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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At Stanford’s Oshman Hall, the free event will bring together the campus community, artists and film lovers from all over the Bay Area. Sterling hopes it’ll generate some fruitful conversations about how Black women tell and preserve their own stories, and how film can be part of advocacy during challenging political times.\u003c/p>\n\u003cp>“We can’t keep pretending that everything is normal,” she says. “Let’s really dig into what this moment means, and also recognize that we can do that without sort of feeling like, ‘Oh my gosh, we’re in this unprecedented time.’ I think we have to look back and think about the notes and the advice and the lineage that we are a part of.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://stanforduniversity.qualtrics.com/jfe/form/SV_8vt5XAZKBkKFzzU\">But Some of Us Are Brave\u003c/a> takes place at Stanford University’s Oshman Hall (355 Roth Way) on April 10, 7–10 p.m. and April 11, noon–4 p.m.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>\u003ca href=\"https://bampfa.org/event/headless-woman\">The Headless Woman\u003c/a>\u003c/em> (2008), Argentine writer-director Lucrecia Martel’s disturbing third feature, opens on three boys and a dog running and playing in the sun alongside a semi-rural two-lane highway. From the very first frame — there are 24 in a second, remember — the filmmaker thrusts us into the heightened immediacy of \u003cem>now\u003c/em>.\u003c/p>\n\u003cp>Nothing of particular importance seems to be taking place, or maybe we’re not attuned to it. The soundtrack pops with shouts and barks and, on a subliminal wavelength, also unnerves us. Our antennae detect a danger in the vicinity, or on the horizon, that makes us shift uncomfortably in our seat. We are already immersed and, to Martel’s way of thinking, complicit.\u003c/p>\n\u003cp>One of the most acclaimed and unsettling filmmakers working today, Martel is the focus of a Berkeley Art Museum and Pacific Film Archive career retrospective timed to her current residency at UC Berkeley. \u003ca href=\"https://bampfa.org/program/lucrecia-martel-un-destino-comun\">Lucrecia Martel: Un destino común\u003c/a> opens Saturday, April 4 with her stunning debut \u003cem>\u003ca href=\"https://bampfa.org/event/cienaga\">La ciénaga\u003c/a>\u003c/em> (2001) and concludes Sunday, April 19 with her most recent feature \u003cem>\u003ca href=\"https://bampfa.org/event/zama\">Zama\u003c/a>\u003c/em> (2017), the odd and fascinating tale of a frustrated Spanish functionary losing his bearings in colonial Paraguay. \u003c/p>\n\u003cfigure id=\"attachment_13988252\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Martel_Nuestra-Tierra_001_2000.jpg\" alt=\"small crowd looks down hillside at white tent\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13988252\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Martel_Nuestra-Tierra_001_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Martel_Nuestra-Tierra_001_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Martel_Nuestra-Tierra_001_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Martel_Nuestra-Tierra_001_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Martel_Nuestra-Tierra_001_2000-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from Lucrecia Martel’s ‘Our Land/Nuestra Tierra,’ 2025. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The series also includes a sold-out screening of Martel’s 2025 documentary \u003cem>\u003ca href=\"https://bampfa.org/event/our-land-nuestra-tierra\">Our Land/Nuestra Tierra\u003c/a>\u003c/em>, which plays April 16 at the \u003ca href=\"https://roxie.com/film/our-land-nuestra-tierra/\">Roxie\u003c/a> and opens May 1 in the Bay Area. This comparatively straightforward saga of crime and injustice documents the 2018 trial of the killers of unarmed activist Javier Chocobar in Argentina’s Tucumán Province. By way of rebutting their attorneys’ claim that the defendants had the right to access the disputed land and the Indigenous Chuschagasta community had no legal claim, Martel assembles acres of photographic, anecdotal and moral evidence to the contrary.\u003c/p>\n\u003cp>In her fiction features, Martel typically provides just enough context and bones of a story to give the viewer some footing. Her insistence that we interpret the perceptions and responses of the characters, along with her propensity to compress and elongate time, results in ambiguous, open-ended films whose pleasure correlates with the viewer’s willingness to be challenged. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Cinephiles said similar things about the then-radical films of Michelangelo Antonioni and Alain Resnais. They also spent hours, if you can imagine, discussing the movies’ meanings and themes. Martel’s films invite equally intense conversations.\u003c/p>\n\u003cfigure id=\"attachment_13988248\" class=\"wp-caption aligncenter\" style=\"max-width: 2015px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Martel_Headless-Woman_009.jpg\" alt=\"older woman caresses younger woman's face as they sit on bed\" width=\"2015\" height=\"835\" class=\"size-full wp-image-13988248\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Martel_Headless-Woman_009.jpg 2015w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Martel_Headless-Woman_009-2000x829.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Martel_Headless-Woman_009-160x66.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Martel_Headless-Woman_009-768x318.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Martel_Headless-Woman_009-1536x637.jpg 1536w\" sizes=\"auto, (max-width: 2015px) 100vw, 2015px\">\u003cfigcaption class=\"wp-caption-text\">María Onetto and Inés Efron in a scene from Lucrecia Martel’s ‘The Headless Woman,’ 2008. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Whenever you manage, through cinema, to cast doubt on the assumed nature of things, you might be approaching something really interesting,” Martel said in a 2019 interview with the Museum of Modern Art’s online journal \u003ca href=\"https://post.moma.org/to-cast-doubt-on-the-assumed-nature-of-things-an-interview-with-lucrecia-martel/\">post: notes on art in a global context\u003c/a>. “And when you have done that once, there’s no way back. Because once you become aware of what makes no sense, never again can reality manage to completely hide its quality of disguise.”\u003c/p>\n\u003cp>\u003cem>La ciénaga\u003c/em> (\u003cem>The Swamp\u003c/em>) is a fraught, impressionistic portrait of two decaying middle-class families. \u003cem>\u003ca href=\"https://bampfa.org/event/holy-girl\">The Holy Girl\u003c/a>\u003c/em> (2004) explores the twisted entanglement between a doctor attending a conference, a confused-by-religion teenager and her divorced mother. \u003cem>The Headless Woman\u003c/em> (2008) follows a well-off woman in the aftermath of a hit-and-run accident. \u003cem>Zama\u003c/em> (adapted from Antonio di Benedetto’s 1956 novel) is likewise a portrait of privilege, stasis and desperation, although it more explicitly acknowledges colonial and (by extension) contemporary prejudice and exploitation.\u003c/p>\n\u003cp>Because Martel resists convention, plot summaries only convey the surface of her movies. Nor can synopses convey the importance of the outdoors — the natural world, certainly, but the land as identification, inheritance, history — as an embedded theme. The recurring presence of Indigenous people in various roles (employees, servants, children on the side of a highway), whether acknowledged by the characters or not, is a reminder to audiences of Argentina’s past and present.\u003c/p>\n\u003cfigure id=\"attachment_13988249\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Martel_Holy-Girl_003.jpg\" alt=\"two girls swim on their backs in blue pool\" width=\"1440\" height=\"960\" class=\"size-full wp-image-13988249\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Martel_Holy-Girl_003.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Martel_Holy-Girl_003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Martel_Holy-Girl_003-768x512.jpg 768w\" sizes=\"auto, (max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Lucrecia Martel’s ‘The Holy Girl,’ 2004. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Martel’s films are populated with adults so enmeshed in lives of pointless desperation that they lose touch with their children. If they can deny reality to the degree that their kids aren’t a priority, they are surely indifferent to a larger historical and geographic perspective.\u003c/p>\n\u003cp>There is an immediacy and energy to Martel’s work that hooks us and commands our attention, and feels completely of the moment. And although her films are rooted in specific Argentine experience and history, their invocations of the intersection of power and gender, and power and class, feel especially relevant now to (North) American audiences.\u003c/p>\n\u003cp>I have heard it described as cognitive dissonance. The comfort and complacency that has long existed in a certain strata of American society can’t continue, not in the same way and with the same obliviousness, in a tidal wave of increasing inequality, reduced rights, ICE detention centers, ongoing war, bottomless lies and a collapse of the moral code.\u003c/p>\n\u003cp>If we can recognize ourselves in Lucrecia Martel’s characters — selfish, ridiculous, dumbstruck, unmoored, committed to a failed system — we might begin to live in the urgency of \u003cem>now\u003c/em>.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://bampfa.org/program/lucrecia-martel-un-destino-comun\">Lucrecia Martel: Un destino común\u003c/a>’ plays April 4–19, 2026 at the Berkeley Art Museum and Pacific Film Archive (2155 Center St., Berkeley).\u003c/i> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"https://bampfa.org/event/headless-woman\">The Headless Woman\u003c/a>\u003c/em> (2008), Argentine writer-director Lucrecia Martel’s disturbing third feature, opens on three boys and a dog running and playing in the sun alongside a semi-rural two-lane highway. From the very first frame — there are 24 in a second, remember — the filmmaker thrusts us into the heightened immediacy of \u003cem>now\u003c/em>.\u003c/p>\n\u003cp>Nothing of particular importance seems to be taking place, or maybe we’re not attuned to it. The soundtrack pops with shouts and barks and, on a subliminal wavelength, also unnerves us. Our antennae detect a danger in the vicinity, or on the horizon, that makes us shift uncomfortably in our seat. We are already immersed and, to Martel’s way of thinking, complicit.\u003c/p>\n\u003cp>One of the most acclaimed and unsettling filmmakers working today, Martel is the focus of a Berkeley Art Museum and Pacific Film Archive career retrospective timed to her current residency at UC Berkeley. \u003ca href=\"https://bampfa.org/program/lucrecia-martel-un-destino-comun\">Lucrecia Martel: Un destino común\u003c/a> opens Saturday, April 4 with her stunning debut \u003cem>\u003ca href=\"https://bampfa.org/event/cienaga\">La ciénaga\u003c/a>\u003c/em> (2001) and concludes Sunday, April 19 with her most recent feature \u003cem>\u003ca href=\"https://bampfa.org/event/zama\">Zama\u003c/a>\u003c/em> (2017), the odd and fascinating tale of a frustrated Spanish functionary losing his bearings in colonial Paraguay. \u003c/p>\n\u003cfigure id=\"attachment_13988252\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Martel_Nuestra-Tierra_001_2000.jpg\" alt=\"small crowd looks down hillside at white tent\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13988252\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Martel_Nuestra-Tierra_001_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Martel_Nuestra-Tierra_001_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Martel_Nuestra-Tierra_001_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Martel_Nuestra-Tierra_001_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Martel_Nuestra-Tierra_001_2000-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from Lucrecia Martel’s ‘Our Land/Nuestra Tierra,’ 2025. