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"content": "\u003cp>The 66th \u003ca href=\"https://sffilm.org/\">San Francisco International Film Festival\u003c/a> is back for a fully in-person celebration of cinema, with 96 public programs spread across theaters in San Francisco, Oakland and Berkeley, April 13–23. While there’s plenty to be excited about — numerous world premieres, a free screening of \u003ci>\u003ca href=\"https://sffilm.org/event/community-screening-are-you-there-god-its-me-margaret/\">Are You There God, It’s Me Margaret\u003c/a>\u003c/i> (RSVPs required!), playwright Celine Song’s lovely looking \u003ci>\u003ca href=\"https://sffilm.org/event/centerpiece-past-lives/\">Past Lives\u003c/a>\u003c/i> — we’re most proud of the strong Bay Area showing.\u003c/p>\n\u003cp>We’ve got feature films from local filmmakers, documentaries about our musical and political legends and the first four episodes of what’s sure to be the weirdest show on Amazon. Here’s your guide to five extremely Bay Area screenings to seek out when festival tickets go on sale to the general public this Friday, March 24 at 10 a.m.\u003c/p>\n\u003cfigure id=\"attachment_13926767\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926767\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/STEPHEN-CURRY_2_COVER.jpg\" alt=\"Young Black man with short hair against blurry background\" width=\"1920\" height=\"1205\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/STEPHEN-CURRY_2_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/STEPHEN-CURRY_2_COVER-800x502.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/STEPHEN-CURRY_2_COVER-1020x640.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/STEPHEN-CURRY_2_COVER-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/STEPHEN-CURRY_2_COVER-768x482.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/STEPHEN-CURRY_2_COVER-1536x964.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Young Stephen Curry in a still from Pete Nicks’ ‘Stephen Curry: Underrated.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/opening-night-stephen-curry-underrated/\">Stephen Curry: Underrated\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>April 13, 6:30 p.m. at Grand Lake Theater\u003c/em>\u003cbr>\n\u003cem>April 13, 9:30 p.m. at Grand Lake Theater\u003c/em>\u003c/p>\n\u003cp>It’s no surprise Pete Nicks’ latest documentary is this year’s opening night film. After focusing on a trio of Oakland institutions with \u003ci>The Waiting Room\u003c/i> (Highland Hospital), \u003ci>The Force\u003c/i> (the Oakland Police Department), and \u003ci>Homeroom\u003c/i> (Oakland High School), he’s turned his lens on another kind of local icon: Golden State Warrior Stephen Curry. The film mingles the 2021–22 season (when Curry led the team to his fourth ring) with footage from his early days at Davidson College, along with off-court footage of everyday life for a routinely dismissed yet consistently impressive basketball superstar. Nicks and producer Ryan Coogler will be present at both screenings, and depending on how the rest of this rocky season goes, we may hope there are no Warriors in attendance.\u003c/p>\n\u003cfigure id=\"attachment_13926768\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926768\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/JOAN-BAEZ_1.jpg\" alt=\"Black-and-white photo of woman in striped shirt playing guitar in front of mic\" width=\"1920\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/JOAN-BAEZ_1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/JOAN-BAEZ_1-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/JOAN-BAEZ_1-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/JOAN-BAEZ_1-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/JOAN-BAEZ_1-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/JOAN-BAEZ_1-1536x960.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from Miri Navasky, Maeve O’Boyle and Karen O’Connor’s ‘Joan Baez I Am A Noise.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/joan-baez-i-am-a-noise/\">Joan Baez I Am a Noise\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>April 18, 5 p.m. at Castro Theatre\u003c/i>\u003c/p>\n\u003cp>Joan Baez is an internationally acclaimed singer, songwriter and activist, but the Palo Alto High grad has always meant something special to the Bay. This documentary from directors Miri Navasky, Karen O’Connor and Maeve O’Boyle combines music, oral history and archival footage for a non-linear approach to the folk singer’s multi-faceted career. Interspersed with scenes from Baez’s 2018-2019 Fare Thee Well Tour is a narrative that traces her rise to stardom in her early 20s, collaborations with Bob Dylan and other formative relationships, and her prolific activism, beginning with anti-Vietnam War protests and carrying through to the fight for LGBTQ rights and the Occupy movement. Here, too, are more intimate, complex stories about her nuclear family, of which Baez is the last living member. The singer and longtime Woodside resident is expected to be in attendance alongside the film’s directors.\u003c/p>\n\u003cfigure id=\"attachment_13926766\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926766\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RALLY_1_1920.jpg\" alt=\"Black-and-white photo of two men and one Asian woman in front of blackboard covered in names\" width=\"1920\" height=\"1413\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RALLY_1_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RALLY_1_1920-800x589.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RALLY_1_1920-1020x751.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RALLY_1_1920-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RALLY_1_1920-768x565.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RALLY_1_1920-1536x1130.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from Rooth Tang’s ‘Rally.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/rally/\">Rally\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>April 21, 5:30 p.m. at CGV 3, San Francisco\u003cbr>\nApril 23, 12 p.m. at BAMPFA\u003c/em>\u003c/p>\n\u003cp>It’s high time for a Rose Pak documentary, especially given the \u003ca href=\"https://www.kqed.org/news/11094253/rose-pak-chinatown-dynamo-opened-doors-for-asians\">divisive reputation of the late powerbroker\u003c/a> — she preferred the title of “community organizer” — in San Francisco’s Chinatown. Director Rooth Tang covers Pak’s early days as an immigrant, \u003ci>San Francisco Chronicle\u003c/i> journalist and activist before she assumed the role of “atypical kingmaker” and fierce advocate for the local Chinese communities. With that role came questions of her ties to the Chinese government, as well as accusations of corruption and bullying. Her impact on the local landscape (look no further than the finally open Central Subway, one of her causes) is part of a complex and necessary story about the inner workings of San Francisco politics.\u003c/p>\n\u003cfigure id=\"attachment_13926764\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926764\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/1000_-Me-Growing-Up-Mixed_07_1920.jpg\" alt=\"Grid of nine stills of families on couches and at tables\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/1000_-Me-Growing-Up-Mixed_07_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/1000_-Me-Growing-Up-Mixed_07_1920-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/1000_-Me-Growing-Up-Mixed_07_1920-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/1000_-Me-Growing-Up-Mixed_07_1920-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/1000_-Me-Growing-Up-Mixed_07_1920-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/1000_-Me-Growing-Up-Mixed_07_1920-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Stills from W. Kamau Bell’s ‘1000% Me: Growing Up Mixed.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/1000-me-growing-up-mixed-creating-things-southern-afternoon/\">1000% Me: Growing Up Mixed\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>April 22, 12 p.m. at BAMPFA\u003c/em>\u003c/p>\n\u003cp>W. Kamau Bell brings a very personal story to the screen in this hourlong documentary. Starting with his own kids, Bell talks to Bay Area children growing up in mixed-race families, giving young people a chance to lead their own conversations about race. Billed as “tender,” “charming” and “timely,” \u003ci>1000% Me\u003c/i> does a rare thing at a moment when the entire country seems focused on the well-being of children: it lets them speak for themselves about the highs and lows of dealing with the outside forces that seek to define them. As a bonus, the film will be paired with two family-minded shorts: \u003ci>Creating Things\u003c/i>, about filmmaker Bryan Simpson and his brother revisiting their father’s art; and \u003ci>Southern Afternoon\u003c/i>, Tian Lan’s short drama about a Uyghur father who suspects his teenager has received a love letter, but first needs to decipher the Chinese characters.\u003c/p>\n\u003cfigure id=\"attachment_13926765\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926765\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/IMAVIRGO_3_1920.jpg\" alt=\"A giant Black man with locs sits on front steps in purple outfit\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/IMAVIRGO_3_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/IMAVIRGO_3_1920-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/IMAVIRGO_3_1920-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/IMAVIRGO_3_1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/IMAVIRGO_3_1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/IMAVIRGO_3_1920-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from Boots Riley’s television show ‘I’m a Virgo.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/im-a-virgo/\">I’m a Virgo\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>April 23, 6 p.m. at CGV 3, San Francisco\u003c/em>\u003cbr>\n\u003cem>April 23, 7:30 p.m. at CGV 2, San Francisco\u003c/em>\u003c/p>\n\u003cp>When Boots Riley’s \u003cem>Sorry to Bother You\u003c/em> had its California premiere as the SFFILM Festival’s 2018 centerpiece, one theater wasn’t big enough to contain the hometown enthusiasm: the film screened to boisterous, sold-out crowds on both sides of the Bay, at the Castro and Grand Lake theaters, on the same night.\u003c/p>\n\u003cp>\u003ci>I’m a Virgo\u003c/i>, the Coup frontman-and-activist-turned-filmmaker’s first foray into streaming television, promises to be even bigger. It centers around a 13-foot-tall man named Cootie (Emmy winner Jharrel Jerome, \u003ci>When They See Us\u003c/i>) who’s coming of age in Oakland, making friends and enemies, and learning about romance, revolution and sideshow stunts along the way. The series, which was shot in Oakland and New Orleans (dressed up as Oakland), garnered serious buzz at South By Southwest, but an SFFILM closing-night premiere is special in a different way — Riley has a long relationship with the organization, and was an SFFILM Filmmaker-In-Residence when he began developing his debut. He’ll be in attendance for a Q&A.\u003c/p>\n\u003cfigure id=\"attachment_13926791\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926791\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/EARTH-MAMA_1_1920.jpg\" alt=\"Young Black woman lays on hood of car leaning against windshield\" width=\"1920\" height=\"1273\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/EARTH-MAMA_1_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/EARTH-MAMA_1_1920-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/EARTH-MAMA_1_1920-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/EARTH-MAMA_1_1920-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/EARTH-MAMA_1_1920-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/EARTH-MAMA_1_1920-1536x1018.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from Savanah Leaf’s ‘Earth Mama,’ starring Tia Nomore. \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Briefly Noted\u003c/h2>\n\u003cp>\u003ci>\u003cb>\u003ca href=\"https://sffilm.org/event/earth-mama/\">Earth Mama\u003c/a>\u003c/b>\u003c/i>\u003cbr>\n\u003ci>April 14, 8 p.m. at BAMPFA\u003cbr>\nApril 15, 6 p.m. at CGV 3\u003c/i>\u003cbr>\nDirected by newcomer (and former Olympian) Savanah Leaf, this feature stars local musician \u003ca href=\"https://www.kqed.org/arts/13925905/tia-nomore-earth-mama-a24-savanah-leaf\">Tia Nomore\u003c/a> as a single mother in Oakland navigating the foster care system as she prepares for the birth of another child.\u003c/p>\n\u003cp>\u003cb>Mel Novikoff Award: Firelight Media and \u003ci>The Black Panthers: Vanguard of the Revolution\u003c/i>\u003c/b>\u003cbr>\n\u003ci>April 15, 3:15 p.m. at CGV 2\u003c/i>\u003cbr>\nThis screening of Stanley Nelson’s incredible 2015 doc helps celebrate Firelight Media, founded by Nelson and Marcia Smith in 1998, which backs filmmakers of color through labs, fellowships and film funds.\u003c/p>\n\u003cp>\u003ci>\u003cb>\u003ca href=\"https://sffilm.org/event/fremont/\">Fremont\u003c/a>\u003c/b>\u003c/i>\u003cbr>\n\u003ci>April 22, 3 p.m. at CGV 2\u003cbr>\nApril 23, 3 p.m. at BAMPFA\u003c/i>\u003cbr>\nFilmed in lush black and white, Babak Jalali’s narrative film centers on a former U.S. military translator who now lives in the title city’s Afghan community, writing fortune cookies and adjusting to life in the American suburbs.\u003c/p>\n\u003cp>\u003ci>\u003cb>\u003ca href=\"https://sffilm.org/event/home-is-a-hotel/\">Home is a Hotel\u003c/a>\u003c/b>\u003c/i>\u003cbr>\n\u003ci>April 22, 12:45 p.m. at CGV 3\u003c/i>\u003cbr>\nThis documentary from Kevin Duncan Wong, Tod Sills and Kar Yin Tham visits the diverse residents of San Francisco’s cramped, noisy and often vermin-filled SROs. Not unhoused but not well-housed, the film’s participants show just how complicated the city’s housing situation really is.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"title": "Your 2023 SFFILM Festival Guide: Extremely Bay Area | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The 66th \u003ca href=\"https://sffilm.org/\">San Francisco International Film Festival\u003c/a> is back for a fully in-person celebration of cinema, with 96 public programs spread across theaters in San Francisco, Oakland and Berkeley, April 13–23. While there’s plenty to be excited about — numerous world premieres, a free screening of \u003ci>\u003ca href=\"https://sffilm.org/event/community-screening-are-you-there-god-its-me-margaret/\">Are You There God, It’s Me Margaret\u003c/a>\u003c/i> (RSVPs required!), playwright Celine Song’s lovely looking \u003ci>\u003ca href=\"https://sffilm.org/event/centerpiece-past-lives/\">Past Lives\u003c/a>\u003c/i> — we’re most proud of the strong Bay Area showing.\u003c/p>\n\u003cp>We’ve got feature films from local filmmakers, documentaries about our musical and political legends and the first four episodes of what’s sure to be the weirdest show on Amazon. Here’s your guide to five extremely Bay Area screenings to seek out when festival tickets go on sale to the general public this Friday, March 24 at 10 a.m.\u003c/p>\n\u003cfigure id=\"attachment_13926767\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926767\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/STEPHEN-CURRY_2_COVER.jpg\" alt=\"Young Black man with short hair against blurry background\" width=\"1920\" height=\"1205\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/STEPHEN-CURRY_2_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/STEPHEN-CURRY_2_COVER-800x502.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/STEPHEN-CURRY_2_COVER-1020x640.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/STEPHEN-CURRY_2_COVER-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/STEPHEN-CURRY_2_COVER-768x482.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/STEPHEN-CURRY_2_COVER-1536x964.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Young Stephen Curry in a still from Pete Nicks’ ‘Stephen Curry: Underrated.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/opening-night-stephen-curry-underrated/\">Stephen Curry: Underrated\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>April 13, 6:30 p.m. at Grand Lake Theater\u003c/em>\u003cbr>\n\u003cem>April 13, 9:30 p.m. at Grand Lake Theater\u003c/em>\u003c/p>\n\u003cp>It’s no surprise Pete Nicks’ latest documentary is this year’s opening night film. After focusing on a trio of Oakland institutions with \u003ci>The Waiting Room\u003c/i> (Highland Hospital), \u003ci>The Force\u003c/i> (the Oakland Police Department), and \u003ci>Homeroom\u003c/i> (Oakland High School), he’s turned his lens on another kind of local icon: Golden State Warrior Stephen Curry. The film mingles the 2021–22 season (when Curry led the team to his fourth ring) with footage from his early days at Davidson College, along with off-court footage of everyday life for a routinely dismissed yet consistently impressive basketball superstar. Nicks and producer Ryan Coogler will be present at both screenings, and depending on how the rest of this rocky season goes, we may hope there are no Warriors in attendance.\u003c/p>\n\u003cfigure id=\"attachment_13926768\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926768\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/JOAN-BAEZ_1.jpg\" alt=\"Black-and-white photo of woman in striped shirt playing guitar in front of mic\" width=\"1920\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/JOAN-BAEZ_1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/JOAN-BAEZ_1-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/JOAN-BAEZ_1-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/JOAN-BAEZ_1-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/JOAN-BAEZ_1-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/JOAN-BAEZ_1-1536x960.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from Miri Navasky, Maeve O’Boyle and Karen O’Connor’s ‘Joan Baez I Am A Noise.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/joan-baez-i-am-a-noise/\">Joan Baez I Am a Noise\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>April 18, 5 p.m. at Castro Theatre\u003c/i>\u003c/p>\n\u003cp>Joan Baez is an internationally acclaimed singer, songwriter and activist, but the Palo Alto High grad has always meant something special to the Bay. This documentary from directors Miri Navasky, Karen O’Connor and Maeve O’Boyle combines music, oral history and archival footage for a non-linear approach to the folk singer’s multi-faceted career. Interspersed with scenes from Baez’s 2018-2019 Fare Thee Well Tour is a narrative that traces her rise to stardom in her early 20s, collaborations with Bob Dylan and other formative relationships, and her prolific activism, beginning with anti-Vietnam War protests and carrying through to the fight for LGBTQ rights and the Occupy movement. Here, too, are more intimate, complex stories about her nuclear family, of which Baez is the last living member. The singer and longtime Woodside resident is expected to be in attendance alongside the film’s directors.\u003c/p>\n\u003cfigure id=\"attachment_13926766\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926766\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RALLY_1_1920.jpg\" alt=\"Black-and-white photo of two men and one Asian woman in front of blackboard covered in names\" width=\"1920\" height=\"1413\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RALLY_1_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RALLY_1_1920-800x589.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RALLY_1_1920-1020x751.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RALLY_1_1920-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RALLY_1_1920-768x565.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RALLY_1_1920-1536x1130.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from Rooth Tang’s ‘Rally.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/rally/\">Rally\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>April 21, 5:30 p.m. at CGV 3, San Francisco\u003cbr>\nApril 23, 12 p.m. at BAMPFA\u003c/em>\u003c/p>\n\u003cp>It’s high time for a Rose Pak documentary, especially given the \u003ca href=\"https://www.kqed.org/news/11094253/rose-pak-chinatown-dynamo-opened-doors-for-asians\">divisive reputation of the late powerbroker\u003c/a> — she preferred the title of “community organizer” — in San Francisco’s Chinatown. Director Rooth Tang covers Pak’s early days as an immigrant, \u003ci>San Francisco Chronicle\u003c/i> journalist and activist before she assumed the role of “atypical kingmaker” and fierce advocate for the local Chinese communities. With that role came questions of her ties to the Chinese government, as well as accusations of corruption and bullying. Her impact on the local landscape (look no further than the finally open Central Subway, one of her causes) is part of a complex and necessary story about the inner workings of San Francisco politics.\u003c/p>\n\u003cfigure id=\"attachment_13926764\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926764\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/1000_-Me-Growing-Up-Mixed_07_1920.jpg\" alt=\"Grid of nine stills of families on couches and at tables\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/1000_-Me-Growing-Up-Mixed_07_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/1000_-Me-Growing-Up-Mixed_07_1920-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/1000_-Me-Growing-Up-Mixed_07_1920-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/1000_-Me-Growing-Up-Mixed_07_1920-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/1000_-Me-Growing-Up-Mixed_07_1920-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/1000_-Me-Growing-Up-Mixed_07_1920-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Stills from W. Kamau Bell’s ‘1000% Me: Growing Up Mixed.