a leading man. “Which proves you can be both,” Hart says.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qo7gRHip0lI\u003c/p>\n\u003cp>Larry is, himself, diminutive, with greasy strands of hair combed over his bald head. The physical transformation for Hawke is a little extreme and potentially distracting. There’s little superficial in the role — including that Hart was a closeted gay man — that screams Hawke. Yet the actor has simply never been better. Hawke’s Larry is a magnetic raconteur and an increasingly desperate has-been whose last-ditch attempts to reingratiate himself to Rodgers are limited as much by his excessive drinking as his refusal to hold his tongue. He is, to put it simply, extraordinarily good company.\u003c/p>\n\u003cp>\u003cem>Oklahoma!\u003c/em> Larry realizes, is going to be performed from that moment “until Doomsday.” Even that exclamation point irks him. But more than that, the success of \u003cem>Oklahoma!\u003c/em> — a musical Larry deems a “fraudulent” portrait of America — casts his sorry situation in a poignant light. This is the dawn of a mainstream Americana that doesn’t have room for an unconventional man like Larry or his blue songs.\u003c/p>\n\u003cp>[aside postid='arts_13982403']That makes this night at Sardi’s a bittersweet salvation and a tender eulogy. Larry has an audience of only a few, but they’re a fine crew (Cannavale is perfect) and their quiet, quip-filled toasts have an abiding warmth. On the outskirts of this group is Elizabeth Weiland (Margaret Qualley), a 20-year-old Yale student with whom Larry is infatuated. To others, Larry’s obsession seems incongruous with his sexuality, but he retorts that he “drinks beauty wherever he finds it.”\u003c/p>\n\u003cp>Robert Kaplow, whose novel \u003cem>Me and Orson Welles\u003c/em> was the basis of Linklater’s film, drew from the real-life correspondence between Hart and Weiland for his script to \u003cem>Blue Moon\u003c/em>. In the film, Elizabeth is ambitious and busy mingling with the \u003cem>Oklahoma!\u003c/em> party. That she’s destined to join them, not Larry, is obvious to us. But his oblivious, irrational hope is one of the reasons to love him.\u003c/p>\n\u003cp>Linklater’s \u003cem>Nouvelle Vague\u003c/em> is a wider story that, while the focus is on Godard, makes room for all the central characters of the New Wave. It’s a teeming movie, bursting at the seams with personalities. \u003cem>Blue Moon\u003c/em>, though, is a solo act. And a magnificent one, at that. In its finest moments, Linklater’s film pays homage not just to Hart but to all the forgotten writers who couldn’t cheat death, but could tell one heck of a yarn.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Blue Moon’ is released nationwide on Oct. 24, 2025.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For a filmmaker once synonymous with slackerdom, \u003ca href=\"https://www.kqed.org/forum/201407171000/richard-linklater-elevates-the-ordinary-in-boyhood-2\">Richard Linklater\u003c/a> has proven to be one of the most prodigious and consistently excellent American filmmakers. A small but rich vein of the two dozen features he’s made have been portraits of artists, including \u003cem>Me and Orson Welles\u003c/em> and, if you like, \u003cem>School of Rock\u003c/em>.\u003c/p>\n\u003cp>This fall brings two more, one set at the dawn of a great career (\u003cem>Nouvelle Vague\u003c/em>, about \u003ca href=\"https://www.kqed.org/arts/13919055/jean-luc-godard-iconic-french-new-wave-director-dies-at-91\">Jean-Luc Godard\u003c/a> and the birth of the French New Wave) and another on the cusp of its tragic end: \u003cem>Blue Moon\u003c/em>, about lyricist \u003ca href=\"https://www.pbs.org/wnet/broadway/stars/lorenz-hart/\">Lorenz Hart\u003c/a>. Both are, in their way, joyous celebrations of brilliant, stubbornly uncompromising creative visionaries. And both are a grand time at the movies.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Blue Moon\u003c/em>, the first to arrive of the two, is one of the more sheerly delightful movies of the year. It takes place at Sardi’s, in New York, on March 31, 1943. Down the street, \u003cem>Oklahoma!\u003c/em> is premiering, a debut that for Hart (Ethan Hawke) stings. His longtime collaborator, the composer Richard Rodgers, has made it not with Hart but with his new songwriting partner, Oscar Hammerstein II. Six months from this night, Hart will die from pneumonia after spending a cold night passed out outside an 8th Avenue bar. He was 48.\u003c/p>\n\u003cp>But while Broadway’s focus is on \u003cem>Oklahoma!\u003c/em> ours is on Larry, as everyone calls him. He’s holding court at Sardi’s before Rodgers (Andrew Scott) and the \u003cem>Oklahoma!\u003c/em> crowd rushes in. There, he is regaling Eddie the bartender (Bobby Cannavale) and a few others (including E.B. White, played by Patrick Kennedy) in a free-flowing monologue, as he tries to resist the glass of whiskey on the bar, laments the imminent sensation of \u003cem>Oklahoma!