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The series also includes a sold-out screening of Martel’s 2025 documentary \u003cem>\u003ca href=\"https://bampfa.org/event/our-land-nuestra-tierra\">Our Land/Nuestra Tierra\u003c/a>\u003c/em>, which plays April 16 at the \u003ca href=\"https://roxie.com/film/our-land-nuestra-tierra/\">Roxie\u003c/a> and opens May 1 in the Bay Area. This comparatively straightforward saga of crime and injustice documents the 2018 trial of the killers of unarmed activist Javier Chocobar in Argentina’s Tucumán Province. By way of rebutting their attorneys’ claim that the defendants had the right to access the disputed land and the Indigenous Chuschagasta community had no legal claim, Martel assembles acres of photographic, anecdotal and moral evidence to the contrary.\u003c/p>\n\u003cp>In her fiction features, Martel typically provides just enough context and bones of a story to give the viewer some footing. Her insistence that we interpret the perceptions and responses of the characters, along with her propensity to compress and elongate time, results in ambiguous, open-ended films whose pleasure correlates with the viewer’s willingness to be challenged. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Cinephiles said similar things about the then-radical films of Michelangelo Antonioni and Alain Resnais. They also spent hours, if you can imagine, discussing the movies’ meanings and themes. Martel’s films invite equally intense conversations.\u003c/p>\n\u003cfigure id=\"attachment_13988248\" class=\"wp-caption aligncenter\" style=\"max-width: 2015px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Martel_Headless-Woman_009.jpg\" alt=\"older woman caresses younger woman's face as they sit on bed\" width=\"2015\" height=\"835\" class=\"size-full wp-image-13988248\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Martel_Headless-Woman_009.jpg 2015w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Martel_Headless-Woman_009-2000x829.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Martel_Headless-Woman_009-160x66.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Martel_Headless-Woman_009-768x318.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Martel_Headless-Woman_009-1536x637.jpg 1536w\" sizes=\"auto, (max-width: 2015px) 100vw, 2015px\">\u003cfigcaption class=\"wp-caption-text\">María Onetto and Inés Efron in a scene from Lucrecia Martel’s ‘The Headless Woman,’ 2008. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Whenever you manage, through cinema, to cast doubt on the assumed nature of things, you might be approaching something really interesting,” Martel said in a 2019 interview with the Museum of Modern Art’s online journal \u003ca href=\"https://post.moma.org/to-cast-doubt-on-the-assumed-nature-of-things-an-interview-with-lucrecia-martel/\">post: notes on art in a global context\u003c/a>. “And when you have done that once, there’s no way back. Because once you become aware of what makes no sense, never again can reality manage to completely hide its quality of disguise.”\u003c/p>\n\u003cp>\u003cem>La ciénaga\u003c/em> (\u003cem>The Swamp\u003c/em>) is a fraught, impressionistic portrait of two decaying middle-class families. \u003cem>\u003ca href=\"https://bampfa.org/event/holy-girl\">The Holy Girl\u003c/a>\u003c/em> (2004) explores the twisted entanglement between a doctor attending a conference, a confused-by-religion teenager and her divorced mother. \u003cem>The Headless Woman\u003c/em> (2008) follows a well-off woman in the aftermath of a hit-and-run accident. \u003cem>Zama\u003c/em> (adapted from Antonio di Benedetto’s 1956 novel) is likewise a portrait of privilege, stasis and desperation, although it more explicitly acknowledges colonial and (by extension) contemporary prejudice and exploitation.\u003c/p>\n\u003cp>Because Martel resists convention, plot summaries only convey the surface of her movies. Nor can synopses convey the importance of the outdoors — the natural world, certainly, but the land as identification, inheritance, history — as an embedded theme. The recurring presence of Indigenous people in various roles (employees, servants, children on the side of a highway), whether acknowledged by the characters or not, is a reminder to audiences of Argentina’s past and present.\u003c/p>\n\u003cfigure id=\"attachment_13988249\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Martel_Holy-Girl_003.jpg\" alt=\"two girls swim on their backs in blue pool\" width=\"1440\" height=\"960\" class=\"size-full wp-image-13988249\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Martel_Holy-Girl_003.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Martel_Holy-Girl_003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Martel_Holy-Girl_003-768x512.jpg 768w\" sizes=\"auto, (max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Lucrecia Martel’s ‘The Holy Girl,’ 2004. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Martel’s films are populated with adults so enmeshed in lives of pointless desperation that they lose touch with their children. If they can deny reality to the degree that their kids aren’t a priority, they are surely indifferent to a larger historical and geographic perspective.\u003c/p>\n\u003cp>There is an immediacy and energy to Martel’s work that hooks us and commands our attention, and feels completely of the moment. And although her films are rooted in specific Argentine experience and history, their invocations of the intersection of power and gender, and power and class, feel especially relevant now to (North) American audiences.\u003c/p>\n\u003cp>I have heard it described as cognitive dissonance. The comfort and complacency that has long existed in a certain strata of American society can’t continue, not in the same way and with the same obliviousness, in a tidal wave of increasing inequality, reduced rights, ICE detention centers, ongoing war, bottomless lies and a collapse of the moral code.\u003c/p>\n\u003cp>If we can recognize ourselves in Lucrecia Martel’s characters — selfish, ridiculous, dumbstruck, unmoored, committed to a failed system — we might begin to live in the urgency of \u003cem>now\u003c/em>.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://bampfa.org/program/lucrecia-martel-un-destino-comun\">Lucrecia Martel: Un destino común\u003c/a>’ plays April 4–19, 2026 at the Berkeley Art Museum and Pacific Film Archive (2155 Center St., Berkeley).\u003c/i> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Palestinian filmmaker Annemarie Jacir’s fourth and most ambitious feature, \u003cem>\u003ca href=\"https://www.watermelonpictures.com/films/palestine-36\">Palestine ’36\u003c/a>\u003c/em> (opening Friday, March 27 at several Bay Area theaters), is the kind of movie that critics like to say nobody makes anymore: an expensive, expansive period piece that movingly depicts the impossible sacrifices of everyday people against a backdrop of geopolitical events whose consequences reverberate to this very minute.\u003c/p>\n\u003cp>Palestine’s submission for the Best International Feature Oscar (it was shortlisted but not nominated), \u003cem>Palestine ’36\u003c/em> has both the virtues and flaws of the typical historical epic in that it necessarily compresses multiple perspectives into two hours. While the stakes are made palpable and our emotional connections to the characters are solid, key dramatic events come and go in a flash and some of the dialogue is overly succinct and on the nose.\u003c/p>\n\u003cp>“Your land is where your people are buried,” a grandmother instructs her granddaughter. “You have something more powerful than the entire British Empire. You come from a line of brave people who love their land.”\u003c/p>\n\u003cfigure id=\"attachment_13987961\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Palestine36_2.jpg\" alt=\"two children run through flowering field\" width=\"2000\" height=\"838\" class=\"size-full wp-image-13987961\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Palestine36_2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Palestine36_2-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Palestine36_2-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Palestine36_2-1536x644.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Palestine ’36,’ featuring Wardi Eilabouni as Afra (left). \u003ccite>(Watermelon Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A speech underscoring the values of home, identity and ownership comes with the territory, pardon the pun. Jacir’s great contribution is immersing us in pre-World War II Palestine through careful attention to clothes and settings, augmented with restored and colorized archival footage. It is a pleasure to inhabit a physical, analog world where you can practically taste the dust and the grape leaves, and a 19th-century single-shot pistol has the weight of the world.\u003c/p>\n\u003cp>Shot on location in Palestine and Jordan, \u003cem>Palestine ’36\u003c/em> is at heart a multi-generational mosaic of profiles in radicalization. Surely you aren’t surprised to hear that this is a politically charged film, although (for better or worse) it never stops in its tracks for a utopian debate of principles and tactics à la English filmmaker Ken Loach (\u003cem>Land and Freedom\u003c/em>).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The story begins in 1936 when a young villager, Yusuf (Karim Daoud Anaya), comes to Jerusalem to be the assistant to a well-off publisher whose independent wife, Khouloud (Yasmine Al Massri), is an accomplished journalist. The traditional agrarian life of the nearby villages is conveyed through the aforementioned grandmother (a fierce Hiam Abbas), her widowed daughter Rabab (Yafa Bakri) and granddaughter Afra (Wardi Eilabouni).\u003c/p>\n\u003cfigure id=\"attachment_13987962\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Palestine36_3.jpg\" alt=\"three military men drive in open-topped car\" width=\"2000\" height=\"838\" class=\"size-full wp-image-13987962\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Palestine36_3.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Palestine36_3-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Palestine36_3-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Palestine36_3-1536x644.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Palestine ’36,’ featuring Robert Aramayo as Captain Wingate (far right). \u003ccite>(Watermelon Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Great Britain has been in charge of Palestine since the end of World War I, and the Brits are represented here by doddering High Commissioner Wauchope (Jeremy Irons), idealistic young diplomat Thomas (Billy Howle) and the singularly brutal Captain Wingate (Robert Aramayo).