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/1000-me-growing-up-mixed-creating-things-southern-afternoon/\">1000% Me: Growing Up Mixed\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>April 22, 12 p.m. at BAMPFA\u003c/em>\u003c/p>\n\u003cp>W. Kamau Bell brings a very personal story to the screen in this hourlong documentary. Starting with his own kids, Bell talks to Bay Area children growing up in mixed-race families, giving young people a chance to lead their own conversations about race. Billed as “tender,” “charming” and “timely,” \u003ci>1000% Me\u003c/i> does a rare thing at a moment when the entire country seems focused on the well-being of children: it lets them speak for themselves about the highs and lows of dealing with the outside forces that seek to define them. As a bonus, the film will be paired with two family-minded shorts: \u003ci>Creating Things\u003c/i>, about filmmaker Bryan Simpson and his brother revisiting their father’s art; and \u003ci>Southern Afternoon\u003c/i>, Tian Lan’s short drama about a Uyghur father who suspects his teenager has received a love letter, but first needs to decipher the Chinese characters.\u003c/p>\n\u003cfigure id=\"attachment_13926765\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926765\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/IMAVIRGO_3_1920.jpg\" alt=\"A giant Black man with locs sits on front steps in purple outfit\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/IMAVIRGO_3_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/IMAVIRGO_3_1920-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/IMAVIRGO_3_1920-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/IMAVIRGO_3_1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/IMAVIRGO_3_1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/IMAVIRGO_3_1920-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from Boots Riley’s television show ‘I’m a Virgo.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/im-a-virgo/\">I’m a Virgo\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>April 23, 6 p.m. at CGV 3, San Francisco\u003c/em>\u003cbr>\n\u003cem>April 23, 7:30 p.m. at CGV 2, San Francisco\u003c/em>\u003c/p>\n\u003cp>When Boots Riley’s \u003cem>Sorry to Bother You\u003c/em> had its California premiere as the SFFILM Festival’s 2018 centerpiece, one theater wasn’t big enough to contain the hometown enthusiasm: the film screened to boisterous, sold-out crowds on both sides of the Bay, at the Castro and Grand Lake theaters, on the same night.\u003c/p>\n\u003cp>\u003ci>I’m a Virgo\u003c/i>, the Coup frontman-and-activist-turned-filmmaker’s first foray into streaming television, promises to be even bigger. It centers around a 13-foot-tall man named Cootie (Emmy winner Jharrel Jerome, \u003ci>When They See Us\u003c/i>) who’s coming of age in Oakland, making friends and enemies, and learning about romance, revolution and sideshow stunts along the way. The series, which was shot in Oakland and New Orleans (dressed up as Oakland), garnered serious buzz at South By Southwest, but an SFFILM closing-night premiere is special in a different way — Riley has a long relationship with the organization, and was an SFFILM Filmmaker-In-Residence when he began developing his debut. He’ll be in attendance for a Q&A.\u003c/p>\n\u003cfigure id=\"attachment_13926791\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926791\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/EARTH-MAMA_1_1920.jpg\" alt=\"Young Black woman lays on hood of car leaning against windshield\" width=\"1920\" height=\"1273\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/EARTH-MAMA_1_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/EARTH-MAMA_1_1920-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/EARTH-MAMA_1_1920-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/EARTH-MAMA_1_1920-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/EARTH-MAMA_1_1920-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/EARTH-MAMA_1_1920-1536x1018.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from Savanah Leaf’s ‘Earth Mama,’ starring Tia Nomore. \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Briefly Noted\u003c/h2>\n\u003cp>\u003ci>\u003cb>\u003ca href=\"https://sffilm.org/event/earth-mama/\">Earth Mama\u003c/a>\u003c/b>\u003c/i>\u003cbr>\n\u003ci>April 14, 8 p.m. at BAMPFA\u003cbr>\nApril 15, 6 p.m. at CGV 3\u003c/i>\u003cbr>\nDirected by newcomer (and former Olympian) Savanah Leaf, this feature stars local musician \u003ca href=\"https://www.kqed.org/arts/13925905/tia-nomore-earth-mama-a24-savanah-leaf\">Tia Nomore\u003c/a> as a single mother in Oakland navigating the foster care system as she prepares for the birth of another child.\u003c/p>\n\u003cp>\u003cb>Mel Novikoff Award: Firelight Media and \u003ci>The Black Panthers: Vanguard of the Revolution\u003c/i>\u003c/b>\u003cbr>\n\u003ci>April 15, 3:15 p.m. at CGV 2\u003c/i>\u003cbr>\nThis screening of Stanley Nelson’s incredible 2015 doc helps celebrate Firelight Media, founded by Nelson and Marcia Smith in 1998, which backs filmmakers of color through labs, fellowships and film funds.\u003c/p>\n\u003cp>\u003ci>\u003cb>\u003ca href=\"https://sffilm.org/event/fremont/\">Fremont\u003c/a>\u003c/b>\u003c/i>\u003cbr>\n\u003ci>April 22, 3 p.m. at CGV 2\u003cbr>\nApril 23, 3 p.m. at BAMPFA\u003c/i>\u003cbr>\nFilmed in lush black and white, Babak Jalali’s narrative film centers on a former U.S. military translator who now lives in the title city’s Afghan community, writing fortune cookies and adjusting to life in the American suburbs.\u003c/p>\n\u003cp>\u003ci>\u003cb>\u003ca href=\"https://sffilm.org/event/home-is-a-hotel/\">Home is a Hotel\u003c/a>\u003c/b>\u003c/i>\u003cbr>\n\u003ci>April 22, 12:45 p.m. at CGV 3\u003c/i>\u003cbr>\nThis documentary from Kevin Duncan Wong, Tod Sills and Kar Yin Tham visits the diverse residents of San Francisco’s cramped, noisy and often vermin-filled SROs. Not unhoused but not well-housed, the film’s participants show just how complicated the city’s housing situation really is.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "‘Sansón and Me’ Examines a Life Before the Life Sentence",
"headTitle": "‘Sansón and Me’ Examines a Life Before the Life Sentence | KQED",
"content": "\u003cp>Sansón Noe Andrade, who came to the U.S. from Mexico without documents as an adolescent, is currently serving a life sentence without parole in a California prison for his role in a drive-by shooting.\u003c/p>\n\u003cp>Given that information, you may be surprised to hear that \u003cem>Sansón and Me\u003c/em>, the new film by Rodrigo Reyes, isn’t a social-issue documentary.\u003c/p>\n\u003cp>Andrade wasn’t victimized by institutional injustice. His four felony convictions didn’t involve police corruption or fabricated evidence, prosecutorial misconduct or legal-defense malpractice. \u003cem>Sansón and Me\u003c/em> (opening Friday, March 17 at the Roxie Theatre in San Francisco) is neither an exposé of the criminal justice system nor a righteous remit in support of an innocent man.\u003c/p>\n\u003cp>[aside postID='arts_13902293']Nor, for that matter, is this unusual, layered and unexpectedly enthralling film a dirge of Third World poverty and suffering laced with somewhere-over-the-border dreams (short-circuited, inevitably, by prejudice and lack of opportunity). Odd as it may sound, \u003cem>Sansón and Me\u003c/em> is simply a story. And, in my view, one without a moral.\u003c/p>\n\u003cp>This won’t strike you as odd if you’re primarily drawn to documentaries with a stranger-than-fiction quality. \u003cem>Man on Wire\u003c/em> and \u003cem>Searching for Sugar Man\u003c/em> are exemplars of this popular subcategory. The story’s the thing, the whole thing and nothing but the thing; you don’t need a moral or even a message to be satisfied.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Despite the murder that sent its protagonist to jail, \u003cem>Sansón and Me\u003c/em> isn’t a sensational saga. Nor does it have the plot turns and jaw-dropping reveals (OK, there’s one) that give a doc that coveted word-of-mouth buzz. It is an ordinary story, the kind that’s rarely told, which is precisely why Reyes deserves props for going to extraordinary lengths to recount it.\u003c/p>\n\u003cfigure id=\"attachment_13926443\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/1-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13926443\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/1-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gerardo Reyes as adult Sansón in Rodrigo Reyes’ documentary ‘Sansón and Me.’ \u003ccite>(Courtesy Cinema Guild)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Let the record show how much skill and cleverness it takes to hold an audience’s interest with a commonplace biography. Reyes deserves praise above all for taking an invisible man (if confined prisoners aren’t the Forgotten Men and Women of the 21st century, who is?) and giving him a voice.\u003c/p>\n\u003cp>The Mexican-born, California-based director (whose previous films include the ambitious 2020 docufiction \u003cem>499\u003c/em>) was working his day job as a criminal interpreter when he met Andrade. Perhaps because Andrade had no previous record, and his participation in the crime seemed out of character, Reyes was moved to initiate a correspondence when Andrade’s trial concluded and he went to prison. After a time, as their friendship developed, Reyes asked if he’d be willing to collaborate on a film about his life.\u003c/p>\n\u003cp>[aside postID='arts_13917075']Sansón agreed, but the California Department of Corrections and Rehabilitation refused to allow on-camera interviews. So throughout \u003cem>Sansón and Me\u003c/em>, the title character is invisible, except for a couple photographs. \u003c/p>\n\u003cp>Sansón and Reyes wrote dozens of letters to each other over several years, which the filmmaker uses to construct the film’s relationship between subject and filmmaker, as well as its narrative spine. But an actor reads Sansón’s lines, and his childhood in Mexico is poignantly enacted by his sister, brother-in-law, nephews and nieces living in Mexico.\u003c/p>\n\u003cp>Reyes cast Sansón’s family out of necessity and convenience, but it has unexpected side effects. They talk about gaining a better understanding, through the making of the film, of the sibling who left for America many years earlier. Meanwhile, the shoot itself complicates the family dynamic as neighbors and townspeople gather to witness the mystique and “glamour” of moviemaking. (We are briefly reminded of life before social media, when a local celebrity was a “viral” celebrity.)\u003c/p>\n\u003cfigure id=\"attachment_13926444\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/3-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13926444\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/3-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/3-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/3.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Antonio González Andrade as child Sansón in Rodrigo Reyes’ documentary ‘Sansón and Me.’ \u003ccite>(Courtesy Cinema Guild)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The behind-the-scenes sequences, juxtaposed with the enacted scenes of Sansón’s childhood, are edited and folded into the larger movie with impeccable clarity. We always know where we are, and at the same time Reyes is inviting us (if we are so interested) to contemplate when life is a movie, and when it isn’t. That is, he reminds us that a documentary is a representation of reality, as opposed to reality.\u003c/p>\n\u003cp>\u003cem>Sansón and Me\u003c/em> never goes full meta, but Reyes repeatedly notes various ethical issues in passing. The starkest example is that the filmmaker always possesses the power (that’s the real meaning of “final cut,” you know, but even the verbal declarations “action” and “cut” don’t get put to a vote), but there’s really no debate when your subject and ostensible collaborator is in a prison cell.\u003c/p>\n\u003cp>Yet there were periods when Sansón didn’t answer Reyes’ letters, and the filmmaker desperately needed his subject in order to move the film forward. The unspoken subtext — and I’m not judging Reyes or his motives, or raising the nasty specter of exploitation — is that grants from funders come with strings and expectations, and few things rattle a filmmaker more than being ghosted by their protagonist.\u003c/p>\n\u003cp>[aside postID='arts_10144054']Back in Mexico, we learn that Sansón’s childhood in Tecomán was stable and happy (his father was a fisherman) until the sudden death of a parent. His world splintered and Sansón was unable to stay on his modest path. The film does not frame this period as an apologia or explanation for the later deeds that led to Sansón’s imprisonment; Reyes has zero interest in knee-jerk sociology or dime-store psychology other than to hint that patterns have a way of repeating.\u003c/p>\n\u003cp>So I don’t detect a moral we should take from Reyes’ sensitive and deeply felt film. We are not riled to rail against an entity or person, or really to take any action. Sansón himself says in one of his letters, “My life is like a ballad that has already been sung.”\u003c/p>\n\u003cp>\u003cem>Sansón and Me\u003c/em> is a gutsy offering, especially with so many opportunists and bigots venting daily about borders. It is refreshing — and challenging — to be left without pat answers or emotional catharsis, and trusted to examine one’s expectations and biases. Eighty-three minutes in the company of Sansón and Reyes, contemplating larger issues than crime and punishment, is an invaluable experience.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Sansón and Me’ opens Friday, March 17, at the Roxie Theatre, with Rodrigo Reyes present after the Friday evening and Saturday afternoon screenings. \u003ca href=\"https://roxie.com/production/sanson-and-me/\">Details here\u003c/a>. The film will also air later this year on PBS’s ‘\u003ca href=\"https://www.pbs.org/independentlens/\">Independent Lens\u003c/a>.’\u003c/em>\u003c/p>\n\n",
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"excerpt": "Based on letters from prison, Rodrigo Reyes' latest film is a rare, non-moralizing immigration story.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sansón Noe Andrade, who came to the U.S. from Mexico without documents as an adolescent, is currently serving a life sentence without parole in a California prison for his role in a drive-by shooting.\u003c/p>\n\u003cp>Given that information, you may be surprised to hear that \u003cem>Sansón and Me\u003c/em>, the new film by Rodrigo Reyes, isn’t a social-issue documentary.\u003c/p>\n\u003cp>Andrade wasn’t victimized by institutional injustice. His four felony convictions didn’t involve police corruption or fabricated evidence, prosecutorial misconduct or legal-defense malpractice. \u003cem>Sansón and Me\u003c/em> (opening Friday, March 17 at the Roxie Theatre in San Francisco) is neither an exposé of the criminal justice system nor a righteous remit in support of an innocent man.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Nor, for that matter, is this unusual, layered and unexpectedly enthralling film a dirge of Third World poverty and suffering laced with somewhere-over-the-border dreams (short-circuited, inevitably, by prejudice and lack of opportunity). Odd as it may sound, \u003cem>Sansón and Me\u003c/em> is simply a story. And, in my view, one without a moral.\u003c/p>\n\u003cp>This won’t strike you as odd if you’re primarily drawn to documentaries with a stranger-than-fiction quality. \u003cem>Man on Wire\u003c/em> and \u003cem>Searching for Sugar Man\u003c/em> are exemplars of this popular subcategory. The story’s the thing, the whole thing and nothing but the thing; you don’t need a moral or even a message to be satisfied.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Despite the murder that sent its protagonist to jail, \u003cem>Sansón and Me\u003c/em> isn’t a sensational saga. Nor does it have the plot turns and jaw-dropping reveals (OK, there’s one) that give a doc that coveted word-of-mouth buzz. It is an ordinary story, the kind that’s rarely told, which is precisely why Reyes deserves props for going to extraordinary lengths to recount it.\u003c/p>\n\u003cfigure id=\"attachment_13926443\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/1-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13926443\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/1-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gerardo Reyes as adult Sansón in Rodrigo Reyes’ documentary ‘Sansón and Me.’ \u003ccite>(Courtesy Cinema Guild)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Let the record show how much skill and cleverness it takes to hold an audience’s interest with a commonplace biography. Reyes deserves praise above all for taking an invisible man (if confined prisoners aren’t the Forgotten Men and Women of the 21st century, who is?) and giving him a voice.\u003c/p>\n\u003cp>The Mexican-born, California-based director (whose previous films include the ambitious 2020 docufiction \u003cem>499\u003c/em>) was working his day job as a criminal interpreter when he met Andrade. Perhaps because Andrade had no previous record, and his participation in the crime seemed out of character, Reyes was moved to initiate a correspondence when Andrade’s trial concluded and he went to prison. After a time, as their friendship developed, Reyes asked if he’d be willing to collaborate on a film about his life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Sansón agreed, but the California Department of Corrections and Rehabilitation refused to allow on-camera interviews. So throughout \u003cem>Sansón and Me\u003c/em>, the title character is invisible, except for a couple photographs. \u003c/p>\n\u003cp>Sansón and Reyes wrote dozens of letters to each other over several years, which the filmmaker uses to construct the film’s relationship between subject and filmmaker, as well as its narrative spine. But an actor reads Sansón’s lines, and his childhood in Mexico is poignantly enacted by his sister, brother-in-law, nephews and nieces living in Mexico.\u003c/p>\n\u003cp>Reyes cast Sansón’s family out of necessity and convenience, but it has unexpected side effects. They talk about gaining a better understanding, through the making of the film, of the sibling who left for America many years earlier. Meanwhile, the shoot itself complicates the family dynamic as neighbors and townspeople gather to witness the mystique and “glamour” of moviemaking. (We are briefly reminded of life before social media, when a local celebrity was a “viral” celebrity.)\u003c/p>\n\u003cfigure id=\"attachment_13926444\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/3-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13926444\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/3-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/3-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/3.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Antonio González Andrade as child Sansón in Rodrigo Reyes’ documentary ‘Sansón and Me.’ \u003ccite>(Courtesy Cinema Guild)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The behind-the-scenes sequences, juxtaposed with the enacted scenes of Sansón’s childhood, are edited and folded into the larger movie with impeccable clarity. We always know where we are, and at the same time Reyes is inviting us (if we are so interested) to contemplate when life is a movie, and when it isn’t. That is, he reminds us that a documentary is a representation of reality, as opposed to reality.\u003c/p>\n\u003cp>\u003cem>Sansón and Me\u003c/em> never goes full meta, but Reyes repeatedly notes various ethical issues in passing. The starkest example is that the filmmaker always possesses the power (that’s the real meaning of “final cut,” you know, but even the verbal declarations “action” and “cut” don’t get put to a vote), but there’s really no debate when your subject and ostensible collaborator is in a prison cell.\u003c/p>\n\u003cp>Yet there were periods when Sansón didn’t answer Reyes’ letters, and the filmmaker desperately needed his subject in order to move the film forward. The unspoken subtext — and I’m not judging Reyes or his motives, or raising the nasty specter of exploitation — is that grants from funders come with strings and expectations, and few things rattle a filmmaker more than being ghosted by their protagonist.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Back in Mexico, we learn that Sansón’s childhood in Tecomán was stable and happy (his father was a fisherman) until the sudden death of a parent. His world splintered and Sansón was unable to stay on his modest path. The film does not frame this period as an apologia or explanation for the later deeds that led to Sansón’s imprisonment; Reyes has zero interest in knee-jerk sociology or dime-store psychology other than to hint that patterns have a way of repeating.\u003c/p>\n\u003cp>So I don’t detect a moral we should take from Reyes’ sensitive and deeply felt film. We are not riled to rail against an entity or person, or really to take any action. Sansón himself says in one of his letters, “My life is like a ballad that has already been sung.”\u003c/p>\n\u003cp>\u003cem>Sansón and Me\u003c/em> is a gutsy offering, especially with so many opportunists and bigots venting daily about borders. It is refreshing — and challenging — to be left without pat answers or emotional catharsis, and trusted to examine one’s expectations and biases. Eighty-three minutes in the company of Sansón and Reyes, contemplating larger issues than crime and punishment, is an invaluable experience.