\u003c/em> and waxes poetic about some of his best lines.\u003c/p>\n\u003cp>“I’ve written a handful of words that are going to cheat death,” says Larry. Hart’s best work included American songbook standards like “My Funny Valentine,” “The Lady Is a Tramp,” “Bewitched, Bothered and Bewildered” and, of course, “Blue Moon.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But his appreciation for language goes far beyond himself. As much as he does a warm sip of bourbon, Larry savors any good quip, turn of phrase or mot juste. His favorite quote from \u003cem>Casablanca\u003c/em>, for example, is a telling one: “Nobody ever loved me that much.” Larry adores the movie and, in particular, Bogart, whom, he notes, is both short and a leading man. “Which proves you can be both,” Hart says.\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/qo7gRHip0lI'\n title='//www.youtube.com/embed/qo7gRHip0lI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Larry is, himself, diminutive, with greasy strands of hair combed over his bald head. The physical transformation for Hawke is a little extreme and potentially distracting. There’s little superficial in the role — including that Hart was a closeted gay man — that screams Hawke. Yet the actor has simply never been better. Hawke’s Larry is a magnetic raconteur and an increasingly desperate has-been whose last-ditch attempts to reingratiate himself to Rodgers are limited as much by his excessive drinking as his refusal to hold his tongue. He is, to put it simply, extraordinarily good company.\u003c/p>\n\u003cp>\u003cem>Oklahoma!\u003c/em> Larry realizes, is going to be performed from that moment “until Doomsday.” Even that exclamation point irks him. But more than that, the success of \u003cem>Oklahoma!\u003c/em> — a musical Larry deems a “fraudulent” portrait of America — casts his sorry situation in a poignant light. This is the dawn of a mainstream Americana that doesn’t have room for an unconventional man like Larry or his blue songs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That makes this night at Sardi’s a bittersweet salvation and a tender eulogy. Larry has an audience of only a few, but they’re a fine crew (Cannavale is perfect) and their quiet, quip-filled toasts have an abiding warmth. On the outskirts of this group is Elizabeth Weiland (Margaret Qualley), a 20-year-old Yale student with whom Larry is infatuated. To others, Larry’s obsession seems incongruous with his sexuality, but he retorts that he “drinks beauty wherever he finds it.”\u003c/p>\n\u003cp>Robert Kaplow, whose novel \u003cem>Me and Orson Welles\u003c/em> was the basis of Linklater’s film, drew from the real-life correspondence between Hart and Weiland for his script to \u003cem>Blue Moon\u003c/em>. In the film, Elizabeth is ambitious and busy mingling with the \u003cem>Oklahoma!\u003c/em> party. That she’s destined to join them, not Larry, is obvious to us. But his oblivious, irrational hope is one of the reasons to love him.\u003c/p>\n\u003cp>Linklater’s \u003cem>Nouvelle Vague\u003c/em> is a wider story that, while the focus is on Godard, makes room for all the central characters of the New Wave. It’s a teeming movie, bursting at the seams with personalities. \u003cem>Blue Moon\u003c/em>, though, is a solo act. And a magnificent one, at that. In its finest moments, Linklater’s film pays homage not just to Hart but to all the forgotten writers who couldn’t cheat death, but could tell one heck of a yarn.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Blue Moon’ is released nationwide on Oct. 24, 2025.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The sun-drenched, postcard-like shots in the film \u003cem>\u003ca href=\"https://www.kqed.org/arts/13982072/fairyland-movie-review-alysia-abbott-memoir-father-daughter-retro-lgbtq-san-francisco\">Fairyland\u003c/a>\u003c/em> evoke a bygone era of San Francisco.\u003c/p>\n\u003cp>Shot on location, the film depicts the city in the wake of the Summer of Love. A father, Steven Abbott, moves his young daughter, Alysia, to the city after the death of her mother. It’s a new beginning for both of them; he embraces an openly gay life while raising his daughter in a world full of artists, drag queens and former boyfriends.\u003c/p>\n\u003cfigure id=\"attachment_13982300\" class=\"wp-caption alignright\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982300\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/abbott_2000-1-scaled.jpg\" alt=\"white woman with shoulder-length brown hair in gray shirt\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/abbott_2000-1-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/abbott_2000-1-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/abbott_2000-1-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/abbott_2000-1-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/abbott_2000-1-1365x2048.jpg 1365w\" sizes=\"auto, (max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Alysia Abbot. \u003ccite>(Amber Davis Toularentes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the years, their relationship ebbs and flows; Steven’s orange Volkswagen Beetle struggling up the hills of his new home is an apt visual metaphor. The story culminates during the AIDS crisis, when university-age Alysia returns home to care for her father.