\u003c/p>\n\u003cp>Although there have been Jews in Palestine for centuries — with tensions and violence between Jews and Palestinians simmering for a while and the Jewish population increasing as Europeans flee anti-Semitism — it’s important to note that \u003cem>Palestine ’36\u003c/em> is a saga of the conflict between the indigenous Arabs and the occupying British. The Jewish settlers are almost entirely off-screen, although their presence and influence is referenced throughout the film.\u003c/p>\n\u003cp>The Arabs see the British as siding with the Zionists through a mix of condescension, prejudice and the calculations of out-of-touch London politicians. Yet not all the Arabs have thrown in with the armed rebels living in the mountains; some of the old-line, land-owning establishment types are hedging their bets by staying aligned with the British.\u003c/p>\n\u003cfigure id=\"attachment_13987963\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Palestine-36_4.jpg\" alt=\"suited women march with banners\" width=\"2000\" height=\"838\" class=\"size-full wp-image-13987963\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Palestine-36_4.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Palestine-36_4-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Palestine-36_4-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Palestine-36_4-1536x644.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Palestine ’36,’ featuring Yasmine Al Massri as Khouloud (second from right). \u003ccite>(Watermelon Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the story centers on colonialists and insurgents of another time, it’s impossible to miss the contemporary echoes in some of Jacir’s compositions. Women throwing stones at fleeing British soldiers call to mind the images of children throwing stones at Israeli soldiers during the first intifada. The British army blowing up stone Palestinian houses inevitably calls down through the years to the Israeli army destroying Palestinian houses on various dubious premises.\u003c/p>\n\u003cp>Roger Ebert defined the movies as a great empathy machine, in that we see and identify with people whose lives are not ours. As we sit here today, the hideous crimes perpetuated against Palestinians and Israelis by each other in the last few years have had the additional effect of hardening everyone’s attitudes and positions.\u003c/p>\n\u003cp>\u003cem>Palestine ’36\u003c/em> may not be a film that wins or changes hearts and minds. It does offer an opening, for those who want to take it, to step into the realm of compassion, if only for two hours.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Palestine ’36’ opens Friday, March 27 at \u003ca href=\"https://www.watermelonpictures.com/films/palestine-36\">select Bay Area theaters\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"title": "‘Palestine ’36’ Review: A Heartfelt Historical Epic | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Palestinian filmmaker Annemarie Jacir’s fourth and most ambitious feature, \u003cem>\u003ca href=\"https://www.watermelonpictures.com/films/palestine-36\">Palestine ’36\u003c/a>\u003c/em> (opening Friday, March 27 at several Bay Area theaters), is the kind of movie that critics like to say nobody makes anymore: an expensive, expansive period piece that movingly depicts the impossible sacrifices of everyday people against a backdrop of geopolitical events whose consequences reverberate to this very minute.\u003c/p>\n\u003cp>Palestine’s submission for the Best International Feature Oscar (it was shortlisted but not nominated), \u003cem>Palestine ’36\u003c/em> has both the virtues and flaws of the typical historical epic in that it necessarily compresses multiple perspectives into two hours. While the stakes are made palpable and our emotional connections to the characters are solid, key dramatic events come and go in a flash and some of the dialogue is overly succinct and on the nose.\u003c/p>\n\u003cp>“Your land is where your people are buried,” a grandmother instructs her granddaughter. “You have something more powerful than the entire British Empire. You come from a line of brave people who love their land.”\u003c/p>\n\u003cfigure id=\"attachment_13987961\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Palestine36_2.jpg\" alt=\"two children run through flowering field\" width=\"2000\" height=\"838\" class=\"size-full wp-image-13987961\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Palestine36_2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Palestine36_2-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Palestine36_2-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Palestine36_2-1536x644.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Palestine ’36,’ featuring Wardi Eilabouni as Afra (left). \u003ccite>(Watermelon Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A speech underscoring the values of home, identity and ownership comes with the territory, pardon the pun. Jacir’s great contribution is immersing us in pre-World War II Palestine through careful attention to clothes and settings, augmented with restored and colorized archival footage. It is a pleasure to inhabit a physical, analog world where you can practically taste the dust and the grape leaves, and a 19th-century single-shot pistol has the weight of the world.\u003c/p>\n\u003cp>Shot on location in Palestine and Jordan, \u003cem>Palestine ’36\u003c/em> is at heart a multi-generational mosaic of profiles in radicalization. Surely you aren’t surprised to hear that this is a politically charged film, although (for better or worse) it never stops in its tracks for a utopian debate of principles and tactics à la English filmmaker Ken Loach (\u003cem>Land and Freedom\u003c/em>).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The story begins in 1936 when a young villager, Yusuf (Karim Daoud Anaya), comes to Jerusalem to be the assistant to a well-off publisher whose independent wife, Khouloud (Yasmine Al Massri), is an accomplished journalist. The traditional agrarian life of the nearby villages is conveyed through the aforementioned grandmother (a fierce Hiam Abbas), her widowed daughter Rabab (Yafa Bakri) and granddaughter Afra (Wardi Eilabouni).\u003c/p>\n\u003cfigure id=\"attachment_13987962\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Palestine36_3.jpg\" alt=\"three military men drive in open-topped car\" width=\"2000\" height=\"838\" class=\"size-full wp-image-13987962\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Palestine36_3.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Palestine36_3-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Palestine36_3-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Palestine36_3-1536x644.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Palestine ’36,’ featuring Robert Aramayo as Captain Wingate (far right). \u003ccite>(Watermelon Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Great Britain has been in charge of Palestine since the end of World War I, and the Brits are represented here by doddering High Commissioner Wauchope (Jeremy Irons), idealistic young diplomat Thomas (Billy Howle) and the singularly brutal Captain Wingate (Robert Aramayo).\u003c/p>\n\u003cp>Although there have been Jews in Palestine for centuries — with tensions and violence between Jews and Palestinians simmering for a while and the Jewish population increasing as Europeans flee anti-Semitism — it’s important to note that \u003cem>Palestine ’36\u003c/em> is a saga of the conflict between the indigenous Arabs and the occupying British. The Jewish settlers are almost entirely off-screen, although their presence and influence is referenced throughout the film.\u003c/p>\n\u003cp>The Arabs see the British as siding with the Zionists through a mix of condescension, prejudice and the calculations of out-of-touch London politicians. Yet not all the Arabs have thrown in with the armed rebels living in the mountains; some of the old-line, land-owning establishment types are hedging their bets by staying aligned with the British.\u003c/p>\n\u003cfigure id=\"attachment_13987963\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Palestine-36_4.jpg\" alt=\"suited women march with banners\" width=\"2000\" height=\"838\" class=\"size-full wp-image-13987963\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Palestine-36_4.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Palestine-36_4-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Palestine-36_4-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Palestine-36_4-1536x644.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Palestine ’36,’ featuring Yasmine Al Massri as Khouloud (second from right). \u003ccite>(Watermelon Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the story centers on colonialists and insurgents of another time, it’s impossible to miss the contemporary echoes in some of Jacir’s compositions. Women throwing stones at fleeing British soldiers call to mind the images of children throwing stones at Israeli soldiers during the first intifada. The British army blowing up stone Palestinian houses inevitably calls down through the years to the Israeli army destroying Palestinian houses on various dubious premises.\u003c/p>\n\u003cp>Roger Ebert defined the movies as a great empathy machine, in that we see and identify with people whose lives are not ours. As we sit here today, the hideous crimes perpetuated against Palestinians and Israelis by each other in the last few years have had the additional effect of hardening everyone’s attitudes and positions.\u003c/p>\n\u003cp>\u003cem>Palestine ’36\u003c/em> may not be a film that wins or changes hearts and minds. It does offer an opening, for those who want to take it, to step into the realm of compassion, if only for two hours.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Palestine ’36’ opens Friday, March 27 at \u003ca href=\"https://www.watermelonpictures.com/films/palestine-36\">select Bay Area theaters\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "futbol-on-film-roxie-theater-san-francisco-city-football-club-documentary",
"title": "At the Roxie, ‘Fútbol on Film’ Celebrates Soccer as the People’s Sport",
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"headTitle": "At the Roxie, ‘Fútbol on Film’ Celebrates Soccer as the People’s Sport | KQED",