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Sansón and Me’ opens Friday, March 17, at the Roxie Theatre, with Rodrigo Reyes present after the Friday evening and Saturday afternoon screenings. \u003ca href=\"https://roxie.com/production/sanson-and-me/\">Details here\u003c/a>. The film will also air later this year on PBS’s ‘\u003ca href=\"https://www.pbs.org/independentlens/\">Independent Lens\u003c/a>.’\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Willem Dafoe has said that, for him, the process of making a movie always eclipses the finished product.\u003c/p>\n\u003cp>But after more than 130 film credits, the 67-year-old actor has finally found a project whose final form is on par with the experience of creating it.\u003c/p>\n\u003cp>[aside postid='arts_13925905']“When I watch this movie, I say, ‘Okay, I feel like I’m there again,’” he said. “Although there’s lots of stuff that we had invented that gets cut out, it feels like the making of it.”\u003c/p>\n\u003cp>That assertion is impressive, given how much \u003cem>Inside\u003c/em>, Vasilis Katsoupis’ fiction directorial debut, asked of its lead and virtually only actor.\u003c/p>\n\u003cp>“It really required a lot of different states and different approaches, I would say. But it was great fun,” Dafoe recalled.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Set entirely inside a single apartment and with no foils for Dafoe’s character to rely on, \u003cem>Inside\u003c/em> is completely dependent on his performance, which is so compelling you forget he is the only person on screen for the better part of 100 minutes.\u003c/p>\n\u003cp>It follows an art thief named Nemo (Dafoe) who gets trapped inside a collector’s apartment during a botched heist. Nemo is pushed to his limits, braving extreme temperatures, flooding and limited access to food and water, all within the confines of a luxury Manhattan apartment.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DjODCllZj4w\u003c/p>\n\u003cp>Despite the physical and psychological toll that Nemo suffers throughout the film, Dafoe said he was able to distance himself from his character’s tribulations.\u003c/p>\n\u003cp>“You’re going to some maybe dramatic places or some difficult places, but you’re also enjoying the interplay with the other people,” he said. “You’ve got the camera, you’ve got the film language behind you, so you’re playing with these things.”\u003c/p>\n\u003cp>More than just a psychological thriller, \u003cem>Inside\u003c/em> considers the ways in which art rescues humans in modern society from an isolated existence — a way out from being trapped inside of ourselves. Through his meditations on William Blake’s \u003cem>The Marriage of Heaven and Hell\u003c/em>, Nemo discerns that liberation can only be attained through creation.\u003c/p>\n\u003cp>For Dafoe, the philosophical exploration of the human relationship to art was not as apparent in the script, but “really came out in the doing of it,” the actor recalled, reflecting on the ways he found beauty in making art pieces for the film.\u003c/p>\n\u003cp>[aside postid='arts_13925466']“That was so enjoyable. You lose yourself in those things. You don’t necessarily know what they’re for, but they feel so useful and so healthy and so necessary,” he said.\u003c/p>\n\u003cp>Despite his prolific career, Dafoe said \u003cem>Inside\u003c/em> allowed the Oscar-nominated actor to flaunt chops he rarely gets to display.\u003c/p>\n\u003cp>“There are certain things that are purely physical, and you don’t always get to do these scenes with no dialogue,” he said. “Meditative sections that you’re really by yourself and there’s nothing to accomplish.”\u003c/p>\n\u003cp>And while the specifics of the plot of \u003cem>Inside\u003c/em>, which wrapped filming in June 2021, may not ostensibly feel universal, almost everyone on this side of the coronavirus pandemic will relate to the film’s scant human interactions, vague conception of time and claustrophobic cinematography.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Inside’ hits theaters March 17.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2023 Associated Press. To see more, \u003ca href=\"https://apnews.com/\" rel=\"noopener\">visit AP\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Willem Dafoe has said that, for him, the process of making a movie always eclipses the finished product.\u003c/p>\n\u003cp>But after more than 130 film credits, the 67-year-old actor has finally found a project whose final form is on par with the experience of creating it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“When I watch this movie, I say, ‘Okay, I feel like I’m there again,’” he said. “Although there’s lots of stuff that we had invented that gets cut out, it feels like the making of it.”\u003c/p>\n\u003cp>That assertion is impressive, given how much \u003cem>Inside\u003c/em>, Vasilis Katsoupis’ fiction directorial debut, asked of its lead and virtually only actor.\u003c/p>\n\u003cp>“It really required a lot of different states and different approaches, I would say. But it was great fun,” Dafoe recalled.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Set entirely inside a single apartment and with no foils for Dafoe’s character to rely on, \u003cem>Inside\u003c/em> is completely dependent on his performance, which is so compelling you forget he is the only person on screen for the better part of 100 minutes.\u003c/p>\n\u003cp>It follows an art thief named Nemo (Dafoe) who gets trapped inside a collector’s apartment during a botched heist. Nemo is pushed to his limits, braving extreme temperatures, flooding and limited access to food and water, all within the confines of a luxury Manhattan apartment.\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/DjODCllZj4w'\n title='//www.youtube.com/embed/DjODCllZj4w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Despite the physical and psychological toll that Nemo suffers throughout the film, Dafoe said he was able to distance himself from his character’s tribulations.\u003c/p>\n\u003cp>“You’re going to some maybe dramatic places or some difficult places, but you’re also enjoying the interplay with the other people,” he said. “You’ve got the camera, you’ve got the film language behind you, so you’re playing with these things.”\u003c/p>\n\u003cp>More than just a psychological thriller, \u003cem>Inside\u003c/em> considers the ways in which art rescues humans in modern society from an isolated existence — a way out from being trapped inside of ourselves. Through his meditations on William Blake’s \u003cem>The Marriage of Heaven and Hell\u003c/em>, Nemo discerns that liberation can only be attained through creation.\u003c/p>\n\u003cp>For Dafoe, the philosophical exploration of the human relationship to art was not as apparent in the script, but “really came out in the doing of it,” the actor recalled, reflecting on the ways he found beauty in making art pieces for the film.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“That was so enjoyable. You lose yourself in those things. You don’t necessarily know what they’re for, but they feel so useful and so healthy and so necessary,” he said.\u003c/p>\n\u003cp>Despite his prolific career, Dafoe said \u003cem>Inside\u003c/em> allowed the Oscar-nominated actor to flaunt chops he rarely gets to display.\u003c/p>\n\u003cp>“There are certain things that are purely physical, and you don’t always get to do these scenes with no dialogue,” he said. “Meditative sections that you’re really by yourself and there’s nothing to accomplish.”\u003c/p>\n\u003cp>And while the specifics of the plot of \u003cem>Inside\u003c/em>, which wrapped filming in June 2021, may not ostensibly feel universal, almost everyone on this side of the coronavirus pandemic will relate to the film’s scant human interactions, vague conception of time and claustrophobic cinematography.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Inside’ hits theaters March 17.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2023 Associated Press. To see more, \u003ca href=\"https://apnews.com/\" rel=\"noopener\">visit AP\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Ageism is real in Hollywood. And actresses, no matter how stunning, talented or charismatic, are consistently reminded that there is a silent yet deafening ticking clock on their careers.\u003c/p>\n\u003cp>[aside postid='arts_13924870']Meanwhile, men in Hollywood seem to enjoy a shelf life that’s often decades longer than those afforded to women. And as actresses have \u003ca href=\"https://www.npr.org/2013/06/30/197390707/casting-call-hollywood-needs-more-women\">repeatedly noted\u003c/a>, it’s not uncommon for men in their 60s to play romantic leads opposite costars who are decades younger.\u003c/p>\n\u003cp>On Sunday, Michelle Yeoh made it clear she has had it with the double standard. In her \u003ca href=\"https://www.npr.org/2023/03/12/1158764789/michelle-yeoh-best-actress-oscar-everything-everywhere-all-at-once\">history-making acceptance speech\u003c/a> for best actress at the 95th Academy Awards, she called out the sexism that often disposes of female veteran powerhouses once they’ve lost their youthful glow.\u003c/p>\n\u003cp>“Ladies, don’t let anybody tell you you are ever past your prime. Never give up!” the \u003cem>Everything Everywhere All at Once\u003c/em> actress said to cheers.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8v9wrK_j6Cc\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Yeoh, who is also the first Asian woman to win the category, is months away from turning 61. That makes her nearly 21 years older than most female winners — the average age is 39, according to a recent \u003ca href=\"https://news.sky.com/story/oscars-2023-diversity-v-data-what-analysis-of-94-years-of-winners-tells-us-about-the-academy-awards-11635455#:~:text=The%20average%20male%20winner%20is,average%20female%20winner%20is%2039.\">study by Sky News\u003c/a>. The average age of male Academy Award winners is 47.\u003c/p>\n\u003ch3>The gender gap at the Oscars is closing but there’s little change across the industry\u003c/h3>\n\u003cp>Fortunately for women in film, the gap has closed in the past six years. That’s because the best actress awards have gone to women over 40. Frances McDormand won in 2018 and 2021 at 60 and 63, respectively; Olivia Colman was 45 for her win 2019; Renée Zellweger was 50 when she got a statue in 2020; and Jessica Chastain was 44 when she won last year.\u003c/p>\n\u003cp>[aside postid='arts_13869451']But the recent shift at the Oscars is not an indication of a broader, more meaningful change across the industry, Lan Duong, a professor of cinema and media studies at the University of Southern California, told NPR.\u003c/p>\n\u003cp>Ageism, Duong said, is not going away because films are still made to satisfy the male gaze, which inevitably translates into objectifying women. “It’s often a very heterosexual, patriarchal male gaze. And it’s often directed at young, mostly nubile women’s bodies,” she said.\u003c/p>\n\u003cp>A \u003ca href=\"https://seejane.org/gender-in-media-news-release/tena-partners-with-the-geena-davis-institute-on-gender-in-media-to-launch-new-ageless-test-to-tackle-ageism-in-media/\">2020 study by TENA and the Geena Davis Institute on Gender in Media\u003c/a> found that “[aging] is still fueled by traditional and outdated stereotypes and preconceptions; particularly in the way the older generation are portrayed in global film and television with little to zero ‘real’ portrayals or representation of older women on screen.”\u003c/p>\n\u003cp>As part of the study, researchers reviewed the 30 highest grossing films of 2019 in Germany, France, the United Kingdom, and the United States, watching to see if they passed what they call, the “Ageless Test.” That required a film to have at least one female character 50 or older who is integral to the plot in such a way that their removal would have significant effect. Also, the character must be humanized, beyond stereotypes.\u003c/p>\n\u003cp>The findings were grim. Of those characters who were 50 or older, 75% were male. No female characters over 49 appeared in leading roles, while two men 50 or older were featured as leading men. Additionally, female characters in that age range were more likely to be depicted as lonely — 19% — and homebound — 16% — than male characters.\u003c/p>\n\u003ch3>Audiences give reasons for hope\u003c/h3>\n\u003cp>Still, Duong said there is hope that older (or even just middle aged), established actresses will have more opportunities to stay in the picture and in the public eye. It comes down to money.\u003c/p>\n\u003cp>[aside postid='arts_13920514']Duong said the undeniable commercial success of \u003cem>Everything Everywhere All at Once \u003c/em>shows that audiences are willing, even eager, to watch a woman like Yeoh, go from being a martial arts queen “to playing an older woman who’s struggling as an immigrant mother with her queer daughter.”\u003c/p>\n\u003cp>The arthouse-sci-fi-heartwarming-action movie has has grossed nearly\u003ca href=\"https://www.boxofficemojo.com/title/tt6710474/?ref_=bo_tt_ti\"> $74 million in the U.S. and more than $106 million worldwide\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Duong added: “It speaks of an audience that is appreciative of moving away from images of women as only objects of desire.” Even those who crave more superhero-based action films, are open to seeing different types of women in those roles, Duong noted. In \u003cem>Everything Everywhere All at Once\u003c/em>, “Yeoh moves in multiverses, which is not too far from a Marvel movie. But it’s infused with energy and fun and melancholy and loss. It’s a full-bodied character and it has resonated with people.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Michelle+Yeoh+called+out+sexism+in+Hollywood.+Will+it+help+close+the+gender+gap%3F+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yeoh, who is also the first Asian woman to win the category, is months away from turning 61. That makes her nearly 21 years older than most female winners — the average age is 39, according to a recent \u003ca href=\"https://news.sky.com/story/oscars-2023-diversity-v-data-what-analysis-of-94-years-of-winners-tells-us-about-the-academy-awards-11635455#:~:text=The%20average%20male%20winner%20is,average%20female%20winner%20is%2039.\">study by Sky News\u003c/a>. The average age of male Academy Award winners is 47.\u003c/p>\n\u003ch3>The gender gap at the Oscars is closing but there’s little change across the industry\u003c/h3>\n\u003cp>Fortunately for women in film, the gap has closed in the past six years. That’s because the best actress awards have gone to women over 40. Frances McDormand won in 2018 and 2021 at 60 and 63, respectively; Olivia Colman was 45 for her win 2019; Renée Zellweger was 50 when she got a statue in 2020; and Jessica Chastain was 44 when she won last year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But the recent shift at the Oscars is not an indication of a broader, more meaningful change across the industry, Lan Duong, a professor of cinema and media studies at the University of Southern California, told NPR.\u003c/p>\n\u003cp>Ageism, Duong said, is not going away because films are still made to satisfy the male gaze, which inevitably translates into objectifying women. “It’s often a very heterosexual, patriarchal male gaze. And it’s often directed at young, mostly nubile women’s bodies,” she said.\u003c/p>\n\u003cp>A \u003ca href=\"https://seejane.org/gender-in-media-news-release/tena-partners-with-the-geena-davis-institute-on-gender-in-media-to-launch-new-ageless-test-to-tackle-ageism-in-media/\">2020 study by TENA and the Geena Davis Institute on Gender in Media\u003c/a> found that “[aging] is still fueled by traditional and outdated stereotypes and preconceptions; particularly in the way the older generation are portrayed in global film and television with little to zero ‘real’ portrayals or representation of older women on screen.”\u003c/p>\n\u003cp>As part of the study, researchers reviewed the 30 highest grossing films of 2019 in Germany, France, the United Kingdom, and the United States, watching to see if they passed what they call, the “Ageless Test.” That required a film to have at least one female character 50 or older who is integral to the plot in such a way that their removal would have significant effect. Also, the character must be humanized, beyond stereotypes.\u003c/p>\n\u003cp>The findings were grim. Of those characters who were 50 or older, 75% were male. No female characters over 49 appeared in leading roles, while two men 50 or older were featured as leading men. Additionally, female characters in that age range were more likely to be depicted as lonely — 19% — and homebound — 16% — than male characters.\u003c/p>\n\u003ch3>Audiences give reasons for hope\u003c/h3>\n\u003cp>Still, Duong said there is hope that older (or even just middle aged), established actresses will have more opportunities to stay in the picture and in the public eye. It comes down to money.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Duong said the undeniable commercial success of \u003cem>Everything Everywhere All at Once \u003c/em>shows that audiences are willing, even eager, to watch a woman like Yeoh, go from being a martial arts queen “to playing an older woman who’s struggling as an immigrant mother with her queer daughter.”\u003c/p>\n\u003cp>The arthouse-sci-fi-heartwarming-action movie has has grossed nearly\u003ca href=\"https://www.boxofficemojo.com/title/tt6710474/?ref_=bo_tt_ti\"> $74 million in the U.S. and more than $106 million worldwide\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Duong added: “It speaks of an audience that is appreciative of moving away from images of women as only objects of desire.” Even those who crave more superhero-based action films, are open to seeing different types of women in those roles, Duong noted. In \u003cem>Everything Everywhere All at Once\u003c/em>, “Yeoh moves in multiverses, which is not too far from a Marvel movie. But it’s infused with energy and fun and melancholy and loss. It’s a full-bodied character and it has resonated with people.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Michelle+Yeoh+called+out+sexism+in+Hollywood.+Will+it+help+close+the+gender+gap%3F+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In the End, It Was an ‘Everything Everywhere’ Night at the Oscars",
"headTitle": "In the End, It Was an ‘Everything Everywhere’ Night at the Oscars | KQED",
"content": "\u003cp>\u003cem>Everything Everywhere All at Once \u003c/em>didn’t win every award for which it was nominated — it was nominated for 11 and \u003ca href=\"https://www.npr.org/2023/03/12/1162147562/academy-awards-2023-the-complete-list-of-winners\">won seven\u003c/a>. But it won big ones, again and again: best picture, best original screenplay, best director, best supporting actor and actress, best actress, and best editing.\u003c/p>\n\u003cp>[aside postid='arts_13911018']For a stretch in the middle of the ceremony, it seemed like \u003cem>All Quiet On The Western Front \u003c/em>might be coming on very strong, but the pendulum swung back. What’s perhaps most surprising is how many films that once seemed like strong contenders for major awards wound up getting completely shut out: \u003cem>Tár, The Banshees of Inisherin\u003c/em>, \u003cem>The Fabelmans \u003c/em>and \u003cem>Elvis \u003c/em>all went home empty-handed.\u003c/p>\n\u003cp>\u003cstrong>All the first-time acting nominees led to some emotional moments.\u003c/strong>\u003c/p>\n\u003cp>Of the 20 acting nominees across lead and supporting categories, 16 were first-time nominees. Unsurprisingly, they swept all four awards. The awards for supporting actor and supporting actress went to two very, very different “newcomers.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=M33WRVhh2Fw\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2023/03/12/1160156811/ke-huy-quan-best-supporting-actor-oscar-everything-everywhere-all-at-once\">Ke Huy Quan\u003c/a> once found himself shut out of Hollywood after a big start as a child actor in movies like \u003cem>Indiana Jones and the Temple of Doom\u003c/em> and \u003cem>The Goonies\u003c/em>. He came roaring back in \u003cem>Everything Everywhere All at Once\u003c/em>, and his speech highlighted the remarkable arc of his career. Jamie Lee Curtis also won for \u003cem>Everything Everywhere All At Once\u003c/em>, but her story could hardly be more different. Born to Oscar-nominated parents Tony Curtis and Janet Leigh, she became a star after \u003cem>Halloween \u003c/em>in 1978, when she was just turning 20 years old. In the 45 years since then, she’s made comedies like \u003cem>Trading Places \u003c/em>and \u003cem>A Fish Called Wanda\u003c/em>, family movies like \u003cem>Freaky Friday \u003c/em>and \u003cem>My Girl\u003c/em>, and — indeed — more horror films. And she expressed her gratitude for all the many, many people she’s worked with over the years.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2023/03/12/1158764789/michelle-yeoh-best-actress-oscar-everything-everywhere-all-at-once\">Michelle Yeoh,\u003c/a> a superstar who became the first Asian woman to win best actress, was \u003cem>Everything Everywhere’\u003c/em>s third acting winner. And she also acknowledged her parents, her family, and the history that she and the film were making. Finally, Brendan Fraser, who had a hot film career as a very handsome young man and then saw the industry’s interest in him wane, leaving a long period of relative quiet before his role in \u003cem>The Whale \u003c/em>this year, won. He’s another example of the many ways Hollywood can abandon or fail to see performers — and sometimes, even if not often, it can find them again.