\u003c/p>\n\u003cp>Based on the \u003ca href=\"https://www.kqed.org/forum/201306211000/growing-up-in-70s-san-francisco-with-an-openly-gay-dad\">2013 memoir\u003c/a> of the same name by Alysia Abbott, \u003cem>Fairyland\u003c/em> premiered at Sundance in 2023. She says the film, which would have come across as just nostalgic to audiences two years ago, now has more to offer in a wide theatrical release, starting Oct. 10.\u003c/p>\n\u003cp>“Through the lens of 2023, it might have seemed more quaint. And I think now there’s more of an urgency to this story,” she says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In addition to its contemporary relevance, \u003cem>Fairyland\u003c/em> serves as a love letter to San Francisco, and an intimate examination of parenting, grief and coming of age. Abbott spoke about her book and the film adaptation with KQED’s Brian Watt.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Brian Watt:\u003c/strong> Your dad Steven Abbott was also a writer, and as you were growing up, he didn’t hide who he was. Tell us more about your early years.\u003c/p>\n\u003cp>\u003cstrong>Alysia Abbot:\u003c/strong> Certainly, I think he approached parenting with a lot of naïveté and idealism. He had grown up in a repressed home in Lincoln, Nebraska in the 1950s and 60s. [It was] the kind of home where children were not to speak until they’re spoken to, and when he was left to be an only parent after my mother died, he saw this as an opportunity to raise me in a different way. He was very bohemian, and I really do think that he believed that he was teaching me independence by leaving me to fend for myself.\u003c/p>\n\u003cp>By the time I wrote my book, and certainly by the time I watched the movie, I came to see him with a lot of compassion. There are still things where I’m like, I can’t believe he did that, but also, I believe he made a lot of his choices out of love and because he didn’t have any models. Today there are a lot of queer parents who are married and have wonderful families. In that era, where we were living, anyway, most of his friends didn’t have children. I spent a lot of my time around adults.\u003c/p>\n\u003cfigure id=\"attachment_13982073\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982073\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/FAIRYLAND-Still-3.jpg\" alt=\"An average kitchen interior. A young white girl sits slumped at a round kitchen table, while her dad, wearing a flannel shirt and blue jeans, cigarette in mouth, pours her an orange juice.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/FAIRYLAND-Still-3.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/FAIRYLAND-Still-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/FAIRYLAND-Still-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/FAIRYLAND-Still-3-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Scoot McNairy as Steve Abbott and Nessa Dougherty as a young Alysia in ‘Fairyland.’ \u003ccite>(Courtesy of Lionsgate/WILLA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>I am very taken in the beginning of the film with the gaze and lens of young Alysia. This very young person, surrounded by adults in a new place, trying to take it all in, trying to process it. Is that something that struck you or maybe it was important to you in how the beginning of the film is shot?\u003c/strong>\u003c/p>\n\u003cp>It was a conscious decision to shoot those early parts of the film looking from the perspective of a child, a child’s point of view looking up, to show that sense of disorientation. Over the course of the film, the perspective changes, where by the end, we can look down at Alysia and her father in this later stage of their relationship.\u003c/p>\n\u003cp>When I was writing the book, I had recently taken a class at Harvard on children’s literature. I re-read some classics, like Lewis Carroll’s \u003cem>Alice in Wonderland\u003c/em> and J.M. Barrie’s \u003cem>Peter and Wendy\u003c/em>, the story of Peter Pan. In both of those stories, there would be Wonderland or Neverland. So I thought of marrying this idea of San Francisco as a fairyland, where people were arriving to play, to maybe not grow up, to explore themselves, but also as a child that I might arrive as if on an adventure. The way that Alice follows the rabbit down the rabbit hole.