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"content": "\u003cp>When the FIFA Men’s \u003ca href=\"https://www.kqed.org/forum/2010101913251/the-world-cup-heads-to-california\">World Cup\u003c/a> comes to the Bay Area in June and July, much of the conversation will revolve around the economic benefits of hosting these mega sporting events. \u003c/p>\n\u003cp>But for soccer fans like Daniel Díaz, a purely monetary focus misses the mark. On Sunday, March 29, Díaz, via the documentary platform CiNEOLA, will present a program at the Roxie called “\u003ca href=\"https://roxie.com/film/futbol-on-film/\">Fútbol on film\u003c/a>.”\u003c/p>\n\u003cp>“We wanted to put together a program that spoke to football in a way that really focuses on the good, the people, the humanity around the sport,” he tells KQED. The goal, he says, is to look at the sport from an “anti-capitalist, anti-imperialist lens.”\u003c/p>\n\u003cfigure id=\"attachment_13987803\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/BaggioStill_jpg4_2000.jpg\" alt=\"tv screen showing soccer game in darkened space\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13987803\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/BaggioStill_jpg4_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/BaggioStill_jpg4_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/BaggioStill_jpg4_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/BaggioStill_jpg4_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/BaggioStill_jpg4_2000-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from Henrique Cartaxo’s short film ‘Roberto Baggio,’ 2023. \u003ccite>(Courtesy of the artist and CiNEOLA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The 90-minute program starts at noon with a series of three short documentaries focused on Latin American football: RJ Sanchez’s \u003ci>Barra brava\u003c/i>, a 16mm film about Colombia’s devoted soccer fans; \u003ci>Roberto Baggio\u003c/i>, about filmmaker Henrique Cartaxo’s memories of Brazil’s 1994 World Cup victory; and Díaz’s own short \u003ci>Junior tu papá\u003c/i>, which revisits memories of a 1993 championship game played in Barranquilla, Colombia 17 days after Pablo Escobar’s death.\u003c/p>\n\u003cp>But the main event of the day for many in attendance will be a teaser of Díaz’s current project, a feature-length documentary about \u003ca href=\"https://sfcityfc.com/\">San Francisco City Football Club\u003c/a>, the oldest community-owned soccer club in the United States.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The team, which has been around since 2001 and competes in the semi-professional USL League Two, has long played its home games at Kezar Stadium. Over two decades, SF City FC has gathered an ardent fan base of local supporters, people who fill the stands with black and gold gear, drums and flags, chanting “Oh when the fog / comes rolling in.” (Sponsored by Muni, the team has some of the \u003ca href=\"https://www.kqed.org/arts/13952578/san-francisco-soccer-team-city-fc-muni-hollis-callas-collaboration\">best jerseys in the game\u003c/a>.)\u003c/p>\n\u003cfigure id=\"attachment_13987804\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/SFCityFC_MUNDIAL-06_2000.jpg\" alt=\"three men in soccer jerseys against green screen\" width=\"2000\" height=\"1326\" class=\"size-full wp-image-13987804\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/SFCityFC_MUNDIAL-06_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/SFCityFC_MUNDIAL-06_2000-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/SFCityFC_MUNDIAL-06_2000-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/SFCityFC_MUNDIAL-06_2000-1536x1018.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">L to R: Filmmaker Daniel Díaz with SF City FC Creative Director Ian Blackley and Director of Operations Tyler Hinman at SF COMMONS. \u003ccite>(Daniel Díaz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But in May 2025, \u003ca href=\"https://www.instagram.com/p/DJb3KiHxwKh/\">Mayor Daniel Lurie announced\u003c/a> a new minor league soccer team founded by financial executives Geoff Oltmans and Marc Rohrer — the confusingly named Golden City FC — would be coming to San Francisco. Shortly after, the Board of Supervisors voted to give the nonexistent team a \u003ca href=\"https://sfrecpark.org/m/newsflash/home/detail/2285\">15-year-contract at Kezar\u003c/a> (with the option of three five-year extensions) in exchange for $10 million worth of renovations to the stadium.\u003c/p>\n\u003cp>[aside postID='news_12076503' hero='https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/IMG_1406-2000x1500.jpg']SF City FC was blindsided. The deal meant they would be able to play just one game a season on what had been their home field. Nearly a year later, Golden City FC has yet to materialize, and the team’s website is \u003ca href=\"https://goldencityfootballclub.org/\">now broken\u003c/a>.\u003c/p>\n\u003cp>All of this provides plenty of dramatic fodder for Díaz’s \u003ci>Roll Fog\u003c/i>, which he will continue to film through the team’s 2026 season, which opens with \u003ca href=\"https://sfcityfc.com/schedule/san-juan-home\">a home game\u003c/a> at San Francisco State University’s Cox Stadium on May 3. \u003c/p>\n\u003cp>“This is going to be the first time we’re showing anything publicly for the project,” Díaz says of the 12-minute teaser screening at the Roxie. “We’re using it as an opportunity to introduce this project to the community that it is for and it’s about and that is ultimately participating in the production of it.”\u003c/p>\n\u003cp>A Q&A after will include a conversation between Díaz and Rei Dorwart of \u003ca href=\"https://www.kqed.org/arts/13972889/marco-jacques-joga-jax-sf-city-football-club-futbol-by-the-bay\">Fútbol by the Bay\u003c/a> (which runs youth soccer clinics, among other activities), and members of SF City FC supporter groups the \u003ca href=\"https://www.instagram.com/northsiderssfcityfc/\">Northsiders\u003c/a>, \u003ca href=\"https://www.instagram.com/kezarunionsf/\">Kezar Union\u003c/a> and \u003ca href=\"https://www.instagram.com/faultlineoffenders/\">Fault Line Offenders\u003c/a>.\u003c/p>\n\u003cp>“This is a project that we want to really be through the fans’ point of view,” Díaz says. In that spirit, attendees are encouraged to wear their teams’ jerseys, and to bring scarves and flags to the screening. At the Roxie, Díaz says he hopes to create a “match day atmosphere” emblematic of how soccer brings disparate groups together in support of the sport.\u003c/p>\n\u003cp>“It’s about replicating everything that’s so great about the city that we’re in,” he says, “and how, at least in my mind, SF City FC does that as well.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://roxie.com/film/futbol-on-film/\">Fútbol on film\u003c/a>’ screens at the Roxie Theater (3125 16th St., San Francisco) on Sunday, March 29 at 12 p.m.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When the FIFA Men’s \u003ca href=\"https://www.kqed.org/forum/2010101913251/the-world-cup-heads-to-california\">World Cup\u003c/a> comes to the Bay Area in June and July, much of the conversation will revolve around the economic benefits of hosting these mega sporting events. \u003c/p>\n\u003cp>But for soccer fans like Daniel Díaz, a purely monetary focus misses the mark. On Sunday, March 29, Díaz, via the documentary platform CiNEOLA, will present a program at the Roxie called “\u003ca href=\"https://roxie.com/film/futbol-on-film/\">Fútbol on film\u003c/a>.”\u003c/p>\n\u003cp>“We wanted to put together a program that spoke to football in a way that really focuses on the good, the people, the humanity around the sport,” he tells KQED. The goal, he says, is to look at the sport from an “anti-capitalist, anti-imperialist lens.”\u003c/p>\n\u003cfigure id=\"attachment_13987803\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/BaggioStill_jpg4_2000.jpg\" alt=\"tv screen showing soccer game in darkened space\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13987803\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/BaggioStill_jpg4_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/BaggioStill_jpg4_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/BaggioStill_jpg4_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/BaggioStill_jpg4_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/BaggioStill_jpg4_2000-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from Henrique Cartaxo’s short film ‘Roberto Baggio,’ 2023. \u003ccite>(Courtesy of the artist and CiNEOLA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The 90-minute program starts at noon with a series of three short documentaries focused on Latin American football: RJ Sanchez’s \u003ci>Barra brava\u003c/i>, a 16mm film about Colombia’s devoted soccer fans; \u003ci>Roberto Baggio\u003c/i>, about filmmaker Henrique Cartaxo’s memories of Brazil’s 1994 World Cup victory; and Díaz’s own short \u003ci>Junior tu papá\u003c/i>, which revisits memories of a 1993 championship game played in Barranquilla, Colombia 17 days after Pablo Escobar’s death.\u003c/p>\n\u003cp>But the main event of the day for many in attendance will be a teaser of Díaz’s current project, a feature-length documentary about \u003ca href=\"https://sfcityfc.com/\">San Francisco City Football Club\u003c/a>, the oldest community-owned soccer club in the United States.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The team, which has been around since 2001 and competes in the semi-professional USL League Two, has long played its home games at Kezar Stadium. Over two decades, SF City FC has gathered an ardent fan base of local supporters, people who fill the stands with black and gold gear, drums and flags, chanting “Oh when the fog / comes rolling in.” (Sponsored by Muni, the team has some of the \u003ca href=\"https://www.kqed.org/arts/13952578/san-francisco-soccer-team-city-fc-muni-hollis-callas-collaboration\">best jerseys in the game\u003c/a>.)\u003c/p>\n\u003cfigure id=\"attachment_13987804\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/SFCityFC_MUNDIAL-06_2000.jpg\" alt=\"three men in soccer jerseys against green screen\" width=\"2000\" height=\"1326\" class=\"size-full wp-image-13987804\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/SFCityFC_MUNDIAL-06_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/SFCityFC_MUNDIAL-06_2000-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/SFCityFC_MUNDIAL-06_2000-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/SFCityFC_MUNDIAL-06_2000-1536x1018.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">L to R: Filmmaker Daniel Díaz with SF City FC Creative Director Ian Blackley and Director of Operations Tyler Hinman at SF COMMONS. \u003ccite>(Daniel Díaz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But in May 2025, \u003ca href=\"https://www.instagram.com/p/DJb3KiHxwKh/\">Mayor Daniel Lurie announced\u003c/a> a new minor league soccer team founded by financial executives Geoff Oltmans and Marc Rohrer — the confusingly named Golden City FC — would be coming to San Francisco. Shortly after, the Board of Supervisors voted to give the nonexistent team a \u003ca href=\"https://sfrecpark.org/m/newsflash/home/detail/2285\">15-year-contract at Kezar\u003c/a> (with the option of three five-year extensions) in exchange for $10 million worth of renovations to the stadium.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>SF City FC was blindsided. The deal meant they would be able to play just one game a season on what had been their home field. Nearly a year later, Golden City FC has yet to materialize, and the team’s website is \u003ca href=\"https://goldencityfootballclub.org/\">now broken\u003c/a>.\u003c/p>\n\u003cp>All of this provides plenty of dramatic fodder for Díaz’s \u003ci>Roll Fog\u003c/i>, which he will continue to film through the team’s 2026 season, which opens with \u003ca href=\"https://sfcityfc.com/schedule/san-juan-home\">a home game\u003c/a> at San Francisco State University’s Cox Stadium on May 3. \u003c/p>\n\u003cp>“This is going to be the first time we’re showing anything publicly for the project,” Díaz says of the 12-minute teaser screening at the Roxie. “We’re using it as an opportunity to introduce this project to the community that it is for and it’s about and that is ultimately participating in the production of it.”\u003c/p>\n\u003cp>A Q&A after will include a conversation between Díaz and Rei Dorwart of \u003ca href=\"https://www.kqed.org/arts/13972889/marco-jacques-joga-jax-sf-city-football-club-futbol-by-the-bay\">Fútbol by the Bay\u003c/a> (which runs youth soccer clinics, among other activities), and members of SF City FC supporter groups the \u003ca href=\"https://www.instagram.com/northsiderssfcityfc/\">Northsiders\u003c/a>, \u003ca href=\"https://www.instagram.com/kezarunionsf/\">Kezar Union\u003c/a> and \u003ca href=\"https://www.instagram.com/faultlineoffenders/\">Fault Line Offenders\u003c/a>.