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JYqYIeCHYAg\u003c/p>\n\u003cp>\u003cstrong>They really wanted this to be the Comeback Oscars. \u003c/strong>\u003c/p>\n\u003cp>Host Jimmy Kimmel, in his monologue, talked about 2022 as the year people came back to theaters, two years after COVID upended the movie business. Huge movies, particularly \u003cem>Avatar: The Way of Water\u003c/em> and \u003cem>Top Gun: Maverick\u003c/em>, were both moneymakers and best picture nominees. This year’s message was plain: we’re back. Perhaps it’s fitting that \u003cem>Avatar \u003c/em>won for visual effects and \u003cem>Top Gun: Maverick \u003c/em>for sound — the spectacles won awards that relate, in part, to their status as such.\u003c/p>\n\u003cp>[aside postid='arts_13926047']Making this the comeback Oscars was, of course, consistent with the industry’s chosen narrative of rebirth. But it’s also part of the Academy’s effort to revive interest in the ceremony after years of hearing the theory that the ratings were dropping because blockbusters weren’t being nominated. That theory might turn out to be right or it might be wrong, but if this year didn’t do it, then nominating big movies isn’t a solution to the ratings problem as has so often been speculated.\u003c/p>\n\u003cp>\u003cstrong>The Academy’s record when it comes to inclusion remains mixed, at best. \u003c/strong>\u003c/p>\n\u003cp>The milestones of the night — Michelle Yeoh and Ke Huy Quan being the first and second Asian performers to win in their respective categories was the most widely noted — sat alongside much more dispiriting facts.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2qxgehkLT9I\u003c/p>\n\u003cp>For instance,\u003ca href=\"https://www.npr.org/2023/02/14/1156555360/black-panther-wakanda-forever-costume-design-ruth-e-carter\"> Ruth Carter, \u003c/a>who won for the costumes in \u003cem>Black Panther: Wakanda Forever\u003c/em>, became the first Black woman ever to win two Oscars, in a year in which Black nominees, particularly outside that one film, were limited. There are countless measures of representation, many more than just these two, and most are still painfully out of balance. But these notable firsts and these notable limitations juxtaposed continue to suggest that gains remain slow and uneven when they come at all.\u003c/p>\n\u003cp>\u003cstrong>The Oscars still love a war movie — and Netflix is a power.\u003c/strong>\u003c/p>\n\u003cp>[aside postid='arts_13925866']These things are subjective, of course, but it didn’t necessarily feel like there was a ton of enthusiastic buzz about the Netflix update of \u003cem>All Quiet on the Western Front \u003c/em>until it started winning awards. The film perhaps sneaked up on people, but as Oscar night wore on and it started to rake in prizes, including for score, cinematography, production design and international feature, the fondness that Academy voters still have for epic war sequences became perfectly clear. It was perhaps the most utterly traditional choice they could have made in every way \u003cem>except\u003c/em> for the fact that it’s a film that’s not in English.\u003c/p>\n\u003cp>At the same time, it was a reminder that while only a few years ago, Netflix was trying to wedge itself into the Oscars, it’s now established a home there. Both the big haul for \u003cem>All Quiet \u003c/em>and the nomination for Ana de Armas in \u003cem>Blonde\u003c/em> seemed like testaments to the streamer’s capacity to campaign.\u003c/p>\n\u003cp>\u003cstrong>The Oscars remain, as always … the Oscars. \u003c/strong>\u003c/p>\n\u003cp>This was a year in which they didn’t try much in terms of change; in fact, the goal seemed to be the most normal Oscars possible. Some montages, a nice In Memoriam segment, an okay monologue, solid musical performances from Lady Gaga and Rihanna among others, and a return to theater seating after last year’s cocktail tables and the train station set the year before. It looked and felt fully, and full-throatedly, traditional. No tricks, no gimmicks, just the Oscars. And, of course, David Byrne performing with hot dog fingers.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xBtiNfQPfoQ\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+the+end%2C+it+was+an+%27Everything+Everywhere%27+night+at+the+Oscars&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "‘Everything Everywhere All at Once’ won seven of the 11 Oscars it was nominated for, including Best Actress for Michelle Yeoh. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Everything Everywhere All at Once \u003c/em>didn’t win every award for which it was nominated — it was nominated for 11 and \u003ca href=\"https://www.npr.org/2023/03/12/1162147562/academy-awards-2023-the-complete-list-of-winners\">won seven\u003c/a>. But it won big ones, again and again: best picture, best original screenplay, best director, best supporting actor and actress, best actress, and best editing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For a stretch in the middle of the ceremony, it seemed like \u003cem>All Quiet On The Western Front \u003c/em>might be coming on very strong, but the pendulum swung back. What’s perhaps most surprising is how many films that once seemed like strong contenders for major awards wound up getting completely shut out: \u003cem>Tár, The Banshees of Inisherin\u003c/em>, \u003cem>The Fabelmans \u003c/em>and \u003cem>Elvis \u003c/em>all went home empty-handed.\u003c/p>\n\u003cp>\u003cstrong>All the first-time acting nominees led to some emotional moments.\u003c/strong>\u003c/p>\n\u003cp>Of the 20 acting nominees across lead and supporting categories, 16 were first-time nominees. Unsurprisingly, they swept all four awards. The awards for supporting actor and supporting actress went to two very, very different “newcomers.”\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/M33WRVhh2Fw'\n title='//www.youtube.com/embed/M33WRVhh2Fw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2023/03/12/1160156811/ke-huy-quan-best-supporting-actor-oscar-everything-everywhere-all-at-once\">Ke Huy Quan\u003c/a> once found himself shut out of Hollywood after a big start as a child actor in movies like \u003cem>Indiana Jones and the Temple of Doom\u003c/em> and \u003cem>The Goonies\u003c/em>. He came roaring back in \u003cem>Everything Everywhere All at Once\u003c/em>, and his speech highlighted the remarkable arc of his career. Jamie Lee Curtis also won for \u003cem>Everything Everywhere All At Once\u003c/em>, but her story could hardly be more different. Born to Oscar-nominated parents Tony Curtis and Janet Leigh, she became a star after \u003cem>Halloween \u003c/em>in 1978, when she was just turning 20 years old. In the 45 years since then, she’s made comedies like \u003cem>Trading Places \u003c/em>and \u003cem>A Fish Called Wanda\u003c/em>, family movies like \u003cem>Freaky Friday \u003c/em>and \u003cem>My Girl\u003c/em>, and — indeed — more horror films. And she expressed her gratitude for all the many, many people she’s worked with over the years.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2023/03/12/1158764789/michelle-yeoh-best-actress-oscar-everything-everywhere-all-at-once\">Michelle Yeoh,\u003c/a> a superstar who became the first Asian woman to win best actress, was \u003cem>Everything Everywhere’\u003c/em>s third acting winner. And she also acknowledged her parents, her family, and the history that she and the film were making. Finally, Brendan Fraser, who had a hot film career as a very handsome young man and then saw the industry’s interest in him wane, leaving a long period of relative quiet before his role in \u003cem>The Whale \u003c/em>this year, won. He’s another example of the many ways Hollywood can abandon or fail to see performers — and sometimes, even if not often, it can find them again.\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/JYqYIeCHYAg'\n title='//www.youtube.com/embed/JYqYIeCHYAg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>They really wanted this to be the Comeback Oscars. \u003c/strong>\u003c/p>\n\u003cp>Host Jimmy Kimmel, in his monologue, talked about 2022 as the year people came back to theaters, two years after COVID upended the movie business. Huge movies, particularly \u003cem>Avatar: The Way of Water\u003c/em> and \u003cem>Top Gun: Maverick\u003c/em>, were both moneymakers and best picture nominees. This year’s message was plain: we’re back. Perhaps it’s fitting that \u003cem>Avatar \u003c/em>won for visual effects and \u003cem>Top Gun: Maverick \u003c/em>for sound — the spectacles won awards that relate, in part, to their status as such.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Making this the comeback Oscars was, of course, consistent with the industry’s chosen narrative of rebirth. But it’s also part of the Academy’s effort to revive interest in the ceremony after years of hearing the theory that the ratings were dropping because blockbusters weren’t being nominated. That theory might turn out to be right or it might be wrong, but if this year didn’t do it, then nominating big movies isn’t a solution to the ratings problem as has so often been speculated.\u003c/p>\n\u003cp>\u003cstrong>The Academy’s record when it comes to inclusion remains mixed, at best. \u003c/strong>\u003c/p>\n\u003cp>The milestones of the night — Michelle Yeoh and Ke Huy Quan being the first and second Asian performers to win in their respective categories was the most widely noted — sat alongside much more dispiriting facts.\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/2qxgehkLT9I'\n title='//www.youtube.com/embed/2qxgehkLT9I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For instance,\u003ca href=\"https://www.npr.org/2023/02/14/1156555360/black-panther-wakanda-forever-costume-design-ruth-e-carter\"> Ruth Carter, \u003c/a>who won for the costumes in \u003cem>Black Panther: Wakanda Forever\u003c/em>, became the first Black woman ever to win two Oscars, in a year in which Black nominees, particularly outside that one film, were limited. There are countless measures of representation, many more than just these two, and most are still painfully out of balance. But these notable firsts and these notable limitations juxtaposed continue to suggest that gains remain slow and uneven when they come at all.\u003c/p>\n\u003cp>\u003cstrong>The Oscars still love a war movie — and Netflix is a power.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>These things are subjective, of course, but it didn’t necessarily feel like there was a ton of enthusiastic buzz about the Netflix update of \u003cem>All Quiet on the Western Front \u003c/em>until it started winning awards. The film perhaps sneaked up on people, but as Oscar night wore on and it started to rake in prizes, including for score, cinematography, production design and international feature, the fondness that Academy voters still have for epic war sequences became perfectly clear. It was perhaps the most utterly traditional choice they could have made in every way \u003cem>except\u003c/em> for the fact that it’s a film that’s not in English.\u003c/p>\n\u003cp>At the same time, it was a reminder that while only a few years ago, Netflix was trying to wedge itself into the Oscars, it’s now established a home there. Both the big haul for \u003cem>All Quiet \u003c/em>and the nomination for Ana de Armas in \u003cem>Blonde\u003c/em> seemed like testaments to the streamer’s capacity to campaign.\u003c/p>\n\u003cp>\u003cstrong>The Oscars remain, as always … the Oscars. \u003c/strong>\u003c/p>\n\u003cp>This was a year in which they didn’t try much in terms of change; in fact, the goal seemed to be the most normal Oscars possible. Some montages, a nice In Memoriam segment, an okay monologue, solid musical performances from Lady Gaga and Rihanna among others, and a return to theater seating after last year’s cocktail tables and the train station set the year before. It looked and felt fully, and full-throatedly, traditional. No tricks, no gimmicks, just the Oscars. And, of course, David Byrne performing with hot dog fingers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The First Oscars Lasted 15 Minutes — Plus Other Surprises From 95 Years of Awards",
"headTitle": "The First Oscars Lasted 15 Minutes — Plus Other Surprises From 95 Years of Awards | KQED",
"content": "\u003cp>You read that right — just 15 minutes. The first Academy Awards ceremony was held on May 1929, in the Blossom Room of the Hollywood Roosevelt Hotel. At the end of a private black-tie banquet, leading man Douglas Fairbanks announced the first ever winners of the golden statuettes.\u003c/p>\n\u003cp>All the recipients that year were silent movies, except one: \u003ca href=\"https://www.youtube.com/watch?v=yFaZOaLTkN0\">\u003cem>The Jazz Singer\u003c/em>\u003c/a>\u003cem>,\u003c/em> starring Al Jolson. \u003ca href=\"https://www.youtube.com/watch?v=zXOlmo943Vc\">The top prize in 1929 \u003c/a>went to \u003cem>Wings\u003c/em>, an airplane film similar to one of this year’s best picture nominees, \u003cem>Top Gun: Maverick\u003c/em>.\u003c/p>\n\u003cp>The following year, the Academy Award for Outstanding Production went to a war movie, \u003ca href=\"https://www.youtube.com/watch?v=grapXipP3fM\">\u003cem>All Quiet on the Western Front\u003c/em>\u003c/a> (a remake of that film is also a contender this year). \u003ca href=\"https://www.youtube.com/watch?v=Kt0mgFtdQwk\">Newsreel footage from 1930\u003c/a> captured the head of MGM, Louis B. Mayer, solemnly congratulating the movie’s producer Carl Laemmle, saying, “Sorry I didn’t win it, Mr. Laemmle. I know of no one I’d rather have beat me than you.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Kt0mgFtdQwk\u003c/p>\n\u003cp>As the silent movie era ended and the talkies began, Mayer had dreamed up the idea of an Academy for \u003ca href=\"https://www.findinglostangeles.com/all-content/2019/1/7/hollywoodland\">Hollywoodland\u003c/a>, as it was first known.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“He was afraid of the union movement that was kind of moving across the country, and he didn’t want the film industry to be unionized,” says Bruce Davis, a former CEO of the Academy for 30 years\u003cem>. “\u003c/em>So he thought, ‘Somehow, we’ll have this organization, and we’ll all just come to meetings and talk about our griefs and problems.’”\u003c/p>\n\u003cp>[aside postid='arts_13925866']Davis, author of \u003ca href=\"https://press.uchicago.edu/ucp/books/book/distributed/A/bo184793529.html\">\u003cem>The Academy and the Award\u003c/em>\u003c/a>\u003cem>, \u003c/em>says in the late 1920s, writers, directors, actors and other members of the new Academy didn’t trust Mayer’s group of anti-union studio bigwigs. They soon formed their guilds, and Davis says the Academy nearly folded in 1933.\u003c/p>\n\u003cp>“Finally, the Academy had to agree to get out of the labor business entirely,” says Davis.\u003c/p>\n\u003cp>Instead, the organization focused on handing out Oscars, as the statuettes were later nicknamed. \u003ca href=\"https://www.oldtimeradiodownloads.com/variety/academy-award-ceremonies/academy-award-ceremony-1947\">Radio stations\u003c/a> and newsreels began highlighting the ceremonies to movie fans captivated by Hollywood’s glitz and glamor.\u003c/p>\n\u003cp>In 1939, Hattie McDaniel became the first African American actor to win an Oscar for her role as Mammy in \u003cem>Gone With the Wind\u003c/em>. McDaniel rose from her seat at a segregated table to accept the award for best supporting actress.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=e7t4pTNZshA&t=3s\u003c/p>\n\u003cp>“I sincerely hope I shall always be a credit to my race and to the motion picture industry,” she said, wiping away her tears.\u003c/p>\n\u003cp>Over the years, the Oscars have included scandals and feuds … like the famous rivalry between sisters Joan Fontaine and Olivia de Havilland, who despised each other and vied for the best actress Oscar in 1942. (\u003ca href=\"https://www.youtube.com/watch?v=4tOZ-IU7izg\">Fontaine won\u003c/a> for her role in the Alfred Hitchcock film \u003cem>Suspicion\u003c/em>.)\u003c/p>\n\u003cp>The ceremonies continued during the infamous McCarthy era when many Hollywood writers were blacklisted as suspected communists. All of that was upended in 1957 when the winner of the best motion picture was announced: \u003ca href=\"https://www.youtube.com/watch?v=c2KdnI1N8AU\">Robert Rich, writer of \u003cem>The Brave One\u003c/em>\u003c/a>, a story about a Mexican boy and his pet bull.\u003c/p>\n\u003cp>[aside postid='arts_13925431']Someone else accepted the award on his behalf. “Then no one could find this guy. And that’s because he did not exist,” says Michael Schulman, a staff writer for the \u003cem>New Yorker \u003c/em>and author of the new book \u003ca href=\"https://www.npr.org/2023/02/22/1158513159/oscar-wars-michael-schulman-academy-awards-controversies\">\u003cem>Oscar Wars: A History of Hollywood in Gold, Sweat, and Tears\u003c/em>.\u003c/a>\u003c/p>\n\u003cp>Robert Rich was a pseudonym for screenwriter \u003ca href=\"https://www.npr.org/2008/06/17/91576667/trumbo-a-blacklisted-writer-in-his-own-words\">Dalton Trumbo\u003c/a>, who was imprisoned for defying the House Un-American Activities Committee.\u003c/p>\n\u003cp>“He realized there was a contradiction, that all of these people — suspected communists — were blacklisted, and yet they were all working,” says Schulman. “They were writing movies under fake names, and now they were winning awards.”\u003c/p>\n\u003cp>Schulman says that was one of the many Hollywood scandals the Oscars have exposed.\u003c/p>\n\u003cp>In \u003ca href=\"https://www.youtube.com/watch?v=iOtp4dli7-4\">1953, the Oscars began being broadcast on television, with host Bob Hope\u003c/a>, who quipped, “Isn’t it exciting to know that a lot of these glamorous stars are going to be in your homes tonight? Television, where movies go to die.”\u003c/p>\n\u003cp>The ceremonies are notorious for running long. But in 1959, the show ended up 20 minutes short. \u003ca href=\"https://www.youtube.com/watch?v=2riKdGOdU3E\">So emcee Jerry Lewis had to ad-lib\u003c/a> with shticks and bits to fill the airtime.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2riKdGOdU3E\u003c/p>\n\u003cp>“We would like to now do 300 choruses of ‘There’s No Business Like Show Business,’” he said before taking the baton to lead the orchestra at the Pantages Theatre.\u003c/p>\n\u003cp>“Lewis invited all of the winners and participants from the show back up on stage, and they’re feeling like idiots. So they started dancing with each other,” chuckles Davis. “And still, it wouldn’t go off. Then people start sneaking off the stage.”\u003c/p>\n\u003cp>\u003ca href=\"https://interviews.televisionacademy.com/news/interview-clip-jerry-lewis-discusses-1959s-short-academy-awards-telecast\">For the remaining minutes\u003c/a>, NBC cut to a rerun of a sportscast.\u003c/p>\n\u003cp>Davis says one of the most poignant moments in Oscars history was when \u003ca href=\"https://www.youtube.com/watch?v=J3Pl-qvA1X8\">Charlie Chaplin, who had started in silent movies, won a lifetime achievement award in 1972\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=J3Pl-qvA1X8\u003c/p>\n\u003cp>“He had been almost driven out of the country because his politics were seen to be too far left for the American public,” says Davis. “So to have him come back to receive an honorary award and be embraced by the entire industry was clearly a very moving thing.”\u003c/p>\n\u003cp>The audience gave Chaplin a 12-minute standing ovation.\u003c/p>\n\u003cp>The following year, the crowd booed when \u003ca href=\"https://www.youtube.com/watch?v=2QUacU0I4yU\">Marlon Brando sent Sacheen Littlefeather to the stage to decline his best actor award\u003c/a> because of “the treatment of the American Indians” by the film industry.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2QUacU0I4yU\u003c/p>\n\u003cp>Years later, \u003ca href=\"https://www.npr.org/2022/10/03/1126515900/sacheen-littlefeather-marlon-brando-dies\">Littlefeather recalled being escorted offstage at the Oscars by security guards\u003c/a>. She said that for years Hollywood boycotted her, calling it being “red-listed.” Finally, nearly 50 years later, the Academy officially apologized to Littlefeather for the abuse she subsequently endured because of her Oscars appearance.\u003c/p>\n\u003cp>In 1974, the Oscars audience shrieked when gay activist \u003ca href=\"https://www.youtube.com/watch?v=EWBc-ir6IFM\">Robert Opel dashed across the stage naked\u003c/a>. The streaker prompted presenter David Niven to quip, “Probably the only laugh that man will ever get in his life is by stripping off and showing his shortcomings.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EWBc-ir6IFM\u003c/p>\n\u003cp>In 1985, \u003ca href=\"https://www.youtube.com/watch?v=u_8nAvU0T5Y\">best actress winner Sally Field\u003c/a> gave one of the Oscars’ most unforgettable speeches. “I can’t deny the fact that you like me,” she gushed. “Right now, you like me!”\u003c/p>\n\u003cp>Schulman says there have been other cringe moments, like the opening number in 1989, which included \u003ca href=\"https://www.youtube.com/watch?v=9mronRVvdmw\">actor Rob Lowe singing a duet with a live-action Snow White\u003c/a>.\u003c/p>\n\u003cp>Schulman says the 11-minute, over-the-top opening was a flop for flamboyant producer Allan Carr, who had previously produced the musicals \u003cem>Grease\u003c/em> and \u003cem>La Cage aux Folles\u003c/em>.\u003c/p>\n\u003cp>“When it went bad, there was a scapegoat effect,” says Schulman. “He was essentially ostracized within days. And he never recovered. It destroyed his career. It destroyed his life.”\u003c/p>\n\u003cp>In the last decade, the Oscars had a racial reckoning after being criticized for not giving awards to actors and filmmakers of color. \u003ca href=\"https://www.npr.org/2016/01/25/464244160/a-conversation-with-the-creator-of-oscarssowhite\">The #OscarsSoWhite movement\u003c/a> led to this \u003ca href=\"https://www.youtube.com/watch?v=GCQn_FkFElI&t=2s\">2017 mixup\u003c/a>:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GCQn_FkFElI&t=2s\u003c/p>\n\u003cp>“There was a rookie from Pricewaterhouse that year who was a little too enthusiastic about being backstage with all of the stars and clearly took his mind off his job,” explains Davis. “He handed the presenter the wrong envelope.”