\u003c/p>\n\u003cp>[aside postID='arts_13982072']\u003cstrong>Tell us more about being involved in the making of the film. In a memoir, you have more control. But how did you make sure they were getting it right on film?\u003c/strong>\u003c/p>\n\u003cp>I had a meeting with the director Andrew Durham and Sofia Coppola when they wanted to option the book. I learned that Sofia was going to serve as a producer, and Durham, a longtime collaborator but more of a photographer professionally, was going to be directing this film for the first time. I also learned in that conversation that he had a dad who died of AIDS the very same year that my father died, in 1992, and [Durham] had lived in the Bay Area and came of age approximately the same time I did.\u003c/p>\n\u003cfigure id=\"attachment_13982299\" class=\"wp-caption aligncenter\" style=\"max-width: 1991px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982299\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/fairyland-NEW_PHOTO_EDIT_FAIRYLAND_73-of-116_R_rgb.jpg\" alt=\"young woman lit green in front of neon Palladium sign\" width=\"1991\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/fairyland-NEW_PHOTO_EDIT_FAIRYLAND_73-of-116_R_rgb.jpg 1991w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/fairyland-NEW_PHOTO_EDIT_FAIRYLAND_73-of-116_R_rgb-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/fairyland-NEW_PHOTO_EDIT_FAIRYLAND_73-of-116_R_rgb-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/fairyland-NEW_PHOTO_EDIT_FAIRYLAND_73-of-116_R_rgb-1536x868.jpg 1536w\" sizes=\"auto, (max-width: 1991px) 100vw, 1991px\">\u003cfigcaption class=\"wp-caption-text\">Emilia Jones as an older Alysia Abbott in a scene from ‘Fairyland.’ \u003ccite>(Lionsgate)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We did a research trip together in San Francisco. My father’s papers are at the San Francisco Public Library. We dug out those boxes and went through them together. We rented bikes and bicycled through Golden Gate Park, where I could point out to him important sites where I used to play or where the cover of my book was photographed. Over just that short visit, I felt a camaraderie and an ease.\u003c/p>\n\u003cp>I was able to spend time on set, and I learned in the process just how personal this project was for much of the crew, meaning we had some high-level professionals who were possibly taking a pay cut to work on this project simply because it was very important to them. Other folks took me aside and said, “Listen, there’s someone I used to work with who died of AIDS and I just think this history is important.” There were a lot of people who had something at stake.\u003c/p>\n\u003cp>\u003cstrong>A lot has changed in the world since the film’s premiere in 2023, namely the political climate. The Trump administration cut federal funding for some \u003ca href=\"https://www.npr.org/2025/09/12/nx-s1-5539546/can-the-global-hiv-aids-fight-recover-from-trumps-cuts\">HIV/AIDS prevention programs\u003c/a>. Many people in the LGBTQ+ community fear for their rights. How do you see this film and its story landing now? \u003c/strong>\u003c/p>\n\u003cp>There’s a scene in the film where Steve is listening to the radio and hears about the Briggs Initiative that was being proposed and pushed by Anita Bryant and Sen. [John] Briggs that would have outlawed gay men and women from teaching in schools. Steve looks so shocked to hear that, and that doesn’t feel so far away now.\u003c/p>\n\u003cp>Certainly with HIV funding, this idea that the U.S. used to be an important leader in more recent years on supporting medications for people suffering from HIV and AIDS around the world and now with the U.S. withdrawing from that, there’s a shocking sense of apathy. There’s a sense of loss beyond the loss that was felt of all the people who died of AIDS that we might be mourning as we watch this film together. I also feel that there’s grief about what we have lost as a country. How have we changed in ways that are maybe irrevocable?\u003c/p>\n\u003cp>A couple of years ago, people might have said, “Oh, this is an emotional film. This is weepy.” I kind of feel that right now we need weepy. We collectively are grieving more than we’ve had space to acknowledge because we’re always having to react.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘Fairyland’ opens nationwide on Friday, Oct. 10, 2025.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The sun-drenched, postcard-like shots in the film \u003cem>\u003ca href=\"https://www.kqed.org/arts/13982072/fairyland-movie-review-alysia-abbott-memoir-father-daughter-retro-lgbtq-san-francisco\">Fairyland\u003c/a>\u003c/em> evoke a bygone era of San Francisco.\u003c/p>\n\u003cp>Shot on location, the film depicts the city in the wake of the Summer of Love. A father, Steven Abbott, moves his young daughter, Alysia, to the city after the death of her mother. It’s a new beginning for both of them; he embraces an openly gay life while raising his daughter in a world full of artists, drag queens and former boyfriends.