\u003c/p>\n\u003cp>“This is a project that we want to really be through the fans’ point of view,” Díaz says. In that spirit, attendees are encouraged to wear their teams’ jerseys, and to bring scarves and flags to the screening. At the Roxie, Díaz says he hopes to create a “match day atmosphere” emblematic of how soccer brings disparate groups together in support of the sport.\u003c/p>\n\u003cp>“It’s about replicating everything that’s so great about the city that we’re in,” he says, “and how, at least in my mind, SF City FC does that as well.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://roxie.com/film/futbol-on-film/\">Fútbol on film\u003c/a>’ screens at the Roxie Theater (3125 16th St., San Francisco) on Sunday, March 29 at 12 p.m.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Boots Riley’s ‘I Love Boosters’ Gets a Hometown Premiere at SFFILM Festival",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/boots-riley\">Boots Riley\u003c/a>’s new film \u003ci>I Love Boosters\u003c/i> hits theaters May 22, but the Bay Area gets to see it early. The Oakland director’s comedy-thriller about a high-fashion heist will have its West Coast premiere at the \u003ca href=\"https://sffilm.org/\">69th annual San Francisco International Film Festival\u003c/a>, with two back-to-back screenings April 28 at Oakland’s Grand Lake Theater.\u003c/p>\n\u003cp>Set in the Bay Area, \u003ci>I Love Boosters\u003c/i> stars Keke Palmer as the leader of an all-woman shoplifting ring, which faces off against a villainous, bob-sporting mogul played by Demi Moore. \u003ca href=\"https://www.kqed.org/arts/13985867/i-love-boosters-trailer-boots-riley-keke-palmer-don-cheadle\">The stylish trailer\u003c/a> promises snappy dialogue, fast-paced action scenes and plenty of food for thought about class and capitalism. The film gets its name from a \u003ca href=\"https://youtu.be/geY-ydeYb4M?si=3AFxq8_rGb2uBsGP\">2006 song by Riley’s hip-hop group\u003c/a>, The Coup, where Riley raps: “This goes to all them hard working women / Who risk jail time just to make them a living.”\u003c/p>\n\u003cp>https://youtu.be/r4lPRISgr9c?si=prl4nFByl5RHuowt\u003c/p>\n\u003cp>Riley has a long history with SFFILM, the organization that produces the San Francisco International Film Festival. SFFILM grants supported his earliest forays into directing, and his 2018 debut feature film \u003ci>Sorry to Bother You\u003c/i>, a dark, surrealist comedy about climbing the corporate ladder, was the San Francisco International Film Festival Centerpiece program in 2018. \u003ci>I’m a Virgo\u003c/i>, his series about a giant and his friends who take on a nefarious crime-fighting “hero,” closed out the festival in 2023.\u003c/p>\n\u003cp>“I’m hyped as hell to bring \u003ci>I Love Boosters\u003c/i> to SFFILM since they were the first organization to recognize me as a filmmaker and to support me in my filmmaking journey,” Riley said in a statement. “It’s going to be extra special to premiere in my hometown at Grand Lake Theater I’ve been going to since I was a kid. This film is my best work and it’s going to be special to see this movie, which is set in the Bay Area, play here.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>I Love Boosters\u003c/i> will be San Francisco International Film Festival’s Centerpiece program, and a conversation with Riley will follow the April 28 screening at 6:30 p.m. The second screening at 9:30 p.m. will kick off with a moderated introduction.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://sffilm.org/event/69th-san-francisco-international-film-festival/\">Tickets\u003c/a> go on sale for SFFILM members on Monday, March 2, and will be available to the general public on Wednesday, March 4. The San Francisco International Film Festival runs from April 24–May 4, and the full program will be announced on April 1.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/boots-riley\">Boots Riley\u003c/a>’s new film \u003ci>I Love Boosters\u003c/i> hits theaters May 22, but the Bay Area gets to see it early. The Oakland director’s comedy-thriller about a high-fashion heist will have its West Coast premiere at the \u003ca href=\"https://sffilm.org/\">69th annual San Francisco International Film Festival\u003c/a>, with two back-to-back screenings April 28 at Oakland’s Grand Lake Theater.\u003c/p>\n\u003cp>Set in the Bay Area, \u003ci>I Love Boosters\u003c/i> stars Keke Palmer as the leader of an all-woman shoplifting ring, which faces off against a villainous, bob-sporting mogul played by Demi Moore. \u003ca href=\"https://www.kqed.org/arts/13985867/i-love-boosters-trailer-boots-riley-keke-palmer-don-cheadle\">The stylish trailer\u003c/a> promises snappy dialogue, fast-paced action scenes and plenty of food for thought about class and capitalism. The film gets its name from a \u003ca href=\"https://youtu.be/geY-ydeYb4M?si=3AFxq8_rGb2uBsGP\">2006 song by Riley’s hip-hop group\u003c/a>, The Coup, where Riley raps: “This goes to all them hard working women / Who risk jail time just to make them a living.”\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/r4lPRISgr9c'\n title='//www.youtube.com/embed/r4lPRISgr9c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Riley has a long history with SFFILM, the organization that produces the San Francisco International Film Festival. SFFILM grants supported his earliest forays into directing, and his 2018 debut feature film \u003ci>Sorry to Bother You\u003c/i>, a dark, surrealist comedy about climbing the corporate ladder, was the San Francisco International Film Festival Centerpiece program in 2018. \u003ci>I’m a Virgo\u003c/i>, his series about a giant and his friends who take on a nefarious crime-fighting “hero,” closed out the festival in 2023.\u003c/p>\n\u003cp>“I’m hyped as hell to bring \u003ci>I Love Boosters\u003c/i> to SFFILM since they were the first organization to recognize me as a filmmaker and to support me in my filmmaking journey,” Riley said in a statement. “It’s going to be extra special to premiere in my hometown at Grand Lake Theater I’ve been going to since I was a kid. This film is my best work and it’s going to be special to see this movie, which is set in the Bay Area, play here.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>San Francisco’s \u003ca href=\"https://www.kqed.org/arts/category/movies\">film\u003c/a> incentive program just got a major update to attract more movie productions to the city. Filmmakers are now eligible for a 100% rebate on permits, police costs and other city fees totaling up to $1 million. There’s also a 10% rebate on the first million of qualified local spending, including hiring local crews and paying for San Francisco goods and services; a 20% rebate applies to qualified spending above a million.\u003c/p>\n\u003cp>On Wednesday, Mayor Daniel Lurie signed the new legislation, which the San Francisco Board of Supervisors passed unanimously. [aside postid='arts_13986534']\u003c/p>\n\u003cp>“Every time people visit San Francisco, they’re blown away by our city’s beauty and energy,” said Lurie in a statement. “Film takes that feeling and carries it far beyond our city limits. And when productions choose San Francisco, they do more than showcase our city’s outstanding beauty. They invest directly in our workers, our neighborhoods and our creative economy.”\u003c/p>\n\u003cp>This is the first time the film incentive program, known as Scene in San Francisco, has been updated since 2006, when it was first introduced. Previously, it only reimbursed up to $600,000 in city fees. Over the past 20 years, the program has generated $26 million in wages for local workers and $69 million in spending at San Francisco businesses.\u003c/p>\n\u003cp>San Francisco recently made several headlines in the film world. In 2025, Luca Guadagnino’s \u003ci>Artificial\u003c/i>, a forthcoming drama about OpenAI founder Sam Altman, shut down several city blocks for filming in the Mission District. And \u003cem>Josephine\u003c/em>, a dramatic thriller about an eight-year-old girl who witnesses a sexual assault in Golden Gate Park, won the Grand Jury Prize at Sundance.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Having \u003cem>Josephine\u003c/em>’s world premiere at Sundance served as a reminder of what’s possible when a city invests in its storytellers,” said San Francisco-born director Beth de Araújo in a statement. “These updates to the incentive will open the door for even more SF filmmakers to create affordably and authentically, with the incredible support of the San Francisco Film Commission. This city has so many stories to tell, and I’m excited to see what comes next.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco’s \u003ca href=\"https://www.kqed.org/arts/category/movies\">film\u003c/a> incentive program just got a major update to attract more movie productions to the city. Filmmakers are now eligible for a 100% rebate on permits, police costs and other city fees totaling up to $1 million. There’s also a 10% rebate on the first million of qualified local spending, including hiring local crews and paying for San Francisco goods and services; a 20% rebate applies to qualified spending above a million.\u003c/p>\n\u003cp>On Wednesday, Mayor Daniel Lurie signed the new legislation, which the San Francisco Board of Supervisors passed unanimously. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Every time people visit San Francisco, they’re blown away by our city’s beauty and energy,” said Lurie in a statement. “Film takes that feeling and carries it far beyond our city limits. And when productions choose San Francisco, they do more than showcase our city’s outstanding beauty. They invest directly in our workers, our neighborhoods and our creative economy.”\u003c/p>\n\u003cp>This is the first time the film incentive program, known as Scene in San Francisco, has been updated since 2006, when it was first introduced. Previously, it only reimbursed up to $600,000 in city fees. Over the past 20 years, the program has generated $26 million in wages for local workers and $69 million in spending at San Francisco businesses.\u003c/p>\n\u003cp>San Francisco recently made several headlines in the film world. In 2025, Luca Guadagnino’s \u003ci>Artificial\u003c/i>, a forthcoming drama about OpenAI founder Sam Altman, shut down several city blocks for filming in the Mission District. And \u003cem>Josephine\u003c/em>, a dramatic thriller about an eight-year-old girl who witnesses a sexual assault in Golden Gate Park, won the Grand Jury Prize at Sundance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Having \u003cem>Josephine\u003c/em>’s world premiere at Sundance served as a reminder of what’s possible when a city invests in its storytellers,” said San Francisco-born director Beth de Araújo in a statement. “These updates to the incentive will open the door for even more SF filmmakers to create affordably and authentically, with the incredible support of the San Francisco Film Commission. This city has so many stories to tell, and I’m excited to see what comes next.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A film about faith and other leaps, Mona Fastvold’s remarkable \u003cem>The Testament of Ann Lee\u003c/em> does not ask us to endorse or embrace the tenets of the 18th-century English sect called United Society of Believers in Christ’s Second Coming, aka Shaking Quakers, aka the Shakers. Given that an important principle of co-founder Ann Lee (Amanda Seyfried) was celibacy, many viewers would find that a bridge too far.