\u003c/p>\n\u003cp>[aside postid='arts_13911018']Onstage, presenter Warren Beatty looked at the envelope puzzled. Then Faye Dunaway announced the final winner of the night: \u003cem>La La Land\u003c/em>.\u003c/p>\n\u003cp>Producer Jordan Horowitz accepted the award at first, surrounded by his cast. Then, after much confusion onstage, he returned to the mic.\u003c/p>\n\u003cp>“I’m sorry, no. There’s a mistake: \u003cem>Moonlight\u003c/em>. You guys won best picture,” Horowitz said before showing a card with the correct winner to the cameras. “This is not a joke. \u003cem>Moonlight\u003c/em> has won best picture.”\u003c/p>\n\u003cp>Last year, the winners were overshadowed by a confrontation with best actor nominee \u003ca href=\"https://www.youtube.com/watch?v=myjEoDypUD8\">Will Smith, who strode onstage and smacked presenter Chris Rock \u003c/a>after he had made a joke about Smith’s wife’s hair.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=myjEoDypUD8\u003c/p>\n\u003cp>After delivering the slap seen and heard around the world, Smith sat down in his seat and roared expletives at Rock. Smith won the best actor award for starring in \u003cem>King Richard\u003c/em>, but \u003ca href=\"https://www.npr.org/2022/04/08/1091681181/the-academy-bans-will-smith-for-10-years-for-chris-rock-slap\">the Academy punished him by banning him from its events for 10 years\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Schulman says anything can happen during a live event, “Whether it’s a burst of anger with the slap or just something really moving, someone living their dream.” He says so much of the Oscars “are wrapped in this kind of celebrity, like ‘you-like-me’ absurdity, and then boom! Something happens that shocks your system a little bit.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+first+Oscars+lasted+15+minutes+%E2%80%94+plus+other+surprises+from+95+years+of+awards&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "Ahead of this Sunday’s Academy Awards, we look back on the surprises, the scandals, the slap and — yes — even the streaker.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You read that right — just 15 minutes. The first Academy Awards ceremony was held on May 1929, in the Blossom Room of the Hollywood Roosevelt Hotel. At the end of a private black-tie banquet, leading man Douglas Fairbanks announced the first ever winners of the golden statuettes.\u003c/p>\n\u003cp>All the recipients that year were silent movies, except one: \u003ca href=\"https://www.youtube.com/watch?v=yFaZOaLTkN0\">\u003cem>The Jazz Singer\u003c/em>\u003c/a>\u003cem>,\u003c/em> starring Al Jolson. \u003ca href=\"https://www.youtube.com/watch?v=zXOlmo943Vc\">The top prize in 1929 \u003c/a>went to \u003cem>Wings\u003c/em>, an airplane film similar to one of this year’s best picture nominees, \u003cem>Top Gun: Maverick\u003c/em>.\u003c/p>\n\u003cp>The following year, the Academy Award for Outstanding Production went to a war movie, \u003ca href=\"https://www.youtube.com/watch?v=grapXipP3fM\">\u003cem>All Quiet on the Western Front\u003c/em>\u003c/a> (a remake of that film is also a contender this year). \u003ca href=\"https://www.youtube.com/watch?v=Kt0mgFtdQwk\">Newsreel footage from 1930\u003c/a> captured the head of MGM, Louis B. Mayer, solemnly congratulating the movie’s producer Carl Laemmle, saying, “Sorry I didn’t win it, Mr. Laemmle. I know of no one I’d rather have beat me than you.”\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/Kt0mgFtdQwk'\n title='//www.youtube.com/embed/Kt0mgFtdQwk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As the silent movie era ended and the talkies began, Mayer had dreamed up the idea of an Academy for \u003ca href=\"https://www.findinglostangeles.com/all-content/2019/1/7/hollywoodland\">Hollywoodland\u003c/a>, as it was first known.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“He was afraid of the union movement that was kind of moving across the country, and he didn’t want the film industry to be unionized,” says Bruce Davis, a former CEO of the Academy for 30 years\u003cem>. “\u003c/em>So he thought, ‘Somehow, we’ll have this organization, and we’ll all just come to meetings and talk about our griefs and problems.’”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Davis, author of \u003ca href=\"https://press.uchicago.edu/ucp/books/book/distributed/A/bo184793529.html\">\u003cem>The Academy and the Award\u003c/em>\u003c/a>\u003cem>, \u003c/em>says in the late 1920s, writers, directors, actors and other members of the new Academy didn’t trust Mayer’s group of anti-union studio bigwigs. They soon formed their guilds, and Davis says the Academy nearly folded in 1933.\u003c/p>\n\u003cp>“Finally, the Academy had to agree to get out of the labor business entirely,” says Davis.\u003c/p>\n\u003cp>Instead, the organization focused on handing out Oscars, as the statuettes were later nicknamed. \u003ca href=\"https://www.oldtimeradiodownloads.com/variety/academy-award-ceremonies/academy-award-ceremony-1947\">Radio stations\u003c/a> and newsreels began highlighting the ceremonies to movie fans captivated by Hollywood’s glitz and glamor.\u003c/p>\n\u003cp>In 1939, Hattie McDaniel became the first African American actor to win an Oscar for her role as Mammy in \u003cem>Gone With the Wind\u003c/em>. McDaniel rose from her seat at a segregated table to accept the award for best supporting actress.\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/e7t4pTNZshA'\n title='//www.youtube.com/embed/e7t4pTNZshA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I sincerely hope I shall always be a credit to my race and to the motion picture industry,” she said, wiping away her tears.\u003c/p>\n\u003cp>Over the years, the Oscars have included scandals and feuds … like the famous rivalry between sisters Joan Fontaine and Olivia de Havilland, who despised each other and vied for the best actress Oscar in 1942. (\u003ca href=\"https://www.youtube.com/watch?v=4tOZ-IU7izg\">Fontaine won\u003c/a> for her role in the Alfred Hitchcock film \u003cem>Suspicion\u003c/em>.)\u003c/p>\n\u003cp>The ceremonies continued during the infamous McCarthy era when many Hollywood writers were blacklisted as suspected communists. All of that was upended in 1957 when the winner of the best motion picture was announced: \u003ca href=\"https://www.youtube.com/watch?v=c2KdnI1N8AU\">Robert Rich, writer of \u003cem>The Brave One\u003c/em>\u003c/a>, a story about a Mexican boy and his pet bull.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Someone else accepted the award on his behalf. “Then no one could find this guy. And that’s because he did not exist,” says Michael Schulman, a staff writer for the \u003cem>New Yorker \u003c/em>and author of the new book \u003ca href=\"https://www.npr.org/2023/02/22/1158513159/oscar-wars-michael-schulman-academy-awards-controversies\">\u003cem>Oscar Wars: A History of Hollywood in Gold, Sweat, and Tears\u003c/em>.\u003c/a>\u003c/p>\n\u003cp>Robert Rich was a pseudonym for screenwriter \u003ca href=\"https://www.npr.org/2008/06/17/91576667/trumbo-a-blacklisted-writer-in-his-own-words\">Dalton Trumbo\u003c/a>, who was imprisoned for defying the House Un-American Activities Committee.\u003c/p>\n\u003cp>“He realized there was a contradiction, that all of these people — suspected communists — were blacklisted, and yet they were all working,” says Schulman. “They were writing movies under fake names, and now they were winning awards.”\u003c/p>\n\u003cp>Schulman says that was one of the many Hollywood scandals the Oscars have exposed.\u003c/p>\n\u003cp>In \u003ca href=\"https://www.youtube.com/watch?v=iOtp4dli7-4\">1953, the Oscars began being broadcast on television, with host Bob Hope\u003c/a>, who quipped, “Isn’t it exciting to know that a lot of these glamorous stars are going to be in your homes tonight? Television, where movies go to die.”\u003c/p>\n\u003cp>The ceremonies are notorious for running long. But in 1959, the show ended up 20 minutes short. \u003ca href=\"https://www.youtube.com/watch?v=2riKdGOdU3E\">So emcee Jerry Lewis had to ad-lib\u003c/a> with shticks and bits to fill the airtime.\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/2riKdGOdU3E'\n title='//www.youtube.com/embed/2riKdGOdU3E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“We would like to now do 300 choruses of ‘There’s No Business Like Show Business,’” he said before taking the baton to lead the orchestra at the Pantages Theatre.\u003c/p>\n\u003cp>“Lewis invited all of the winners and participants from the show back up on stage, and they’re feeling like idiots. So they started dancing with each other,” chuckles Davis. “And still, it wouldn’t go off. Then people start sneaking off the stage.”\u003c/p>\n\u003cp>\u003ca href=\"https://interviews.televisionacademy.com/news/interview-clip-jerry-lewis-discusses-1959s-short-academy-awards-telecast\">For the remaining minutes\u003c/a>, NBC cut to a rerun of a sportscast.\u003c/p>\n\u003cp>Davis says one of the most poignant moments in Oscars history was when \u003ca href=\"https://www.youtube.com/watch?v=J3Pl-qvA1X8\">Charlie Chaplin, who had started in silent movies, won a lifetime achievement award in 1972\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/J3Pl-qvA1X8'\n title='//www.youtube.com/embed/J3Pl-qvA1X8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“He had been almost driven out of the country because his politics were seen to be too far left for the American public,” says Davis. “So to have him come back to receive an honorary award and be embraced by the entire industry was clearly a very moving thing.”\u003c/p>\n\u003cp>The audience gave Chaplin a 12-minute standing ovation.\u003c/p>\n\u003cp>The following year, the crowd booed when \u003ca href=\"https://www.youtube.com/watch?v=2QUacU0I4yU\">Marlon Brando sent Sacheen Littlefeather to the stage to decline his best actor award\u003c/a> because of “the treatment of the American Indians” by the film industry.\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/2QUacU0I4yU'\n title='//www.youtube.com/embed/2QUacU0I4yU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Years later, \u003ca href=\"https://www.npr.org/2022/10/03/1126515900/sacheen-littlefeather-marlon-brando-dies\">Littlefeather recalled being escorted offstage at the Oscars by security guards\u003c/a>. She said that for years Hollywood boycotted her, calling it being “red-listed.” Finally, nearly 50 years later, the Academy officially apologized to Littlefeather for the abuse she subsequently endured because of her Oscars appearance.\u003c/p>\n\u003cp>In 1974, the Oscars audience shrieked when gay activist \u003ca href=\"https://www.youtube.com/watch?v=EWBc-ir6IFM\">Robert Opel dashed across the stage naked\u003c/a>. The streaker prompted presenter David Niven to quip, “Probably the only laugh that man will ever get in his life is by stripping off and showing his shortcomings.”\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/EWBc-ir6IFM'\n title='//www.youtube.com/embed/EWBc-ir6IFM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 1985, \u003ca href=\"https://www.youtube.com/watch?v=u_8nAvU0T5Y\">best actress winner Sally Field\u003c/a> gave one of the Oscars’ most unforgettable speeches. “I can’t deny the fact that you like me,” she gushed. “Right now, you like me!”\u003c/p>\n\u003cp>Schulman says there have been other cringe moments, like the opening number in 1989, which included \u003ca href=\"https://www.youtube.com/watch?v=9mronRVvdmw\">actor Rob Lowe singing a duet with a live-action Snow White\u003c/a>.\u003c/p>\n\u003cp>Schulman says the 11-minute, over-the-top opening was a flop for flamboyant producer Allan Carr, who had previously produced the musicals \u003cem>Grease\u003c/em> and \u003cem>La Cage aux Folles\u003c/em>.\u003c/p>\n\u003cp>“When it went bad, there was a scapegoat effect,” says Schulman. “He was essentially ostracized within days. And he never recovered. It destroyed his career. It destroyed his life.”\u003c/p>\n\u003cp>In the last decade, the Oscars had a racial reckoning after being criticized for not giving awards to actors and filmmakers of color. \u003ca href=\"https://www.npr.org/2016/01/25/464244160/a-conversation-with-the-creator-of-oscarssowhite\">The #OscarsSoWhite movement\u003c/a> led to this \u003ca href=\"https://www.youtube.com/watch?v=GCQn_FkFElI&t=2s\">2017 mixup\u003c/a>:\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/GCQn_FkFElI'\n title='//www.youtube.com/embed/GCQn_FkFElI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“There was a rookie from Pricewaterhouse that year who was a little too enthusiastic about being backstage with all of the stars and clearly took his mind off his job,” explains Davis. “He handed the presenter the wrong envelope.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Onstage, presenter Warren Beatty looked at the envelope puzzled. Then Faye Dunaway announced the final winner of the night: \u003cem>La La Land\u003c/em>.\u003c/p>\n\u003cp>Producer Jordan Horowitz accepted the award at first, surrounded by his cast. Then, after much confusion onstage, he returned to the mic.\u003c/p>\n\u003cp>“I’m sorry, no. There’s a mistake: \u003cem>Moonlight\u003c/em>. You guys won best picture,” Horowitz said before showing a card with the correct winner to the cameras. “This is not a joke. \u003cem>Moonlight\u003c/em> has won best picture.”\u003c/p>\n\u003cp>Last year, the winners were overshadowed by a confrontation with best actor nominee \u003ca href=\"https://www.youtube.com/watch?v=myjEoDypUD8\">Will Smith, who strode onstage and smacked presenter Chris Rock \u003c/a>after he had made a joke about Smith’s wife’s hair.\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/myjEoDypUD8'\n title='//www.youtube.com/embed/myjEoDypUD8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>After delivering the slap seen and heard around the world, Smith sat down in his seat and roared expletives at Rock. Smith won the best actor award for starring in \u003cem>King Richard\u003c/em>, but \u003ca href=\"https://www.npr.org/2022/04/08/1091681181/the-academy-bans-will-smith-for-10-years-for-chris-rock-slap\">the Academy punished him by banning him from its events for 10 years\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Schulman says anything can happen during a live event, “Whether it’s a burst of anger with the slap or just something really moving, someone living their dream.” He says so much of the Oscars “are wrapped in this kind of celebrity, like ‘you-like-me’ absurdity, and then boom! Something happens that shocks your system a little bit.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+first+Oscars+lasted+15+minutes+%E2%80%94+plus+other+surprises+from+95+years+of+awards&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "‘The Birds’ Is Turning 60 — What’s That Creepy-Ass Song the Kids Were Singing Anyway?",
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"content": "\u003cp>\u003cem>The Birds\u003c/em> turns 60 on March 28, and the film remains just as unnerving now as it was when it came out in 1963. Based on a \u003ca href=\"https://en.wikipedia.org/wiki/The_Birds_(story)\" target=\"_blank\" rel=\"noopener noreferrer\">1952 Daphne du Maurier story\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13904911/bay-area-horror-movies\" target=\"_blank\" rel=\"noopener noreferrer\">inspired by a real-life incident\u003c/a> in which \u003ca href=\"https://www.mercurynews.com/2015/12/07/this-hitchcock-movie-was-inspired-by-crab-toxin-frenzy-in-capitola/\" target=\"_blank\" rel=\"noopener noreferrer\">residents of Capitola were attacked\u003c/a> by unhinged seabirds, the Hitchcock classic remains a Bay Area favorite.\u003c/p>\n\u003cp>In case you’re one of the three people here who hasn’t yet seen it, the story goes a little something like this: After San Francisco gal-about-town Melanie Daniels (played by Tippi Hedren) goes to Bodega Bay (for what can only be described as a thirsty prank), the small community is subjected to increasingly violent attacks by a variety of birds. Chimneys are invaded! Windows are smashed! Eyes are pecked out! Teachers are murdered! As the attacks increase in severity, Melanie is transformed from a confident practical joker into a shell of herself.\u003c/p>\n\u003cp>[aside postid='arts_13904911']At Melanie’s side is the Brenner family. There’s her love interest, Mitch (Rod Taylor), Mitch’s mom Lydia (Jessica Tandy) and his little sister Cathy (Veronica Cartwright). Try to ignore the fact that the math in this family makes no sense at all. Lydia is in her fifties, Mitch is in his thirties, but Cathy is \u003cem>just\u003c/em> turning 11? (Talk about a 1950s miracle baby!)\u003c/p>\n\u003cp>At one point, after the first avian-inflicted deaths start to occur, Melanie goes to collect Cathy from school. What follows is probably the most iconic scene in the whole movie. As Melanie waits on a bench outside, smoking a cigarette, crows eerily gather on a climbing frame behind her. All the while, the children inside can be heard singing a folksy refrain, heightening the sense of impending doom.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=19r7ctge2lI\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Given that \u003cem>The Birds\u003c/em> has no musical score and is soundtracked almost entirely by the sound of screeching birds, the children’s song carries a particular sense of foreboding. Their repetitive little ditty has creeped me out since I was a child myself, and it continues to do so. In part, because it sounds like a song that is intrinsically designed to drive you mad if you listen to it for long enough.\u003c/p>\n\u003cp>So where the hell did this thing come from?\u003c/p>\n\u003cp>It’s called “Risselty Rosselty” and the version that we hear in \u003cem>The Birds\u003c/em> goes a little something like this:\u003c/p>\n\u003cblockquote>\u003cp>I married my wife in the month of June,\u003cbr>\nRisselty rosselty, now, now, now,\u003cbr>\nI brought her home by the light of the moon,\u003cbr>\nRisselty rosselty, hey Johnny Dosselty,\u003cbr>\nNickety nackety, rustical quality,\u003cbr>\nWillickey wallackey now, now, now.\u003c/p>\u003c/blockquote>\n\u003cp>In subsequent verses, while the more nonsensical lines remain roughly the same, the first and third lines often change to push the song’s narrative along.\u003c/p>\n\u003cp>In the second verse, we find out that the wife “combed her hair but once a year,” and that “with every stroke, she shed a tear.” In the fifth we hear that she “swept up the floor but once a year,” and “said that brooms were much too dear.” In the seventh, the wife churns “butter in her dad’s old boot,” and “for a catch, she used her foot.” In the seventh, things get even grosser: “The butter, it came out a grisly grey,” and “the cheese, it took legs and ran away.” In the ninth, her husband finally tries to put his foot down and fails. “I asked my wife to wash the floor,” this verse goes, “she gave me my hat and she showed me the door.”\u003c/p>\n\u003cp>The version of “Risselty Rosselty” that we hear in \u003cem>The Birds\u003c/em> is actually a sanitized rendition of a 19th century Scottish folk song called “Wee Cooper O’Fife,” in which a wife is failing to perform her household duties.\u003c/p>\n\u003cp>Sample verse:\u003c/p>\n\u003cblockquote>\u003cp>She wadna wash, nor she wadna wring,\u003cbr>\nNickety, Nackety, noo, noo, noo,\u003cbr>\nFor the spoiling o’ her gowden ring,\u003cbr>\nHey Willy Wallacky, hoo John Dougal,\u003cbr>\nA lane, quo’Rushity, roue, roue, roue.\u003c/p>\u003c/blockquote>\n\u003cp>In this original, wee Cooper (the husband), frustrated by his wife’s vanity and laziness, takes to physically abusing her to teach her a lesson.\u003c/p>\n\u003cp>Yeah.\u003c/p>\n\u003cp>At one point he lays “sheep’s skin” on her back before beating her.\u003c/p>\n\u003cblockquote>\u003cp>The Cooper has gane to his woo’ pack,\u003cbr>\nNickety, Nackety, noo, noo, noo,\u003cbr>\nAnd he’s laid a sheep’s skin on his wife’s back,\u003cbr>\nHey Willy Wallacky, hoo John Dougal,\u003cbr>\nA lane, quo’Rushity, roue, roue, roue.\u003c/p>\n\u003cp>It’s I’ll no thrash ye for your gentle kin,\u003cbr>\nNickety, Nackety, noo, noo, noo,\u003cbr>\nBut I will thrash my ain sheep’s skin,\u003cbr>\nHey Willy Wallacky, hoo John Dougal,\u003cbr>\nA lane, quo’Rushity, roue, roue, roue.\u003c/p>\u003c/blockquote>\n\u003cp>(No wonder \u003cem>The Birds\u003c/em> didn’t go with the original.)\u003c/p>\n\u003cp>“Wee Cooper O’ Fife,” it turns out, originally arrived in the United States sometime at the turn of the 19th century, and was later recorded by a variety of American folk artists including \u003ca href=\"https://www.youtube.com/watch?v=QFb_xMF5GTI\" target=\"_blank\" rel=\"noopener noreferrer\">Burl Ives\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=dagbxOZ9D5Q\" target=\"_blank\" rel=\"noopener noreferrer\">Glenn Yarbrough\u003c/a>. The version we hear in \u003cem>The Birds\u003c/em>, however, is more closely based on a rendition by Pete Seeger from 1957 that erased all of that uncomfortable domestic violence stuff.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mzguForOrjI\u003c/p>\n\u003cp>(Seeger’s sister \u003ca href=\"https://www.youtube.com/watch?v=nzB_EjRA5j0\" target=\"_blank\" rel=\"noopener noreferrer\">Peggy also recorded a version\u003c/a>.)