\u003c/p>\n\u003cfigure id=\"attachment_13982300\" class=\"wp-caption alignright\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982300\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/abbott_2000-1-scaled.jpg\" alt=\"white woman with shoulder-length brown hair in gray shirt\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/abbott_2000-1-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/abbott_2000-1-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/abbott_2000-1-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/abbott_2000-1-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/abbott_2000-1-1365x2048.jpg 1365w\" sizes=\"auto, (max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Alysia Abbot. \u003ccite>(Amber Davis Toularentes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the years, their relationship ebbs and flows; Steven’s orange Volkswagen Beetle struggling up the hills of his new home is an apt visual metaphor. The story culminates during the AIDS crisis, when university-age Alysia returns home to care for her father.\u003c/p>\n\u003cp>Based on the \u003ca href=\"https://www.kqed.org/forum/201306211000/growing-up-in-70s-san-francisco-with-an-openly-gay-dad\">2013 memoir\u003c/a> of the same name by Alysia Abbott, \u003cem>Fairyland\u003c/em> premiered at Sundance in 2023. She says the film, which would have come across as just nostalgic to audiences two years ago, now has more to offer in a wide theatrical release, starting Oct. 10.\u003c/p>\n\u003cp>“Through the lens of 2023, it might have seemed more quaint. And I think now there’s more of an urgency to this story,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In addition to its contemporary relevance, \u003cem>Fairyland\u003c/em> serves as a love letter to San Francisco, and an intimate examination of parenting, grief and coming of age. Abbott spoke about her book and the film adaptation with KQED’s Brian Watt.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Brian Watt:\u003c/strong> Your dad Steven Abbott was also a writer, and as you were growing up, he didn’t hide who he was. Tell us more about your early years.\u003c/p>\n\u003cp>\u003cstrong>Alysia Abbot:\u003c/strong> Certainly, I think he approached parenting with a lot of naïveté and idealism. He had grown up in a repressed home in Lincoln, Nebraska in the 1950s and 60s. [It was] the kind of home where children were not to speak until they’re spoken to, and when he was left to be an only parent after my mother died, he saw this as an opportunity to raise me in a different way. He was very bohemian, and I really do think that he believed that he was teaching me independence by leaving me to fend for myself.\u003c/p>\n\u003cp>By the time I wrote my book, and certainly by the time I watched the movie, I came to see him with a lot of compassion. There are still things where I’m like, I can’t believe he did that, but also, I believe he made a lot of his choices out of love and because he didn’t have any models. Today there are a lot of queer parents who are married and have wonderful families. In that era, where we were living, anyway, most of his friends didn’t have children. I spent a lot of my time around adults.\u003c/p>\n\u003cfigure id=\"attachment_13982073\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982073\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/FAIRYLAND-Still-3.jpg\" alt=\"An average kitchen interior. A young white girl sits slumped at a round kitchen table, while her dad, wearing a flannel shirt and blue jeans, cigarette in mouth, pours her an orange juice.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/FAIRYLAND-Still-3.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/FAIRYLAND-Still-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/FAIRYLAND-Still-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/FAIRYLAND-Still-3-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Scoot McNairy as Steve Abbott and Nessa Dougherty as a young Alysia in ‘Fairyland.’ \u003ccite>(Courtesy of Lionsgate/WILLA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>I am very taken in the beginning of the film with the gaze and lens of young Alysia. This very young person, surrounded by adults in a new place, trying to take it all in, trying to process it. Is that something that struck you or maybe it was important to you in how the beginning of the film is shot?\u003c/strong>\u003c/p>\n\u003cp>It was a conscious decision to shoot those early parts of the film looking from the perspective of a child, a child’s point of view looking up, to show that sense of disorientation. Over the course of the film, the perspective changes, where by the end, we can look down at Alysia and her father in this later stage of their relationship.