\u003c/p>\n\u003cp>[aside postid='arts_13985705']Several of the Shakers’ other core values, like cooperation, collaboration, ecstasy and equality among genders resonate clearly, especially for anyone who can recall the Northern California communes of the 1960s and 70s. The pleasure and power of \u003cem>The Testament of Ann Lee\u003c/em> (opening Jan. 23), though, is not to be found in the utopian speeches but in surrendering to the selfless exhibition of true believers believing. If you are willing to be entranced — to accede from time to time to a trance state — you will have a uniquely thrilling time at the movies.\u003c/p>\n\u003cp>The story opens in the 1740s in Manchester, England, where the child Ann labors in a textile factory. As she grows up, her spiritual journey takes her to Jane and James Wardley (Stacy Martin and Scott Handy), through whose fervid Quaker prayer group she meets her husband Abraham Standerin (Christopher Abbott) and develops her specific philosophy.\u003c/p>\n\u003cfigure id=\"attachment_13985686\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985686\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00144_v2_2000.jpg\" alt=\"man and woman face each other in room of people\" width=\"2000\" height=\"827\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00144_v2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00144_v2_2000-160x66.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00144_v2_2000-768x318.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00144_v2_2000-1536x635.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Christopher Abbott and Amanda Seyfried in ‘The Testament of Ann Lee.’ \u003ccite>(Searchlight Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Marriage brings physical and psychic pain, and Ann’s crucible is further forged in the fire of family tragedy. Even as she is accepted by many of the Wardley circle and her stalwart brother William (Lewis Pullman) as the true leader, Mother Ann (as she is now called) captures the unwelcome attention of the powers-that-be and is incarcerated for a couple weeks.\u003c/p>\n\u003cp>The Shakers’ saga comes into focus as a familiar dynamic of nonconformity and determination, fueled by the certainty of religious faith, running into both official and street opposition, with blood being spilled. We judge for ourselves how much of the animosity is an overreaction to noisy praying and how much is fear and hatred of a powerful woman.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The departure of the Shakers by boat to America in 1774, trading the Old World for the New, is a hugely important development for the sect. The movie opens up as well, with Manchester’s drab, chilly confines replaced by America’s broad vistas and natural light.\u003c/p>\n\u003cp>Fastvold and Brady Corbet’s literate script, brought to pulsing life by a committed cast led by Seyfried, carries \u003cem>The Testament of Ann Lee\u003c/em> a long way. But a wholly unexpected element puts the film over the top.\u003c/p>\n\u003cfigure id=\"attachment_13985685\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985685\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00063_v2_2000.jpg\" alt=\"woman and man on deck of sailing ship\" width=\"2000\" height=\"828\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00063_v2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00063_v2_2000-160x66.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00063_v2_2000-768x318.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00063_v2_2000-1536x636.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Amanda Seyfried and Lewis Pullman journey to America in ‘The Testament of Ann Lee.’ \u003ccite>(Searchlight Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Vincent Minnelli and Bob Fosse artfully demonstrated, music and movement — song and dance — are powerful vehicles for not only conveying deep emotions but enrolling audiences in leaps of joy and amazement and flights of mind. Daring to dare is the sentiment at the heart of a movie musical, and the quality that moviegoers respond to.\u003c/p>\n\u003cp>\u003cem>The Testament of Ann Lee\u003c/em> isn’t exactly a musical in the sense that the songs don’t tell the story. Fastvold and composer Daniel Blumberg (whose score for Fastvold and Corbet’s \u003cem>The Brutalist\u003c/em> won the Oscar last year) chose a dozen melodies from the Shaker hymnal archive, and Celia Rowlson-Hall choreographed a mix of individual and ensemble numbers.\u003c/p>\n\u003cp>[aside postid='arts_13985320']These dances don’t just prevent \u003cem>The Testament of Ann Lee\u003c/em> from succumbing to the stuck-in-wax fate of a lot of standard biopics and period pieces. They bring the magic, and the entrancement, without feeling anachronistic and pulling us out of the 18th century.\u003c/p>\n\u003cp>\u003cem>The Testament of Ann Lee\u003c/em> is set in a world very different from ours and also not so different, a world of mysteries and dangers where people fear new ideas and are made to fear newcomers. Where superstitions or religious dogma or conspiracy theories are cited to soothe our uncertainty.\u003c/p>\n\u003cp>Perhaps every utopian endeavor is fated to come to an end, whether from internal dynamics or external forces. Maybe our task is to take inspiration from the faith and the effort. \u003cem>The Testament of Ann Lee\u003c/em> asks us to consider whether we are on the side of the creators or the destroyers.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Testament of Ann Lee’ opens Jan. 23, 2026 in Bay Area theaters.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Several of the Shakers’ other core values, like cooperation, collaboration, ecstasy and equality among genders resonate clearly, especially for anyone who can recall the Northern California communes of the 1960s and 70s. The pleasure and power of \u003cem>The Testament of Ann Lee\u003c/em> (opening Jan. 23), though, is not to be found in the utopian speeches but in surrendering to the selfless exhibition of true believers believing. If you are willing to be entranced — to accede from time to time to a trance state — you will have a uniquely thrilling time at the movies.\u003c/p>\n\u003cp>The story opens in the 1740s in Manchester, England, where the child Ann labors in a textile factory. As she grows up, her spiritual journey takes her to Jane and James Wardley (Stacy Martin and Scott Handy), through whose fervid Quaker prayer group she meets her husband Abraham Standerin (Christopher Abbott) and develops her specific philosophy.\u003c/p>\n\u003cfigure id=\"attachment_13985686\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985686\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00144_v2_2000.jpg\" alt=\"man and woman face each other in room of people\" width=\"2000\" height=\"827\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00144_v2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00144_v2_2000-160x66.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00144_v2_2000-768x318.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00144_v2_2000-1536x635.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Christopher Abbott and Amanda Seyfried in ‘The Testament of Ann Lee.’ \u003ccite>(Searchlight Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Marriage brings physical and psychic pain, and Ann’s crucible is further forged in the fire of family tragedy. Even as she is accepted by many of the Wardley circle and her stalwart brother William (Lewis Pullman) as the true leader, Mother Ann (as she is now called) captures the unwelcome attention of the powers-that-be and is incarcerated for a couple weeks.\u003c/p>\n\u003cp>The Shakers’ saga comes into focus as a familiar dynamic of nonconformity and determination, fueled by the certainty of religious faith, running into both official and street opposition, with blood being spilled. We judge for ourselves how much of the animosity is an overreaction to noisy praying and how much is fear and hatred of a powerful woman.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The departure of the Shakers by boat to America in 1774, trading the Old World for the New, is a hugely important development for the sect. The movie opens up as well, with Manchester’s drab, chilly confines replaced by America’s broad vistas and natural light.\u003c/p>\n\u003cp>Fastvold and Brady Corbet’s literate script, brought to pulsing life by a committed cast led by Seyfried, carries \u003cem>The Testament of Ann Lee\u003c/em> a long way. But a wholly unexpected element puts the film over the top.\u003c/p>\n\u003cfigure id=\"attachment_13985685\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985685\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00063_v2_2000.jpg\" alt=\"woman and man on deck of sailing ship\" width=\"2000\" height=\"828\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00063_v2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00063_v2_2000-160x66.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00063_v2_2000-768x318.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00063_v2_2000-1536x636.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Amanda Seyfried and Lewis Pullman journey to America in ‘The Testament of Ann Lee.’ \u003ccite>(Searchlight Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Vincent Minnelli and Bob Fosse artfully demonstrated, music and movement — song and dance — are powerful vehicles for not only conveying deep emotions but enrolling audiences in leaps of joy and amazement and flights of mind. Daring to dare is the sentiment at the heart of a movie musical, and the quality that moviegoers respond to.\u003c/p>\n\u003cp>\u003cem>The Testament of Ann Lee\u003c/em> isn’t exactly a musical in the sense that the songs don’t tell the story. Fastvold and composer Daniel Blumberg (whose score for Fastvold and Corbet’s \u003cem>The Brutalist\u003c/em> won the Oscar last year) chose a dozen melodies from the Shaker hymnal archive, and Celia Rowlson-Hall choreographed a mix of individual and ensemble numbers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>These dances don’t just prevent \u003cem>The Testament of Ann Lee\u003c/em> from succumbing to the stuck-in-wax fate of a lot of standard biopics and period pieces. They bring the magic, and the entrancement, without feeling anachronistic and pulling us out of the 18th century.\u003c/p>\n\u003cp>\u003cem>The Testament of Ann Lee\u003c/em> is set in a world very different from ours and also not so different, a world of mysteries and dangers where people fear new ideas and are made to fear newcomers. Where superstitions or religious dogma or conspiracy theories are cited to soothe our uncertainty.\u003c/p>\n\u003cp>Perhaps every utopian endeavor is fated to come to an end, whether from internal dynamics or external forces. Maybe our task is to take inspiration from the faith and the effort. \u003cem>The Testament of Ann Lee\u003c/em> asks us to consider whether we are on the side of the creators or the destroyers.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Testament of Ann Lee’ opens Jan. 23, 2026 in Bay Area theaters.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Korean Satire ‘No Other Choice’ Is a Masterful Thriller From Park Chan-wook",