\u003c/p>\n\u003cp>[aside postid='arts_13921101']“Risselty-Rosselty” wound up in \u003cem>The Birds\u003c/em> almost by happenstance. Legend has it that Alfred Hitchcock asked the movie’s scriptwriter \u003ca href=\"https://en.wikipedia.org/wiki/Evan_Hunter\" target=\"_blank\" rel=\"noopener noreferrer\">Evan Hunter\u003c/a> to come up with an appropriate song to soundtrack Melanie’s anxiety as she waits for Cathy outside the schoolhouse. For inspiration, Hunter asked his three sons about songs they were singing at school and “Risselty-Rosselty” happened to be one of them. Hunter picked up the lyrics from a teacher at his sons’ school in Westchester, New York, and updated them to better fit the movie, and the times.\u003c/p>\n\u003cp>The scene of course culminates in \u003ca href=\"https://www.youtube.com/watch?v=hplpQt424Ls\" target=\"_blank\" rel=\"noopener noreferrer\">scores of children getting attacked by the crows\u003c/a>, as they run screaming from their school. Gloriously, the original schoolhouse still stands in Bodega Bay, albeit with a fence around it and a request from its residents not to approach the front door.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Should you wish to pay it a visit, you know what the soundtrack should be.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>The Birds\u003c/em> turns 60 on March 28, and the film remains just as unnerving now as it was when it came out in 1963. Based on a \u003ca href=\"https://en.wikipedia.org/wiki/The_Birds_(story)\" target=\"_blank\" rel=\"noopener noreferrer\">1952 Daphne du Maurier story\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13904911/bay-area-horror-movies\" target=\"_blank\" rel=\"noopener noreferrer\">inspired by a real-life incident\u003c/a> in which \u003ca href=\"https://www.mercurynews.com/2015/12/07/this-hitchcock-movie-was-inspired-by-crab-toxin-frenzy-in-capitola/\" target=\"_blank\" rel=\"noopener noreferrer\">residents of Capitola were attacked\u003c/a> by unhinged seabirds, the Hitchcock classic remains a Bay Area favorite.\u003c/p>\n\u003cp>In case you’re one of the three people here who hasn’t yet seen it, the story goes a little something like this: After San Francisco gal-about-town Melanie Daniels (played by Tippi Hedren) goes to Bodega Bay (for what can only be described as a thirsty prank), the small community is subjected to increasingly violent attacks by a variety of birds. Chimneys are invaded! Windows are smashed! Eyes are pecked out! Teachers are murdered! As the attacks increase in severity, Melanie is transformed from a confident practical joker into a shell of herself.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Given that \u003cem>The Birds\u003c/em> has no musical score and is soundtracked almost entirely by the sound of screeching birds, the children’s song carries a particular sense of foreboding. Their repetitive little ditty has creeped me out since I was a child myself, and it continues to do so. In part, because it sounds like a song that is intrinsically designed to drive you mad if you listen to it for long enough.\u003c/p>\n\u003cp>So where the hell did this thing come from?\u003c/p>\n\u003cp>It’s called “Risselty Rosselty” and the version that we hear in \u003cem>The Birds\u003c/em> goes a little something like this:\u003c/p>\n\u003cblockquote>\u003cp>I married my wife in the month of June,\u003cbr>\nRisselty rosselty, now, now, now,\u003cbr>\nI brought her home by the light of the moon,\u003cbr>\nRisselty rosselty, hey Johnny Dosselty,\u003cbr>\nNickety nackety, rustical quality,\u003cbr>\nWillickey wallackey now, now, now.\u003c/p>\u003c/blockquote>\n\u003cp>In subsequent verses, while the more nonsensical lines remain roughly the same, the first and third lines often change to push the song’s narrative along.\u003c/p>\n\u003cp>In the second verse, we find out that the wife “combed her hair but once a year,” and that “with every stroke, she shed a tear.” In the fifth we hear that she “swept up the floor but once a year,” and “said that brooms were much too dear.” In the seventh, the wife churns “butter in her dad’s old boot,” and “for a catch, she used her foot.” In the seventh, things get even grosser: “The butter, it came out a grisly grey,” and “the cheese, it took legs and ran away.” In the ninth, her husband finally tries to put his foot down and fails. “I asked my wife to wash the floor,” this verse goes, “she gave me my hat and she showed me the door.”\u003c/p>\n\u003cp>The version of “Risselty Rosselty” that we hear in \u003cem>The Birds\u003c/em> is actually a sanitized rendition of a 19th century Scottish folk song called “Wee Cooper O’Fife,” in which a wife is failing to perform her household duties.\u003c/p>\n\u003cp>Sample verse:\u003c/p>\n\u003cblockquote>\u003cp>She wadna wash, nor she wadna wring,\u003cbr>\nNickety, Nackety, noo, noo, noo,\u003cbr>\nFor the spoiling o’ her gowden ring,\u003cbr>\nHey Willy Wallacky, hoo John Dougal,\u003cbr>\nA lane, quo’Rushity, roue, roue, roue.\u003c/p>\u003c/blockquote>\n\u003cp>In this original, wee Cooper (the husband), frustrated by his wife’s vanity and laziness, takes to physically abusing her to teach her a lesson.\u003c/p>\n\u003cp>Yeah.\u003c/p>\n\u003cp>At one point he lays “sheep’s skin” on her back before beating her.\u003c/p>\n\u003cblockquote>\u003cp>The Cooper has gane to his woo’ pack,\u003cbr>\nNickety, Nackety, noo, noo, noo,\u003cbr>\nAnd he’s laid a sheep’s skin on his wife’s back,\u003cbr>\nHey Willy Wallacky, hoo John Dougal,\u003cbr>\nA lane, quo’Rushity, roue, roue, roue.\u003c/p>\n\u003cp>It’s I’ll no thrash ye for your gentle kin,\u003cbr>\nNickety, Nackety, noo, noo, noo,\u003cbr>\nBut I will thrash my ain sheep’s skin,\u003cbr>\nHey Willy Wallacky, hoo John Dougal,\u003cbr>\nA lane, quo’Rushity, roue, roue, roue.\u003c/p>\u003c/blockquote>\n\u003cp>(No wonder \u003cem>The Birds\u003c/em> didn’t go with the original.)\u003c/p>\n\u003cp>“Wee Cooper O’ Fife,” it turns out, originally arrived in the United States sometime at the turn of the 19th century, and was later recorded by a variety of American folk artists including \u003ca href=\"https://www.youtube.com/watch?v=QFb_xMF5GTI\" target=\"_blank\" rel=\"noopener noreferrer\">Burl Ives\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=dagbxOZ9D5Q\" target=\"_blank\" rel=\"noopener noreferrer\">Glenn Yarbrough\u003c/a>. The version we hear in \u003cem>The Birds\u003c/em>, however, is more closely based on a rendition by Pete Seeger from 1957 that erased all of that uncomfortable domestic violence stuff.\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/mzguForOrjI'\n title='//www.youtube.com/embed/mzguForOrjI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>(Seeger’s sister \u003ca href=\"https://www.youtube.com/watch?v=nzB_EjRA5j0\" target=\"_blank\" rel=\"noopener noreferrer\">Peggy also recorded a version\u003c/a>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Risselty-Rosselty” wound up in \u003cem>The Birds\u003c/em> almost by happenstance. Legend has it that Alfred Hitchcock asked the movie’s scriptwriter \u003ca href=\"https://en.wikipedia.org/wiki/Evan_Hunter\" target=\"_blank\" rel=\"noopener noreferrer\">Evan Hunter\u003c/a> to come up with an appropriate song to soundtrack Melanie’s anxiety as she waits for Cathy outside the schoolhouse. For inspiration, Hunter asked his three sons about songs they were singing at school and “Risselty-Rosselty” happened to be one of them. Hunter picked up the lyrics from a teacher at his sons’ school in Westchester, New York, and updated them to better fit the movie, and the times.\u003c/p>\n\u003cp>The scene of course culminates in \u003ca href=\"https://www.youtube.com/watch?v=hplpQt424Ls\" target=\"_blank\" rel=\"noopener noreferrer\">scores of children getting attacked by the crows\u003c/a>, as they run screaming from their school. Gloriously, the original schoolhouse still stands in Bodega Bay, albeit with a fence around it and a request from its residents not to approach the front door.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Should you wish to pay it a visit, you know what the soundtrack should be.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Beyoncé Sets a New Grammy Record, While Harry Styles Wins Album of the Year",
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"content": "\u003cdiv class=\"storyMajorUpdateDate\"> \u003cstrong>Updated February 6, 2023 at 12:53 AM ET\u003c/strong>\u003c/div>\n\u003cp>Beyoncé has now captured more Grammy awards than any other artist, thanks to a quartet of trophies for her album \u003cem>RENAISSANCE\u003c/em>. Two-thirds of the way into the evening’s live telecast, she won her fourth award of the year for a total of 32 in her career, shattering the record for the most Grammys of any artist in the prize’s 65-year history.\u003c/p>\n\u003cp>However, she failed to collect any of the evening’s biggest prizes. Instead, the Grammys divided the general categories in a typical voting split. Bonnie Raitt won the song of the year prize for “Just Like That.” Lizzo took record of the year for “About Damn Time.” Album of the year went to \u003ca href=\"https://www.npr.org/artists/531040090/harry-styles\">Harry Styles\u003c/a> for his album \u003cem>Harry’s House\u003c/em>. He also won best pop vocal album. “This is so kind,” Styles said of the album of the year award, as Beyoncé gave him a standing ovation.\u003c/p>\n\u003cp>Coming into this year’s awards, Beyoncé already owned 28 Grammys as a lead artist, though only one in the one of the awards’ general categories. She had nine nominations this year, and hit the new record just after 7 p.m. PT, when she won best electronic/dance music album. She cried upon taking the stage, saying, “I’m just trying to receive this night.” Later, she gave credit to her forebears and inspiration, adding: “I would like to thank the queer community for your love, and for inventing the genre,” referring to the house music that grounded \u003cem>RENAISSANCE\u003c/em>.\u003c/p>\n\u003cp>Faced with \u003ca href=\"https://www.npr.org/2022/01/06/1070849471/the-omicron-surge-forces-the-grammys-to-be-postponed-sundance-to-move-online\">years\u003c/a> of \u003ca href=\"https://variety.com/2022/tv/news/grammy-awards-ratings-2022-grammys-1235221012/\">declining and middling \u003c/a>viewership, the Grammys hoped to amp up the dazzle this year via this bit of history-making. What the Record Academy had clearly hoped would be an earlier, big live television moment was foiled by urban sprawl. Half an hour into the show, Beyoncé — who was reportedly late to the awards thanks to LA traffic — tied the all-time record for most Grammys won when she and a team of co-writers won best R&B song for “Cuff It.” The iconic musician and composer Nile Rogers, one of the co-writers on “Cuff It,” accepted the award for best R&B song on the team’s behalf along with another of its co-writers, The-Dream. The previous Grammy record of 31 wins was a feat set by the late Hungarian-born classical conductor Georg Solti.\u003c/p>\n\u003cp>Several of the other nine contenders for album of the year had to be satisfied with other awards. At the beginning of her acceptance speech for her win for record of the year for “About Damn Time,” Lizzo said, “Let me tell you something, Adele and I are just having a great time here.” (Adele took home took home best pop solo performance for her song “Easy on Me.”) Lizzo also paid tribute to Beyoncé, noting that she had skipped school in fifth grade to go hear the megastar perform.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/166009689/kendrick-lamar\">Kendrick Lamar\u003c/a> took home the Grammy for best rap album for his \u003cem>Mr. Morale & The Big Steppers\u003c/em>; during the afternoon ceremony, Lamar also picked up Grammys for best rap performance and best rap song, both for “The Heart Part 5.” “I would like to thank the culture for allowing me to evolve,” he said in an acceptance speech in which he also thanked his family and fans. “I finally found imperfection with this album.” \u003c/p>\n\u003cp>Another artist up for album of the year, Puerto Rican rapper \u003ca href=\"https://www.npr.org/artists/656561349/bad-bunny\">Bad Bunny\u003c/a>, opened the show with a colorful performance of songs from his album \u003cem>Un Verano Sin Ti\u003c/em>, weaving in and out of the seated audience alongside brass band members before making his way to a dance party on stage for a medley that captured the vibrant, infectious energy of the hit album. \u003cem>Un Verano Sin Ti\u003c/em> dominated streaming services last year and won the rapper the prize for best música urbana album. “I made this album with love and passion and when you do things with love and passion, everything is easier — life is easier,” he said in English while accepting his award.\u003c/p>\n\u003cp>In a throwback to a very particular kind of Grammy-voter favorite, the gifted young jazz vocalist \u003ca href=\"https://www.npr.org/artists/1120541975/samara-joy\">Samara Joy\u003c/a> won the award for best new artist. The 23-year-old cried through her whole acceptance speech, marveling that she won one of the Grammy’s biggest prizes “just by being myself.”\u003c/p>\n\u003cp>One of the strongest performances of the night came in the form of a star-studded, comprehensive tribute to the history of hip-hop that followed a new “Dr. Dre Global Impact award,” given to the namesake artist himself by rapper LL Cool J. Organized by Questlove, the performance brought together some of the greatest names in hip-hop to honor the genre’s 50th anniversary this year. The set chronicled the entire history of rap, featuring early pioneers like Run-DMC, Rakim, Public Enemy and Salt-N-Pepa, all the way up to current viral stars like GloRilla. \u003c/p>\n\u003cp>“We wish we could have included every single hip-hop artist from 1973 to 2023,” LL Cool J said.\u003c/p>\n\u003cp>The show’s “In Memoriam” segment, honoring musicians and industry professionals who died in the last year, featured performances by Kacey Musgraves, Migos’ Quavo and Mick Fleetwood. The night featured multiple tributes, including Stevie Wonder honoring Berry Gordy and Smokey Robinson by playing Motown hits including The Temptations’ “The Way You Do The Things You Do” and “Tears of a Clown” alongside Robinson. \u003c/p>\n\u003cp>The night was filled with a number of excellent live performances, from longtime Grammy favorites to newcomers to the stage. Brandi Carlile, who took home three awards for best Americana album, best rock performance and best rock song, returned to the Academy’s stage for a stirring rendition of “Broken Horses,” introduced to viewers by her wife and two daughters. \u003c/p>\n\u003cp>Steve Lacy, who took home his first Grammy award earlier in the evening for best progressive R&B album for \u003cem>Gemini Rights\u003c/em>, proved his TikTok hit “Bad Habit” as magnetic a live performance as it has become in viral videos, performing the funky hit in heels alongside Thundercat on bass. \u003c/p>\n\u003cp>A brand-new honor called best song for social change was given to Iranian musician Shervin Hajipour for his protest song “Baraye,” which was written in solidarity with Iran’s \u003ca href=\"https://www.npr.org/2022/10/27/1131436766/kurdish-roots-iran-protest-slogan\">“Woman, life, freedom”\u003c/a> movement, and gained worldwide fans on social media. Hajipour was unable to attend the ceremony, as \u003ca href=\"https://variety.com/2023/global/news/iran-protest-song-baraye-grammy-amnesty-jailed-activists-1235514072/\">he has been banned from leaving Iran\u003c/a> while he awaits trial; the award was presented by First Lady Jill Biden.\u003c/p>\n\u003cp>Biden also presented the award for song of the year to Bonnie Raitt, who looked shellshocked to win this year’s prize for songwriting; she had been up against other writers such as Beyoncé, Lizzo, \u003ca href=\"https://www.npr.org/artists/728755923/steve-lacy\">Steve Lacy\u003c/a>, Kendrick Lamar and Adele. “I don’t write a lot of songs,” said Raitt.\u003c/p>\n\u003cp>In another history-making moment, 2023 marked the first time that either an openly non-binary person or an openly transgender woman won a Grammy. Both glass ceilings were smashed when Sam Smith and Kim Petras were awarded best pop duo/group performance for their song “Unholy.” (Musician Wendy Carlos won three Grammys in 1970 for her album \u003cem>Switched-On Bach\u003c/em>, but she was not yet living publicly as a woman at that point.)\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>“Sam graciously wanted me to accept this award because I’m the first transgender woman to win this award,” Petras said in her speech. “I want to thank all the incredible transgender legends before me so I could be here tonight,” she added, shouting out the late trans pop artist SOPHIE in her speech, as well as Madonna and her mother for inspiration. After winning the award, the pair put on a fiery, provocative performance with Smith dressed up as a horned devil, playing off of the sinful imagery of their hit single.\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>At the so-called Grammy “premiere” show, or pre-telecast ceremony, the Recording Academy handed out nearly 80 awards. Among that sprawling array of prizes, actress Viola Davis \u003ca href=\"https://www.npr.org/2023/02/05/1154671624/viola-davis-egot-grammys\">became an EGOT\u003c/a> — the proud possessor of Emmy, Grammy, Oscar and Tony awards — Sunday afternoon when she won a Grammy for the audiobook version of her memoir, \u003cem>Finding Me\u003c/em>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2023 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Beyonc%C3%A9+sets+a+new+Grammy+record%2C+while+Harry+Styles+wins+album+of+the+year&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cdiv class=\"storyMajorUpdateDate\"> \u003cstrong>Updated February 6, 2023 at 12:53 AM ET\u003c/strong>\u003c/div>\n\u003cp>Beyoncé has now captured more Grammy awards than any other artist, thanks to a quartet of trophies for her album \u003cem>RENAISSANCE\u003c/em>. Two-thirds of the way into the evening’s live telecast, she won her fourth award of the year for a total of 32 in her career, shattering the record for the most Grammys of any artist in the prize’s 65-year history.\u003c/p>\n\u003cp>However, she failed to collect any of the evening’s biggest prizes. Instead, the Grammys divided the general categories in a typical voting split. Bonnie Raitt won the song of the year prize for “Just Like That.” Lizzo took record of the year for “About Damn Time.” Album of the year went to \u003ca href=\"https://www.npr.org/artists/531040090/harry-styles\">Harry Styles\u003c/a> for his album \u003cem>Harry’s House\u003c/em>. He also won best pop vocal album. “This is so kind,” Styles said of the album of the year award, as Beyoncé gave him a standing ovation.\u003c/p>\n\u003cp>Coming into this year’s awards, Beyoncé already owned 28 Grammys as a lead artist, though only one in the one of the awards’ general categories. She had nine nominations this year, and hit the new record just after 7 p.m. PT, when she won best electronic/dance music album. She cried upon taking the stage, saying, “I’m just trying to receive this night.” Later, she gave credit to her forebears and inspiration, adding: “I would like to thank the queer community for your love, and for inventing the genre,” referring to the house music that grounded \u003cem>RENAISSANCE\u003c/em>.\u003c/p>\n\u003cp>Faced with \u003ca href=\"https://www.npr.org/2022/01/06/1070849471/the-omicron-surge-forces-the-grammys-to-be-postponed-sundance-to-move-online\">years\u003c/a> of \u003ca href=\"https://variety.com/2022/tv/news/grammy-awards-ratings-2022-grammys-1235221012/\">declining and middling \u003c/a>viewership, the Grammys hoped to amp up the dazzle this year via this bit of history-making. What the Record Academy had clearly hoped would be an earlier, big live television moment was foiled by urban sprawl. Half an hour into the show, Beyoncé — who was reportedly late to the awards thanks to LA traffic — tied the all-time record for most Grammys won when she and a team of co-writers won best R&B song for “Cuff It.” The iconic musician and composer Nile Rogers, one of the co-writers on “Cuff It,” accepted the award for best R&B song on the team’s behalf along with another of its co-writers, The-Dream. The previous Grammy record of 31 wins was a feat set by the late Hungarian-born classical conductor Georg Solti.\u003c/p>\n\u003cp>Several of the other nine contenders for album of the year had to be satisfied with other awards. At the beginning of her acceptance speech for her win for record of the year for “About Damn Time,” Lizzo said, “Let me tell you something, Adele and I are just having a great time here.” (Adele took home took home best pop solo performance for her song “Easy on Me.”) Lizzo also paid tribute to Beyoncé, noting that she had skipped school in fifth grade to go hear the megastar perform.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/166009689/kendrick-lamar\">Kendrick Lamar\u003c/a> took home the Grammy for best rap album for his \u003cem>Mr. Morale & The Big Steppers\u003c/em>; during the afternoon ceremony, Lamar also picked up Grammys for best rap performance and best rap song, both for “The Heart Part 5.” “I would like to thank the culture for allowing me to evolve,” he said in an acceptance speech in which he also thanked his family and fans. “I finally found imperfection with this album.” \u003c/p>\n\u003cp>Another artist up for album of the year, Puerto Rican rapper \u003ca href=\"https://www.npr.org/artists/656561349/bad-bunny\">Bad Bunny\u003c/a>, opened the show with a colorful performance of songs from his album \u003cem>Un Verano Sin Ti\u003c/em>, weaving in and out of the seated audience alongside brass band members before making his way to a dance party on stage for a medley that captured the vibrant, infectious energy of the hit album. \u003cem>Un Verano Sin Ti\u003c/em> dominated streaming services last year and won the rapper the prize for best música urbana album. “I made this album with love and passion and when you do things with love and passion, everything is easier — life is easier,” he said in English while accepting his award.