\u003c/p>\n\u003cp>When I was writing the book, I had recently taken a class at Harvard on children’s literature. I re-read some classics, like Lewis Carroll’s \u003cem>Alice in Wonderland\u003c/em> and J.M. Barrie’s \u003cem>Peter and Wendy\u003c/em>, the story of Peter Pan. In both of those stories, there would be Wonderland or Neverland. So I thought of marrying this idea of San Francisco as a fairyland, where people were arriving to play, to maybe not grow up, to explore themselves, but also as a child that I might arrive as if on an adventure. The way that Alice follows the rabbit down the rabbit hole.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cstrong>Tell us more about being involved in the making of the film. In a memoir, you have more control. But how did you make sure they were getting it right on film?\u003c/strong>\u003c/p>\n\u003cp>I had a meeting with the director Andrew Durham and Sofia Coppola when they wanted to option the book. I learned that Sofia was going to serve as a producer, and Durham, a longtime collaborator but more of a photographer professionally, was going to be directing this film for the first time. I also learned in that conversation that he had a dad who died of AIDS the very same year that my father died, in 1992, and [Durham] had lived in the Bay Area and came of age approximately the same time I did.\u003c/p>\n\u003cfigure id=\"attachment_13982299\" class=\"wp-caption aligncenter\" style=\"max-width: 1991px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982299\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/fairyland-NEW_PHOTO_EDIT_FAIRYLAND_73-of-116_R_rgb.jpg\" alt=\"young woman lit green in front of neon Palladium sign\" width=\"1991\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/fairyland-NEW_PHOTO_EDIT_FAIRYLAND_73-of-116_R_rgb.jpg 1991w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/fairyland-NEW_PHOTO_EDIT_FAIRYLAND_73-of-116_R_rgb-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/fairyland-NEW_PHOTO_EDIT_FAIRYLAND_73-of-116_R_rgb-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/fairyland-NEW_PHOTO_EDIT_FAIRYLAND_73-of-116_R_rgb-1536x868.jpg 1536w\" sizes=\"auto, (max-width: 1991px) 100vw, 1991px\">\u003cfigcaption class=\"wp-caption-text\">Emilia Jones as an older Alysia Abbott in a scene from ‘Fairyland.’ \u003ccite>(Lionsgate)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We did a research trip together in San Francisco. My father’s papers are at the San Francisco Public Library. We dug out those boxes and went through them together. We rented bikes and bicycled through Golden Gate Park, where I could point out to him important sites where I used to play or where the cover of my book was photographed. Over just that short visit, I felt a camaraderie and an ease.\u003c/p>\n\u003cp>I was able to spend time on set, and I learned in the process just how personal this project was for much of the crew, meaning we had some high-level professionals who were possibly taking a pay cut to work on this project simply because it was very important to them. Other folks took me aside and said, “Listen, there’s someone I used to work with who died of AIDS and I just think this history is important.” There were a lot of people who had something at stake.\u003c/p>\n\u003cp>\u003cstrong>A lot has changed in the world since the film’s premiere in 2023, namely the political climate. The Trump administration cut federal funding for some \u003ca href=\"https://www.npr.org/2025/09/12/nx-s1-5539546/can-the-global-hiv-aids-fight-recover-from-trumps-cuts\">HIV/AIDS prevention programs\u003c/a>. Many people in the LGBTQ+ community fear for their rights. How do you see this film and its story landing now? \u003c/strong>\u003c/p>\n\u003cp>There’s a scene in the film where Steve is listening to the radio and hears about the Briggs Initiative that was being proposed and pushed by Anita Bryant and Sen. [John] Briggs that would have outlawed gay men and women from teaching in schools. Steve looks so shocked to hear that, and that doesn’t feel so far away now.\u003c/p>\n\u003cp>Certainly with HIV funding, this idea that the U.S. used to be an important leader in more recent years on supporting medications for people suffering from HIV and AIDS around the world and now with the U.S. withdrawing from that, there’s a shocking sense of apathy. There’s a sense of loss beyond the loss that was felt of all the people who died of AIDS that we might be mourning as we watch this film together. I also feel that there’s grief about what we have lost as a country. How have we changed in ways that are maybe irrevocable?\u003c/p>\n\u003cp>A couple of years ago, people might have said, “Oh, this is an emotional film. This is weepy.” I kind of feel that right now we need weepy. We collectively are grieving more than we’ve had space to acknowledge because we’re always having to react.