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"content": "\u003cp>Leaves and bodies fall in \u003cem>No Other Choice\u003c/em>, Park Chan-wook’s masterfully devilish satire with a chilling autumnal wind blowing through it.\u003c/p>\n\u003cp>[aside postID='arts_13984386']“Come on, fall,” urges You Man-su (Lee Byung-hun) as he grills an eel for dinner for his family in the opening moments of Park’s film. He’s eager for the season to start but unprepared for the amount of cyclical collapse — familial, economic, even existential — that Park has in store.\u003c/p>\n\u003cp>Man-su pronounces the very thing no movie protagonist ever should: “I’ve got it all.” He lives with his wife, Miri (Son Ye-jin), and two children (Kim Woo Seung, Choi So Yul) in a handsome modernist house in the woods, with two golden retrievers. But almost as soon as he says that, Man-su’s fortunes turn. After 25 years at a paper mill, Man-su is laid off, as are many others, with little fanfare or apology. Desperation begins to set in. He’s forced to sell the home he loves so dearly, including the attached greenhouse where he tends to plants and bonsai trees. They even have to, horror of horrors, cancel Netflix.\u003c/p>\n\u003cfigure id=\"attachment_13985067\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13985067\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-2-2000x1333.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-2-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-2-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lee Byung-hun in ‘No Other Choice.’ \u003ccite>(Neon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another movie might have sunk with Man-su into bankruptcy and midlife struggle, following his quest to find a new line of work and restart his life. This is not that movie. Man-su, considering his prospects, decides he needs to better his odds of new employment. After posting a fake job listing and comparing all the incoming resumes, he decides he’s about the fifth best option for any new paper mill managerial jobs. He decides to kill the ones with better credentials.\u003c/p>\n\u003cp>The concept, a Grade-A barnburner of a movie idea, is not new. \u003cem>No Other Choice\u003c/em>, South Korea’s Oscar submission, is based on Donald Westlake’s 1997 crime novel \u003cem>The Ax\u003c/em>, which Costa-Gavras also made into a film in 2005. But Park, the filmmaker of such diabolical movies as \u003cem>Oldboy\u003c/em>, \u003cem>The Handmaiden\u003c/em> and \u003cem>Decision to Leave\u003c/em>, is exquisitely suited to the material. This is a director capable of conjuring menacing brutality with nothing but a hallway and hammer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And in \u003cem>No Other Choice\u003c/em>, he remains at the peak of his powers, archly and elegantly spinning a yarn about a murderous rampage that accumulates wider and wider reverberations. “Hitchcockian” is a term that often, understandably, finds Park. He is, like Hitch, a seemingly polite and erudite man with a latently dark imagination. But for more than two decades, Park has cut his own bloody, unyieldingly meticulous path in movies that are rarely predictable, very funny and sneakily revelatory.\u003c/p>\n\u003cfigure id=\"attachment_13985068\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13985068\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-3-2000x1333.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-3-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-3-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-3-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">So Yul Choi, left, and Son Ye-jin in ‘No Other Choice.’ \u003ccite>(Neon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Much of the delight of \u003cem>No Other Choice\u003c/em>, which Park co-wrote with Lee Kyoung-mi, Don McKellar and Jahye Lee, isn’t just seeing how Man-su’s scheme goes but how Park frames it. He is probably the preeminent filmmaker of putting wild, outrageous happenings into cleverly formal, eminently stylish imagery. As Man-su bumbles from target to target, each potential murder is a window into another family reckoning with unemployment. The way Man-su spies on them (or worse) adds delicious layers of satire. Relish, especially, the way Park uses reflections and trees.\u003c/p>\n\u003cp>How \u003cem>No Other Choice\u003c/em> puts capitalism in the crosshairs, with a handsome house in the center, will no doubt bring to mind another Korean satire: Bong Joon Ho’s \u003cem>Parasite\u003c/em>. Park had been wanting to make his film for almost two decades. Either way, the two movies would make one hell of a destabilizing double feature.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HKZpuG_ezvY\u003c/p>\n\u003cp>If \u003cem>Parasite\u003c/em> was the feat of an ensemble, \u003cem>No Other Choice\u003c/em> belongs to Lee. His Man-su is no killer at heart, and his attempts to become one are as comical as they are Dostoyevskian. The tone is so farcical that the gruesomeness of some of Man-su’s acts come slyly. How many movies have we seen about a parent driven, heroically, to extremes to defend their family? Man-su’s circumstance is frightfully understandable. “Our family is in a war,” he says. To keep them happy — in particular Miri — Man-su thinks whatever it takes is necessary.\u003c/p>\n\u003cp>But what makes \u003cem>No Other Choice\u003c/em> brilliant is how it shows that perceived predicament as a ubiquitous mistake of modern life. I won’t spoil the incredible final minutes of Park’s film, but they expand the notion of necessary termination — of a job, of a life — to automation, AI and beyond. The leaves falling in “No Other Choice” aren’t coming back in the spring.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘No Other Choice’ is in theaters now.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Come on, fall,” urges You Man-su (Lee Byung-hun) as he grills an eel for dinner for his family in the opening moments of Park’s film. He’s eager for the season to start but unprepared for the amount of cyclical collapse — familial, economic, even existential — that Park has in store.\u003c/p>\n\u003cp>Man-su pronounces the very thing no movie protagonist ever should: “I’ve got it all.” He lives with his wife, Miri (Son Ye-jin), and two children (Kim Woo Seung, Choi So Yul) in a handsome modernist house in the woods, with two golden retrievers. But almost as soon as he says that, Man-su’s fortunes turn. After 25 years at a paper mill, Man-su is laid off, as are many others, with little fanfare or apology. Desperation begins to set in. He’s forced to sell the home he loves so dearly, including the attached greenhouse where he tends to plants and bonsai trees. They even have to, horror of horrors, cancel Netflix.\u003c/p>\n\u003cfigure id=\"attachment_13985067\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13985067\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-2-2000x1333.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-2-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-2-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lee Byung-hun in ‘No Other Choice.’ \u003ccite>(Neon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another movie might have sunk with Man-su into bankruptcy and midlife struggle, following his quest to find a new line of work and restart his life. This is not that movie. Man-su, considering his prospects, decides he needs to better his odds of new employment. After posting a fake job listing and comparing all the incoming resumes, he decides he’s about the fifth best option for any new paper mill managerial jobs. He decides to kill the ones with better credentials.\u003c/p>\n\u003cp>The concept, a Grade-A barnburner of a movie idea, is not new. \u003cem>No Other Choice\u003c/em>, South Korea’s Oscar submission, is based on Donald Westlake’s 1997 crime novel \u003cem>The Ax\u003c/em>, which Costa-Gavras also made into a film in 2005. But Park, the filmmaker of such diabolical movies as \u003cem>Oldboy\u003c/em>, \u003cem>The Handmaiden\u003c/em> and \u003cem>Decision to Leave\u003c/em>, is exquisitely suited to the material. This is a director capable of conjuring menacing brutality with nothing but a hallway and hammer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And in \u003cem>No Other Choice\u003c/em>, he remains at the peak of his powers, archly and elegantly spinning a yarn about a murderous rampage that accumulates wider and wider reverberations. “Hitchcockian” is a term that often, understandably, finds Park. He is, like Hitch, a seemingly polite and erudite man with a latently dark imagination. But for more than two decades, Park has cut his own bloody, unyieldingly meticulous path in movies that are rarely predictable, very funny and sneakily revelatory.\u003c/p>\n\u003cfigure id=\"attachment_13985068\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13985068\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-3-2000x1333.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-3-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-3-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-3-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">So Yul Choi, left, and Son Ye-jin in ‘No Other Choice.’ \u003ccite>(Neon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Much of the delight of \u003cem>No Other Choice\u003c/em>, which Park co-wrote with Lee Kyoung-mi, Don McKellar and Jahye Lee, isn’t just seeing how Man-su’s scheme goes but how Park frames it. He is probably the preeminent filmmaker of putting wild, outrageous happenings into cleverly formal, eminently stylish imagery. As Man-su bumbles from target to target, each potential murder is a window into another family reckoning with unemployment. The way Man-su spies on them (or worse) adds delicious layers of satire. Relish, especially, the way Park uses reflections and trees.\u003c/p>\n\u003cp>How \u003cem>No Other Choice\u003c/em> puts capitalism in the crosshairs, with a handsome house in the center, will no doubt bring to mind another Korean satire: Bong Joon Ho’s \u003cem>Parasite\u003c/em>. Park had been wanting to make his film for almost two decades. Either way, the two movies would make one hell of a destabilizing double feature.\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/HKZpuG_ezvY'\n title='//www.youtube.com/embed/HKZpuG_ezvY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If \u003cem>Parasite\u003c/em> was the feat of an ensemble, \u003cem>No Other Choice\u003c/em> belongs to Lee. His Man-su is no killer at heart, and his attempts to become one are as comical as they are Dostoyevskian. The tone is so farcical that the gruesomeness of some of Man-su’s acts come slyly. How many movies have we seen about a parent driven, heroically, to extremes to defend their family? Man-su’s circumstance is frightfully understandable. “Our family is in a war,” he says. To keep them happy — in particular Miri — Man-su thinks whatever it takes is necessary.\u003c/p>\n\u003cp>But what makes \u003cem>No Other Choice\u003c/em> brilliant is how it shows that perceived predicament as a ubiquitous mistake of modern life. I won’t spoil the incredible final minutes of Park’s film, but they expand the notion of necessary termination — of a job, of a life — to automation, AI and beyond. The leaves falling in “No Other Choice” aren’t coming back in the spring.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘No Other Choice’ is in theaters now.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "sydney-sweeney-amanda-seyfried-housemaid-review",
"title": "‘The Housemaid’ Is a Twisty Horror-Thriller With Nudity and Empowerment",