\u003c/p>\n\u003cp>In a throwback to a very particular kind of Grammy-voter favorite, the gifted young jazz vocalist \u003ca href=\"https://www.npr.org/artists/1120541975/samara-joy\">Samara Joy\u003c/a> won the award for best new artist. The 23-year-old cried through her whole acceptance speech, marveling that she won one of the Grammy’s biggest prizes “just by being myself.”\u003c/p>\n\u003cp>One of the strongest performances of the night came in the form of a star-studded, comprehensive tribute to the history of hip-hop that followed a new “Dr. Dre Global Impact award,” given to the namesake artist himself by rapper LL Cool J. Organized by Questlove, the performance brought together some of the greatest names in hip-hop to honor the genre’s 50th anniversary this year. The set chronicled the entire history of rap, featuring early pioneers like Run-DMC, Rakim, Public Enemy and Salt-N-Pepa, all the way up to current viral stars like GloRilla. \u003c/p>\n\u003cp>“We wish we could have included every single hip-hop artist from 1973 to 2023,” LL Cool J said.\u003c/p>\n\u003cp>The show’s “In Memoriam” segment, honoring musicians and industry professionals who died in the last year, featured performances by Kacey Musgraves, Migos’ Quavo and Mick Fleetwood. The night featured multiple tributes, including Stevie Wonder honoring Berry Gordy and Smokey Robinson by playing Motown hits including The Temptations’ “The Way You Do The Things You Do” and “Tears of a Clown” alongside Robinson. \u003c/p>\n\u003cp>The night was filled with a number of excellent live performances, from longtime Grammy favorites to newcomers to the stage. Brandi Carlile, who took home three awards for best Americana album, best rock performance and best rock song, returned to the Academy’s stage for a stirring rendition of “Broken Horses,” introduced to viewers by her wife and two daughters. \u003c/p>\n\u003cp>Steve Lacy, who took home his first Grammy award earlier in the evening for best progressive R&B album for \u003cem>Gemini Rights\u003c/em>, proved his TikTok hit “Bad Habit” as magnetic a live performance as it has become in viral videos, performing the funky hit in heels alongside Thundercat on bass. \u003c/p>\n\u003cp>A brand-new honor called best song for social change was given to Iranian musician Shervin Hajipour for his protest song “Baraye,” which was written in solidarity with Iran’s \u003ca href=\"https://www.npr.org/2022/10/27/1131436766/kurdish-roots-iran-protest-slogan\">“Woman, life, freedom”\u003c/a> movement, and gained worldwide fans on social media. Hajipour was unable to attend the ceremony, as \u003ca href=\"https://variety.com/2023/global/news/iran-protest-song-baraye-grammy-amnesty-jailed-activists-1235514072/\">he has been banned from leaving Iran\u003c/a> while he awaits trial; the award was presented by First Lady Jill Biden.\u003c/p>\n\u003cp>Biden also presented the award for song of the year to Bonnie Raitt, who looked shellshocked to win this year’s prize for songwriting; she had been up against other writers such as Beyoncé, Lizzo, \u003ca href=\"https://www.npr.org/artists/728755923/steve-lacy\">Steve Lacy\u003c/a>, Kendrick Lamar and Adele. “I don’t write a lot of songs,” said Raitt.\u003c/p>\n\u003cp>In another history-making moment, 2023 marked the first time that either an openly non-binary person or an openly transgender woman won a Grammy. Both glass ceilings were smashed when Sam Smith and Kim Petras were awarded best pop duo/group performance for their song “Unholy.” (Musician Wendy Carlos won three Grammys in 1970 for her album \u003cem>Switched-On Bach\u003c/em>, but she was not yet living publicly as a woman at that point.)\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>“Sam graciously wanted me to accept this award because I’m the first transgender woman to win this award,” Petras said in her speech. “I want to thank all the incredible transgender legends before me so I could be here tonight,” she added, shouting out the late trans pop artist SOPHIE in her speech, as well as Madonna and her mother for inspiration. After winning the award, the pair put on a fiery, provocative performance with Smith dressed up as a horned devil, playing off of the sinful imagery of their hit single.\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At the so-called Grammy “premiere” show, or pre-telecast ceremony, the Recording Academy handed out nearly 80 awards. Among that sprawling array of prizes, actress Viola Davis \u003ca href=\"https://www.npr.org/2023/02/05/1154671624/viola-davis-egot-grammys\">became an EGOT\u003c/a> — the proud possessor of Emmy, Grammy, Oscar and Tony awards — Sunday afternoon when she won a Grammy for the audiobook version of her memoir, \u003cem>Finding Me\u003c/em>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2023 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Beyonc%C3%A9+sets+a+new+Grammy+record%2C+while+Harry+Styles+wins+album+of+the+year&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In ‘One Fine Morning,’ Léa Seydoux Reclaims Her Identity Amid Struggles of Love and Family",
"headTitle": "In ‘One Fine Morning,’ Léa Seydoux Reclaims Her Identity Amid Struggles of Love and Family | KQED",
"content": "\u003cp>The Parisian dream of romance is subjected to a hard dose of social realism in Mia Hansen-Løve’s newest film, \u003ci>One Fine Morning\u003c/i>. Starring Léa Seydoux as Sandra, we first meet the film’s protagonist en route to her father’s apartment. With a backpack firmly strapped in place over her shoulders, she strides forward with the determined gait of a foot soldier. Her father Georg (Pascal Greggory), a retired philosophy professor whose eyesight and memory are failing, needs to be coached through the process of opening his own door. Sandra realizes he’ll no longer be able to continue living on his own.\u003c/p>\n\u003cp>Along with caring for her father, Sandra’s responsibilities include a full-time job as a translator, as well as raising a young daughter by herself. Widowed for five years, she travels from one arrondissement to the next, into classrooms and international political and business meetings. And while Georg can’t recall any details about Sandra’s life, she remains steadfast in her devotion to him.\u003c/p>\n\u003cfigure id=\"attachment_13924622\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/6-scaled.jpg\" alt=\"A white woman leans over an older white man.\" width=\"2560\" height=\"1381\" class=\"size-full wp-image-13924622\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/6-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/6-800x432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/6-1020x550.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/6-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/6-768x414.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/6-1536x829.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/6-2048x1105.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/6-1920x1036.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Léa Seydoux as Sandra, Pascal Greggory as Georg in ‘One Fine Morning.’ \u003ccite>(Carole Bethuel / Les Films Pelléas; Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her mother Françoise (Nicole Garcia), long-divorced from Georg, is Sandra’s primary source of semi-dependable support. Remarried and busily pursuing a later-in-life career as a climate change activist and protestor, Françoise still feels obligated to help Sandra settle her father into a decent nursing home.\u003c/p>\n\u003cp>For the first part of the film, \u003ci>One Fine Morning\u003c/i> echoes the commentary made in Jean-Pierre and Luc Dardenne’s movies such as \u003ci>Two Days, One Night\u003c/i>. Like the Dardenne brothers, Hansen-Løve appears to be assessing and condemning a systemic societal problem — in this case health care — with Sandra as her warm-blooded avatar. The first two care facilities considered for Georg are dismal. Geriatric or end-of-life care is an unavoidable, depressing reality, but decent places seem to be financially out of reach for both him and his extended family.\u003c/p>\n\u003cp>\u003ci>One Fine Morning\u003c/i> shifts when Sandra runs into Clément (Melvil Poupaud), a friend of her late husband’s, on one of her days crisscrossing Paris. She has been keeping her emotions contained as a way of coping with the demands of her family and career, but spending time with Clément ignites dormant desires for affection and intimacy. Of course, Hansen-Løve doesn’t make the love affair easy: Clément lives with his wife and son.\u003c/p>\n\u003cfigure id=\"attachment_13924624\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/4-scaled.jpg\" alt=\"A white woman stands with arms wrapped around neck of white man\" width=\"2560\" height=\"1384\" class=\"size-full wp-image-13924624\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/4-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/4-800x432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/4-1020x551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/4-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/4-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/4-1536x830.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/4-2048x1107.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/4-1920x1038.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Léa Seydoux as Sandra, Melvil Poupaud as Clément in ‘One Fine Morning.’ \u003ccite>(Carole Bethuel / Les Films Pelléas; Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The tensions in \u003ci>One Fine Morning\u003c/i> alternate between the drama of Sandra’s affair and the practical realities of making a living and caring for a family. Paris is a romantic backdrop for Clément and Sandra as they stroll through parks and cozy up in stylish cafés. Hansen-Løve shows us Paris from their viewpoint, through the eyes of locals. In these moments, the pressures and stresses of everyday life momentarily disappear, as Parisians take advantage of the cosmopolitan city they inhabit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Seydoux’s restrained performance is mostly mournful. In Bruno Dumont’s 2021 film \u003ci>France\u003c/i>, the actress’s lips were painted dark, molten colors in order to emphasize her masterful pout. In \u003ci>One Fine Morning\u003c/i>, Hansen-Løve focuses on her eyes, which are either on the verge of or actively spilling out enormous tears. Seydoux’s emotion, however, isn’t overwrought. Mother-daughter scenes contain ordinary, passing arguments. Françoise may be temperamental but she isn’t cold. And Sandra’s daughter isn’t precocious or prone to temper tantrums. It’s a relief to watch a movie in which family dynamics \u003ci>can\u003c/i> be dysfunctional, but the members take these moments in stride rather than turning temporary friction into melodrama.\u003c/p>\n\u003cfigure id=\"attachment_13924623\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/7-scaled.jpg\" alt=\"Older white woman leans against institutional wall with younger white woman in doorway\" width=\"2560\" height=\"1440\" class=\"size-full wp-image-13924623\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/7-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/7-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/7-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/7-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/7-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/7-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/7-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/7-1920x1080.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Léa Seydoux as Sandra, Nicole Garcia as Françoise in ‘One Fine Morning.’ \u003ccite>(Carole Bethuel / Les Films Pelléas; Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s been 40 years since Pascal Greggory appeared in Éric Rohmer’s \u003ci>Pauline at the Beach\u003c/i>. As Georg, his sandy blonde hair has turned white and his character’s convictions have vanished into the haze of dementia. This loss of self catalyzes Sandra’s reclamation of her own identity, and when Georg’s housing dilemma comes to a conclusion, Sandra’s life moves forward.\u003c/p>\n\u003cp>Each scene in \u003ci>One Fine Morning\u003c/i> is an interlude featuring romance, work, friendship or family. Each tests Sandra’s character. Hansen-Løve invents these conflicts to encourage Sandra to move out of paralyzing grief, to endure, and sometimes enjoy, the various episodes that add up to the composition of her particular life. When she climbs the steps at the Sacré-Cœur in Montmartre, the entire city is spread out before her, a simple yet significant awakening. She stops looking at the ground and starts to look up, taking in the entire Parisian cityscape and the bluest sky above it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘One Fine Morning’ opens in Bay Area theaters on Friday, Feb. 3.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Parisian dream of romance is subjected to a hard dose of social realism in Mia Hansen-Løve’s newest film, \u003ci>One Fine Morning\u003c/i>. Starring Léa Seydoux as Sandra, we first meet the film’s protagonist en route to her father’s apartment. With a backpack firmly strapped in place over her shoulders, she strides forward with the determined gait of a foot soldier. Her father Georg (Pascal Greggory), a retired philosophy professor whose eyesight and memory are failing, needs to be coached through the process of opening his own door. Sandra realizes he’ll no longer be able to continue living on his own.\u003c/p>\n\u003cp>Along with caring for her father, Sandra’s responsibilities include a full-time job as a translator, as well as raising a young daughter by herself. Widowed for five years, she travels from one arrondissement to the next, into classrooms and international political and business meetings. And while Georg can’t recall any details about Sandra’s life, she remains steadfast in her devotion to him.\u003c/p>\n\u003cfigure id=\"attachment_13924622\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/6-scaled.jpg\" alt=\"A white woman leans over an older white man.\" width=\"2560\" height=\"1381\" class=\"size-full wp-image-13924622\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/6-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/6-800x432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/6-1020x550.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/6-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/6-768x414.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/6-1536x829.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/6-2048x1105.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/6-1920x1036.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Léa Seydoux as Sandra, Pascal Greggory as Georg in ‘One Fine Morning.’ \u003ccite>(Carole Bethuel / Les Films Pelléas; Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her mother Françoise (Nicole Garcia), long-divorced from Georg, is Sandra’s primary source of semi-dependable support. Remarried and busily pursuing a later-in-life career as a climate change activist and protestor, Françoise still feels obligated to help Sandra settle her father into a decent nursing home.\u003c/p>\n\u003cp>For the first part of the film, \u003ci>One Fine Morning\u003c/i> echoes the commentary made in Jean-Pierre and Luc Dardenne’s movies such as \u003ci>Two Days, One Night\u003c/i>. Like the Dardenne brothers, Hansen-Løve appears to be assessing and condemning a systemic societal problem — in this case health care — with Sandra as her warm-blooded avatar. The first two care facilities considered for Georg are dismal. Geriatric or end-of-life care is an unavoidable, depressing reality, but decent places seem to be financially out of reach for both him and his extended family.\u003c/p>\n\u003cp>\u003ci>One Fine Morning\u003c/i> shifts when Sandra runs into Clément (Melvil Poupaud), a friend of her late husband’s, on one of her days crisscrossing Paris. She has been keeping her emotions contained as a way of coping with the demands of her family and career, but spending time with Clément ignites dormant desires for affection and intimacy. Of course, Hansen-Løve doesn’t make the love affair easy: Clément lives with his wife and son.\u003c/p>\n\u003cfigure id=\"attachment_13924624\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/4-scaled.jpg\" alt=\"A white woman stands with arms wrapped around neck of white man\" width=\"2560\" height=\"1384\" class=\"size-full wp-image-13924624\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/4-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/4-800x432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/4-1020x551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/4-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/4-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/4-1536x830.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/4-2048x1107.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/4-1920x1038.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Léa Seydoux as Sandra, Melvil Poupaud as Clément in ‘One Fine Morning.’ \u003ccite>(Carole Bethuel / Les Films Pelléas; Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The tensions in \u003ci>One Fine Morning\u003c/i> alternate between the drama of Sandra’s affair and the practical realities of making a living and caring for a family. Paris is a romantic backdrop for Clément and Sandra as they stroll through parks and cozy up in stylish cafés. Hansen-Løve shows us Paris from their viewpoint, through the eyes of locals. In these moments, the pressures and stresses of everyday life momentarily disappear, as Parisians take advantage of the cosmopolitan city they inhabit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Seydoux’s restrained performance is mostly mournful. In Bruno Dumont’s 2021 film \u003ci>France\u003c/i>, the actress’s lips were painted dark, molten colors in order to emphasize her masterful pout. In \u003ci>One Fine Morning\u003c/i>, Hansen-Løve focuses on her eyes, which are either on the verge of or actively spilling out enormous tears. Seydoux’s emotion, however, isn’t overwrought. Mother-daughter scenes contain ordinary, passing arguments. Françoise may be temperamental but she isn’t cold. And Sandra’s daughter isn’t precocious or prone to temper tantrums. It’s a relief to watch a movie in which family dynamics \u003ci>can\u003c/i> be dysfunctional, but the members take these moments in stride rather than turning temporary friction into melodrama.\u003c/p>\n\u003cfigure id=\"attachment_13924623\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/7-scaled.jpg\" alt=\"Older white woman leans against institutional wall with younger white woman in doorway\" width=\"2560\" height=\"1440\" class=\"size-full wp-image-13924623\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/7-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/7-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/7-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/7-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/7-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/7-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/7-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/7-1920x1080.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Léa Seydoux as Sandra, Nicole Garcia as Françoise in ‘One Fine Morning.’ \u003ccite>(Carole Bethuel / Les Films Pelléas; Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s been 40 years since Pascal Greggory appeared in Éric Rohmer’s \u003ci>Pauline at the Beach\u003c/i>. As Georg, his sandy blonde hair has turned white and his character’s convictions have vanished into the haze of dementia. This loss of self catalyzes Sandra’s reclamation of her own identity, and when Georg’s housing dilemma comes to a conclusion, Sandra’s life moves forward.\u003c/p>\n\u003cp>Each scene in \u003ci>One Fine Morning\u003c/i> is an interlude featuring romance, work, friendship or family. Each tests Sandra’s character. Hansen-Løve invents these conflicts to encourage Sandra to move out of paralyzing grief, to endure, and sometimes enjoy, the various episodes that add up to the composition of her particular life. When she climbs the steps at the Sacré-Cœur in Montmartre, the entire city is spread out before her, a simple yet significant awakening. She stops looking at the ground and starts to look up, taking in the entire Parisian cityscape and the bluest sky above it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘One Fine Morning’ opens in Bay Area theaters on Friday, Feb. 3.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Fleishman Is in Trouble’ Is a Trojan Horse for Women’s Stories, Says Lizzy Caplan",
"headTitle": "‘Fleishman Is in Trouble’ Is a Trojan Horse for Women’s Stories, Says Lizzy Caplan | KQED",