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>A beloved free outdoor \u003ca href=\"https://www.kqed.org/arts/tag/film\">film\u003c/a> series in San Francisco is making a comeback thanks to a local newsroom, The San Francisco Standard.\u003c/p>\n\u003cp>Just before it was set to kick off its 2025 season in May, \u003ca href=\"https://www.kqed.org/arts/13975608/sundown-cinema-canceled-san-francisco-movie-series\">Sundown Cinema\u003c/a> was canceled amid a financial scandal at the San Francisco Parks Alliance, the nonprofit that organized the event.\u003c/p>\n\u003cp>This week, The San Francisco Standard announced that it’d revive the series with \u003ca href=\"https://sfstandard.com/2025/09/09/sundown-cinema/\">two screenings\u003c/a>: Damien Chazelle’s 2016 musical rom-com \u003ci>La La Land\u003c/i> on Sept. 25 at Dolores Park and Tim Burton’s 1990 fantasy classic \u003ci>Edward Scissorhands\u003c/i> on Oct. 23 at the Presidio Civil War Parade Ground.\u003c/p>\n\u003cp>Sundown Cinema has been a San Francisco staple since 2003. “As a team, we decided we just couldn’t let the tradition disappear,” San Francisco Standard CEO Griffin Gaffney told KQED via email.\u003c/p>\n\u003cp>“It brings together two of the best parts of living in San Francisco,” he continued, “our gorgeous parks and the community that lives here.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The San Francisco Parks Alliance told KQED earlier this year that Sundown Cinema screenings had cost the nonprofit $30,000–$40,000 per event to produce. While he didn’t get into the financial specifics, Gaffney said that to make the series financially feasible, The SF Standard secured backing from Waymo, Mubi and Pier 39.\u003c/p>\n\u003cp>The September and October screenings will feature food trucks, and the events are free and open to all. If they are a success, Gaffney said, The San Francisco Standard will explore an expanded 2026 season that brings movies to more of the city’s parks and neighborhoods. “An expanded series would also create opportunities to partner with more local vendors and small businesses in each neighborhood we visit,” he added.\u003c/p>\n\u003cp>But that all depends on community feedback. “We want to ensure we’re creating something that serves San Franciscans,” he said.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://sfstandard.com/2025/09/09/sundown-cinema/\">Sundown Cinema\u003c/a> takes place on Sept. 25 at Dolores Park and Oct. 23 at the Presidio Civil War Parade Ground.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The San Francisco Parks Alliance told KQED earlier this year that Sundown Cinema screenings had cost the nonprofit $30,000–$40,000 per event to produce. While he didn’t get into the financial specifics, Gaffney said that to make the series financially feasible, The SF Standard secured backing from Waymo, Mubi and Pier 39.\u003c/p>\n\u003cp>The September and October screenings will feature food trucks, and the events are free and open to all. If they are a success, Gaffney said, The San Francisco Standard will explore an expanded 2026 season that brings movies to more of the city’s parks and neighborhoods. “An expanded series would also create opportunities to partner with more local vendors and small businesses in each neighborhood we visit,” he added.\u003c/p>\n\u003cp>But that all depends on community feedback. “We want to ensure we’re creating something that serves San Franciscans,” he said.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://sfstandard.com/2025/09/09/sundown-cinema/\">Sundown Cinema\u003c/a> takes place on Sept. 25 at Dolores Park and Oct. 23 at the Presidio Civil War Parade Ground.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"order": 9
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"id": "fresh-air",
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"airtime": "SUN 7:30pm-8pm",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"rss": "https://rss.art19.com/masters-of-scale"
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},
"mindshift": {
"id": "mindshift",
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"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"order": 11
},
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"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"link": "/radio/program/on-the-media",
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"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
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"order": 14
},
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"planet-money": {
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"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5Nzk2MzI2MTEx",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"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.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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