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"content": "\u003cp>Santa left us a present this holiday season and it is exactly what we didn’t know we needed: A twisty, psychological horror-thriller with nudity that’s all wrapped up in an empowerment message.\u003c/p>\n\u003cp>\u003cem>The Housemaid\u003c/em> is Paul Feig’s delicious, satirical look at the secret depravity of the ultra-rich, but it’s so well constructed that’s it’s not clear who’s naughty or nice. Halfway through, the movie zigs and everything you expected zags.\u003c/p>\n\u003cp>It’s almost impossible to thread the line between self-winking campy — “That’s a lot of bacon. Are you trying to kill us?” — and carving someone’s stomach with a broken piece of fine china, yet Feig and screenwriter Rebecca Sonnenshine do.\u003c/p>\n\u003cp>Sydney Sweeney stars as a down-on-her luck Millie Calloway, a gal with a troubled past living out of her car who answers an ad for a live-in housekeeper in a tony suburb of New York City. Her resume is fraudulent, as are her references.\u003c/p>\n\u003cfigure id=\"attachment_13985022\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985022\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_5_1920x1280.jpg\" alt=\"A woman stands in front of bookshelves.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_5_1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_5_1920x1280-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_5_1920x1280-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_5_1920x1280-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sydney Sweeney in ‘The Housemaid.’ \u003ccite>(Lionsgate)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Somehow, the madam of the mansion, Nina Winchester played with frosty excellence by Amanda Seyfried in pearls and creamy knits, takes a shine to this young soul. “I have a really good feeling about this, Millie,” she says in that perky, slightly crazed clipped way that Seyfried always slays with. “This is going to be fun, Millie.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Maybe not for Millie, but definitely for us. The young housekeeper gets her own room in the attic — weird that it closes with a deadbolt from the outside, but no matter — and we’re off. Mille gets a smartphone with the family’s credit card preloaded and a key for that deadbolt. “What kind of monsters are we?” asks Nina. Indeed.\u003c/p>\n\u003cp>The next day, the house is a mess when the housekeeper comes down and Seyfried is in a wide-eyed, crashing-plates, full-on psychotic rage. The sweet, supportive woman we met the day before is gone. But her hunky husband (Brandon Sklenar) is helpful and apologetic. And smoldering. Uh-oh. Did we mention he’s hunky?\u003c/p>\n\u003cfigure id=\"attachment_13985023\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985023\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_1_1920x1280.jpg\" alt=\"A woman stands in the doorway to a house.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_1_1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_1_1920x1280-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_1_1920x1280-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_1_1920x1280-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Amanda Seyfried in ‘The Housemaid.’ \u003ccite>(Lionsgate)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If at first we understand that the housekeeper is being a little manipulative — lying to get the job, for instance, or wearing glasses to seem more serious — we soon realize that all kinds of gaslighting games are being played behind these gates, and they’re much more impactful.\u003c/p>\n\u003cp>Based on Freida McFadden’s novel, \u003cem>The Housemaid\u003c/em> rides waves of manipulation and then turns the tables on what we think we’ve just seen, looking at male-female power structures and how privilege can trap people without it.\u003c/p>\n\u003cp>The film is as good looking as the actors, with nifty touches like having the main house spare, well-lit and bright, while the husband’s private screening room in the basement is done in a hellish red. There are little jokes throughout, like the husband and the housemaid bonding over old episodes of \u003cem>Family Feud\u003c/em>, with the name saying it all.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=48CtX6OgU3s\u003c/p>\n\u003cp>Feig and his team also have fun with horror movie conventions, like having a silent, foreboding groundskeeper, adding a creepy dollhouse and placing lightning and thunder during a pivotal scene. They surround the mansion with fussy, aristocratic PTA moms who have tea parties and say things like “You know what yoga means to me.”\u003c/p>\n\u003cp>Feig’s fascinating combination of gore, torture and hot sex ends happily, capped off with Taylor Swift’s perfectly conjured “I Did Something Bad” playing over the end credits. Not at all: This naughty movie is definitely on the nice list.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Housemaid’ opens in theaters Dec. 19, 2025.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Santa left us a present this holiday season and it is exactly what we didn’t know we needed: A twisty, psychological horror-thriller with nudity that’s all wrapped up in an empowerment message.\u003c/p>\n\u003cp>\u003cem>The Housemaid\u003c/em> is Paul Feig’s delicious, satirical look at the secret depravity of the ultra-rich, but it’s so well constructed that’s it’s not clear who’s naughty or nice. Halfway through, the movie zigs and everything you expected zags.\u003c/p>\n\u003cp>It’s almost impossible to thread the line between self-winking campy — “That’s a lot of bacon. Are you trying to kill us?” — and carving someone’s stomach with a broken piece of fine china, yet Feig and screenwriter Rebecca Sonnenshine do.\u003c/p>\n\u003cp>Sydney Sweeney stars as a down-on-her luck Millie Calloway, a gal with a troubled past living out of her car who answers an ad for a live-in housekeeper in a tony suburb of New York City. Her resume is fraudulent, as are her references.\u003c/p>\n\u003cfigure id=\"attachment_13985022\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985022\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_5_1920x1280.jpg\" alt=\"A woman stands in front of bookshelves.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_5_1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_5_1920x1280-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_5_1920x1280-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_5_1920x1280-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sydney Sweeney in ‘The Housemaid.’ \u003ccite>(Lionsgate)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Somehow, the madam of the mansion, Nina Winchester played with frosty excellence by Amanda Seyfried in pearls and creamy knits, takes a shine to this young soul. “I have a really good feeling about this, Millie,” she says in that perky, slightly crazed clipped way that Seyfried always slays with. “This is going to be fun, Millie.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Maybe not for Millie, but definitely for us. The young housekeeper gets her own room in the attic — weird that it closes with a deadbolt from the outside, but no matter — and we’re off. Mille gets a smartphone with the family’s credit card preloaded and a key for that deadbolt. “What kind of monsters are we?” asks Nina. Indeed.\u003c/p>\n\u003cp>The next day, the house is a mess when the housekeeper comes down and Seyfried is in a wide-eyed, crashing-plates, full-on psychotic rage. The sweet, supportive woman we met the day before is gone. But her hunky husband (Brandon Sklenar) is helpful and apologetic. And smoldering. Uh-oh. Did we mention he’s hunky?\u003c/p>\n\u003cfigure id=\"attachment_13985023\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985023\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_1_1920x1280.jpg\" alt=\"A woman stands in the doorway to a house.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_1_1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_1_1920x1280-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_1_1920x1280-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_1_1920x1280-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Amanda Seyfried in ‘The Housemaid.’ \u003ccite>(Lionsgate)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If at first we understand that the housekeeper is being a little manipulative — lying to get the job, for instance, or wearing glasses to seem more serious — we soon realize that all kinds of gaslighting games are being played behind these gates, and they’re much more impactful.\u003c/p>\n\u003cp>Based on Freida McFadden’s novel, \u003cem>The Housemaid\u003c/em> rides waves of manipulation and then turns the tables on what we think we’ve just seen, looking at male-female power structures and how privilege can trap people without it.\u003c/p>\n\u003cp>The film is as good looking as the actors, with nifty touches like having the main house spare, well-lit and bright, while the husband’s private screening room in the basement is done in a hellish red. There are little jokes throughout, like the husband and the housemaid bonding over old episodes of \u003cem>Family Feud\u003c/em>, with the name saying it all.\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/48CtX6OgU3s'\n title='//www.youtube.com/embed/48CtX6OgU3s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Feig and his team also have fun with horror movie conventions, like having a silent, foreboding groundskeeper, adding a creepy dollhouse and placing lightning and thunder during a pivotal scene. They surround the mansion with fussy, aristocratic PTA moms who have tea parties and say things like “You know what yoga means to me.”\u003c/p>\n\u003cp>Feig’s fascinating combination of gore, torture and hot sex ends happily, capped off with Taylor Swift’s perfectly conjured “I Did Something Bad” playing over the end credits. Not at all: This naughty movie is definitely on the nice list.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Housemaid’ opens in theaters Dec. 19, 2025.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"order": 9
},
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"id": "freakonomics-radio",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
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"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"rss": "https://rss.art19.com/masters-of-scale"
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},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"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>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"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.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
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"link": "/radio/program/morning-edition"
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
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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",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
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},
"planet-money": {
"id": "planet-money",
"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",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"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",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
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"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5Nzk2MzI2MTEx",
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