"content": "\u003cp>At first glance, the series \u003cem>Fleishman is in Trouble \u003c/em>seems to be a story about a divorced dad (Jesse Eisenberg) navigating single parenthood and the mid-life dating scene. But right away there’s a clue that things are not as straightforward as they seem: The series is narrated not by Toby Fleishman, but his old college friend, Libby, played by Lizzy Caplan.\u003c/p>\n\u003cp>Caplan likens the series, which is based on \u003ca href=\"https://www.npr.org/2019/06/15/732097604/fleishman-is-in-trouble-a-debut-about-divorce-dating-and-disappearance\">the novel \u003c/a>by showrunner\u003ca href=\"https://www.npr.org/2023/01/11/1147818087/fleishman-is-in-trouble-taffy-brodesser-akner\"> Taffy Brodesser-Akner\u003c/a>, to a Trojan horse: “You think that you’re watching this story about a man getting divorced, figuring out dating apps, and you’re really not watching that story at all.”\u003c/p>\n\u003cp>[aside postid='pop_997']Over the course of the series’ eight episodes, the story shifts its focus, so that by the end, in addition to seeing things from Toby’s point of view, we also hear from Libby and from Toby’s ex-wife Rachel, played by Claire Danes. Caplan says the structuring was deliberate.\u003c/p>\n\u003cp>“It’s a sad truth … which is: I don’t know if this show would have been watched by as many people if it was about a woman [Rachel] going through horrific postpartum depression and anxiety, and another woman [Libby] having sort of a slower burn mid-life crisis,” Caplan says. “I think that immediately turns off a lot of male viewers and honestly, a lot of female viewers as well.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2jyBu4xGeH4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Caplan’s first acting job ever was in the 1999 high school drama, \u003cem>Freaks and Geeks\u003c/em>. More recently she was nominated for an Emmy for her role as a sex researcher in the Showtime series, \u003cem>Masters of Sex.\u003c/em> Libby, her character on \u003cem>Fleishman is in Trouble, \u003c/em>is a former magazine writer who’s become a suburban stay-at-home mom. Libby’s struggling with marriage, motherhood and identity — and mourning the loss of her own youth and potential. Caplan began shooting \u003cem>Fleishman \u003c/em>shortly after becoming a mother herself, which made Libby’s struggles even more resonant.\u003c/p>\n\u003cp>“It was just a lucky break to get to do this show at the dawn of my own motherhood,” she says. “The curtain was being ripped away on a daily basis for me, especially in those first three months, as I think it is for many new mothers.”\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview Highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On being stuck auditioning for the same female archetypes earlier in her career \u003c/strong>\u003c/p>\n\u003cp>[aside postid='arts_13920514']I feel like the roles for women, especially in television, they just get more interesting … as I’ve gotten older. But I know that is certainly not something that everybody feels. I know that I’m lucky to feel that way. But I definitely remember when I was younger and auditioning for a lot of this high school stuff or some early-twenties stuff and the male roles were always better. They always got to do the more fun stuff. And you were sort of relegated to a few different archetypes as a girl, especially back then. It has changed a lot, I see. A lot of the teen shows now, there is a shift, but there was the hot popular girl, there was the nerd. There was, like, the alternative best friend, which was very much my lane for a while. And I was very fortunate to be in some projects that kind of skewered the archetypal nature of those things. But for the most part, the things I auditioned for, certainly I remember asking many times when I was younger, like, “Can I audition for the guy part? Is there any way? There’s no reason why this character has to be a guy. It can be a girl.” And I certainly had nowhere near enough clout in the business for anybody to do anything other than laugh at that request.\u003c/p>\n\u003cp>\u003cstrong>On losing her mother when she was 13 and turning to acting in her grief \u003c/strong>\u003c/p>\n\u003cp>I had no idea how to process my mother’s death. It took me many, many years, but I knew that it gave me a darkness that in my mind was a requirement for being an actor, or the kind of actor I wanted to be. I needed to have this inner pain in order to do it. I remember going to an acting class and auditing it when I was 16 years old, and it was in Hollywood. It was a pretty prestigious acting class and it was full of 100 people in it and it went really late, till 1:00 a.m. And I stayed there and I watched it the whole time. And then I met with the teacher afterwards to see if I could join the class. And she looked at me and asked me how old I was, and I said I was 16. And she said, “You haven’t had any life experience. You can’t be in this class,” and booted me out. And that moment, it’s so crystallized in my brain because I remember feeling like, ‘Oh, no, this is the community that’s supposed to see these things in me — that I do have the depth that is required to be in this class — but you just see some dumb little teenager who hasn’t been through anything.’ When the reality was I had been through what is still the most monumental tragedy of my life.\u003c/p>\n\u003cp>\u003cstrong>On her first role in the series \u003c/strong>\u003cstrong>\u003cem>Freaks and Geeks\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Little did I know that “critically acclaimed and short-lived” would describe the vast majority of my future projects. The experience itself was very overwhelming … just stepping into this completely different universe that I had no idea about. I grew up in L.A., but I had never been on a movie set before. I didn’t know how any of it worked. I didn’t know about marks on the ground and coverage and close ups and how long everything was going to take and hair and makeup and how many outfits I’d have to try on for this one line that I was going to say.\u003c/p>\n\u003cp>I remember … just looking in the mirror for hours, just reciting this one line over and over and over and over again and being terrified and just in love with the idea of this moving village with these hundreds of people all working towards this goal together, but also feeling, again, completely overwhelmed, very shy, not bonding in any way with any of my castmates or anybody. I look back at that experience and it was just honestly pure luck to end up on a show that ended up being so loved and so respected for so many years, because I really did audition for all kinds of nonsense, and just that was the first place that picked me. But it wasn’t a fun experience for me. It was mostly just scary.\u003c/p>\n\u003cp>\u003cstrong>On her break-out role in 2004’s \u003c/strong>\u003cstrong>\u003cem>Mean Girls \u003c/em>\u003c/strong>\u003cstrong>as “alternative” girl Janis Ian\u003c/strong>\u003c/p>\n\u003cp>[aside postid='arts_13921477']All I knew was that it was the funniest script I had ever read and I would do anything to be in it. And then the making of that was so fun. We were in Toronto and young and living in this hotel together, and it was just a wonderful experience. And then it did well when it first opened. And so I thought that meant that I was off to the races. And that is certainly not what happened. I didn’t work after that for a year. I didn’t really understand how I could be in something that seemed to be successful and none of that success seemed to be rubbing off on me. So I did what most actresses in the early aughts did and got a spray tan and dyed my hair blond and just joined a show [\u003cem>Related\u003c/em>] on the WB network. That felt like the antidote.\u003c/p>\n\u003cfigure id=\"attachment_13924497\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924497\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/sub-buzz-620-1571759685-2-2f9a24d5993f1dc57fdbed6d37009acedafcf46e-1-e1675192207952-800x600.jpg\" alt=\"A young woman with pale skin, wearing black eye make-up, a studded bracelet and a sleeveless denim jacket sits at a kitchen table, pen in hand.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/sub-buzz-620-1571759685-2-2f9a24d5993f1dc57fdbed6d37009acedafcf46e-1-e1675192207952-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/sub-buzz-620-1571759685-2-2f9a24d5993f1dc57fdbed6d37009acedafcf46e-1-e1675192207952-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/sub-buzz-620-1571759685-2-2f9a24d5993f1dc57fdbed6d37009acedafcf46e-1-e1675192207952-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/sub-buzz-620-1571759685-2-2f9a24d5993f1dc57fdbed6d37009acedafcf46e-1-e1675192207952-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/sub-buzz-620-1571759685-2-2f9a24d5993f1dc57fdbed6d37009acedafcf46e-1-e1675192207952-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/sub-buzz-620-1571759685-2-2f9a24d5993f1dc57fdbed6d37009acedafcf46e-1-e1675192207952.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“The making of that was so fun,” Caplan says of the 2004 film ‘Mean Girls.’ \u003ccite>(Paramount)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On relating to the characters in\u003c/strong> \u003cstrong>the 2009 Starz sitcom\u003c/strong>\u003cstrong>\u003cem> Party Down\u003c/em>\u003c/strong>\u003cstrong>, which was about struggling actors working as catering servers\u003c/strong>\u003c/p>\n\u003cp>I remember very vividly catering the \u003cem>Being John Malkovich\u003c/em> premiere party and walking around with a tray of passed apps and none of these people looking me in the eye at all. I was just, like, a tray that moved, and feeling those feelings that all the characters in \u003cem>Party Down\u003c/em> were feeling, which was basically like, “Oh, you don’t know who I am now, but you just wait!” I actually think there’s like two schools of thought for actors: One, when you’re starting to come up, one group takes rejection and internalizes it and believes it to be true. All the things that they say about them, that they’re not funny enough, pretty enough, whatever. And then the other school, the other group feels like, this is just ammo for me and this is just fueling my inner fire and I’m going to prove all of you guys wrong and you just wait and see! And like I, for whatever reason, fell into the second group and every rejection, I like to imagine it making me stronger and angrier and more determined.\u003c/p>\n\u003cp>\u003cstrong>On how filming sex scenes has changed so much now with intimacy coordinators \u003c/strong>\u003c/p>\n\u003cp>So much [has changed]. Which is wonderful, especially for the young people starting out, for the young actresses that don’t yet feel powerful enough to speak up on set, because it’s a very intimidating place to be when you’re young and new. So [with my first time doing a sex scene in] \u003cem>True Blood\u003c/em>, it would never happen like that again now, where I was just, like, drinking vodka at 7:00 in the morning to try to build up the courage to do this. And they were wonderful on that set. I’m very, very fortunate. I never found myself in a situation doing any of these jobs where I felt unsafe or pressured into anything. And so I’m not really even the person the intimacy coordinator is there for. They’re there for the people that are having a very different experience. \u003cem>Masters of Sex\u003c/em>, definitely no intimacy coordinator. And it’s like a completely different time because since then I have worked on shows where there have been intimacy coordinators and there’s this whole other step that just didn’t exist at all back then.\u003c/p>\n\u003cp>\u003cstrong>On starring in a reimagining of the 1987 film \u003c/strong>\u003cstrong>\u003cem>Fatal Attraction \u003c/em>\u003c/strong>\u003cstrong>(coming April 2023 on Paramount+)\u003c/strong>\u003c/p>\n\u003cp>It’s important to note that I love the movie \u003cem>Fatal Attraction\u003c/em>. I think it’s wonderful. I think it holds up in so many ways. It’s still scary. It’s still exciting. It’s still very sexy. The performances are incredible. It looks beautiful. I love the film. But when you watch even the film now, I find, as an audience member, it’s really difficult to see it in the same way that audiences saw it in 1987.\u003c/p>\n\u003cp>[aside postid='pop_105090']In 1987, you go to a movie about a married man, who’s married with a child who has this torrid weekend-long affair, [and] everything obviously goes haywire. [The other woman] becomes obsessed with him and we walk away feeling like that woman was evil, horrible, despicable, deserved to die. This poor man who made this one little mistake deserves nothing more than to ride off into the sunset with his wife and child. Thank God he prevailed against this horrible woman!\u003c/p>\n\u003cp>When you watch it now, it’s very difficult to not have some follow up questions about that. That version of the film can’t exist in 2023 because of these questions, because we’re now primed as audiences to want to know more about the woman, where she was coming from, and also to place some very well-deserved blame on the man. There’s no blame placed on him in the film. So I think while I completely understand wanting to preserve things that meant a lot to us as audience members, like the holiness of a movie you loved growing up, there are other ones like \u003cem>Fatal Attraction \u003c/em>where I think, Why not? Let’s do a deeper dive into this, because there are now more questions when you rewatch it. And if nothing else, I really think that it holds a magnifying glass up to audiences and how much we’ve changed, that a movie like that was so hugely commercially successful as well as critically acclaimed and awards … audiences today can’t see it through that same prism anymore. We just have changed so much as a culture.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Seth Kelley and Susan Nyakundi produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Fleishman+Is+in+Trouble%27+is+a+Trojan+horse+for+women%27s+stories%2C+says+Lizzy+Caplan&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At first glance, the series \u003cem>Fleishman is in Trouble \u003c/em>seems to be a story about a divorced dad (Jesse Eisenberg) navigating single parenthood and the mid-life dating scene. But right away there’s a clue that things are not as straightforward as they seem: The series is narrated not by Toby Fleishman, but his old college friend, Libby, played by Lizzy Caplan.\u003c/p>\n\u003cp>Caplan likens the series, which is based on \u003ca href=\"https://www.npr.org/2019/06/15/732097604/fleishman-is-in-trouble-a-debut-about-divorce-dating-and-disappearance\">the novel \u003c/a>by showrunner\u003ca href=\"https://www.npr.org/2023/01/11/1147818087/fleishman-is-in-trouble-taffy-brodesser-akner\"> Taffy Brodesser-Akner\u003c/a>, to a Trojan horse: “You think that you’re watching this story about a man getting divorced, figuring out dating apps, and you’re really not watching that story at all.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Caplan’s first acting job ever was in the 1999 high school drama, \u003cem>Freaks and Geeks\u003c/em>. More recently she was nominated for an Emmy for her role as a sex researcher in the Showtime series, \u003cem>Masters of Sex.\u003c/em> Libby, her character on \u003cem>Fleishman is in Trouble, \u003c/em>is a former magazine writer who’s become a suburban stay-at-home mom. Libby’s struggling with marriage, motherhood and identity — and mourning the loss of her own youth and potential. Caplan began shooting \u003cem>Fleishman \u003c/em>shortly after becoming a mother herself, which made Libby’s struggles even more resonant.\u003c/p>\n\u003cp>“It was just a lucky break to get to do this show at the dawn of my own motherhood,” she says. “The curtain was being ripped away on a daily basis for me, especially in those first three months, as I think it is for many new mothers.”\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview Highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On being stuck auditioning for the same female archetypes earlier in her career \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I feel like the roles for women, especially in television, they just get more interesting … as I’ve gotten older. But I know that is certainly not something that everybody feels. I know that I’m lucky to feel that way. But I definitely remember when I was younger and auditioning for a lot of this high school stuff or some early-twenties stuff and the male roles were always better. They always got to do the more fun stuff. And you were sort of relegated to a few different archetypes as a girl, especially back then. It has changed a lot, I see. A lot of the teen shows now, there is a shift, but there was the hot popular girl, there was the nerd. There was, like, the alternative best friend, which was very much my lane for a while. And I was very fortunate to be in some projects that kind of skewered the archetypal nature of those things. But for the most part, the things I auditioned for, certainly I remember asking many times when I was younger, like, “Can I audition for the guy part? Is there any way? There’s no reason why this character has to be a guy. It can be a girl.” And I certainly had nowhere near enough clout in the business for anybody to do anything other than laugh at that request.\u003c/p>\n\u003cp>\u003cstrong>On losing her mother when she was 13 and turning to acting in her grief \u003c/strong>\u003c/p>\n\u003cp>I had no idea how to process my mother’s death. It took me many, many years, but I knew that it gave me a darkness that in my mind was a requirement for being an actor, or the kind of actor I wanted to be. I needed to have this inner pain in order to do it. I remember going to an acting class and auditing it when I was 16 years old, and it was in Hollywood. It was a pretty prestigious acting class and it was full of 100 people in it and it went really late, till 1:00 a.m. And I stayed there and I watched it the whole time. And then I met with the teacher afterwards to see if I could join the class. And she looked at me and asked me how old I was, and I said I was 16. And she said, “You haven’t had any life experience. You can’t be in this class,” and booted me out. And that moment, it’s so crystallized in my brain because I remember feeling like, ‘Oh, no, this is the community that’s supposed to see these things in me — that I do have the depth that is required to be in this class — but you just see some dumb little teenager who hasn’t been through anything.’ When the reality was I had been through what is still the most monumental tragedy of my life.\u003c/p>\n\u003cp>\u003cstrong>On her first role in the series \u003c/strong>\u003cstrong>\u003cem>Freaks and Geeks\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Little did I know that “critically acclaimed and short-lived” would describe the vast majority of my future projects. The experience itself was very overwhelming … just stepping into this completely different universe that I had no idea about. I grew up in L.A., but I had never been on a movie set before. I didn’t know how any of it worked. I didn’t know about marks on the ground and coverage and close ups and how long everything was going to take and hair and makeup and how many outfits I’d have to try on for this one line that I was going to say.\u003c/p>\n\u003cp>I remember … just looking in the mirror for hours, just reciting this one line over and over and over and over again and being terrified and just in love with the idea of this moving village with these hundreds of people all working towards this goal together, but also feeling, again, completely overwhelmed, very shy, not bonding in any way with any of my castmates or anybody. I look back at that experience and it was just honestly pure luck to end up on a show that ended up being so loved and so respected for so many years, because I really did audition for all kinds of nonsense, and just that was the first place that picked me. But it wasn’t a fun experience for me. It was mostly just scary.\u003c/p>\n\u003cp>\u003cstrong>On her break-out role in 2004’s \u003c/strong>\u003cstrong>\u003cem>Mean Girls \u003c/em>\u003c/strong>\u003cstrong>as “alternative” girl Janis Ian\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>All I knew was that it was the funniest script I had ever read and I would do anything to be in it. And then the making of that was so fun. We were in Toronto and young and living in this hotel together, and it was just a wonderful experience. And then it did well when it first opened. And so I thought that meant that I was off to the races. And that is certainly not what happened. I didn’t work after that for a year. I didn’t really understand how I could be in something that seemed to be successful and none of that success seemed to be rubbing off on me. So I did what most actresses in the early aughts did and got a spray tan and dyed my hair blond and just joined a show [\u003cem>Related\u003c/em>] on the WB network. That felt like the antidote.\u003c/p>\n\u003cfigure id=\"attachment_13924497\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924497\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/sub-buzz-620-1571759685-2-2f9a24d5993f1dc57fdbed6d37009acedafcf46e-1-e1675192207952-800x600.jpg\" alt=\"A young woman with pale skin, wearing black eye make-up, a studded bracelet and a sleeveless denim jacket sits at a kitchen table, pen in hand.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/sub-buzz-620-1571759685-2-2f9a24d5993f1dc57fdbed6d37009acedafcf46e-1-e1675192207952-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/sub-buzz-620-1571759685-2-2f9a24d5993f1dc57fdbed6d37009acedafcf46e-1-e1675192207952-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/sub-buzz-620-1571759685-2-2f9a24d5993f1dc57fdbed6d37009acedafcf46e-1-e1675192207952-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/sub-buzz-620-1571759685-2-2f9a24d5993f1dc57fdbed6d37009acedafcf46e-1-e1675192207952-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/sub-buzz-620-1571759685-2-2f9a24d5993f1dc57fdbed6d37009acedafcf46e-1-e1675192207952-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/sub-buzz-620-1571759685-2-2f9a24d5993f1dc57fdbed6d37009acedafcf46e-1-e1675192207952.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“The making of that was so fun,” Caplan says of the 2004 film ‘Mean Girls.’ \u003ccite>(Paramount)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On relating to the characters in\u003c/strong> \u003cstrong>the 2009 Starz sitcom\u003c/strong>\u003cstrong>\u003cem> Party Down\u003c/em>\u003c/strong>\u003cstrong>, which was about struggling actors working as catering servers\u003c/strong>\u003c/p>\n\u003cp>I remember very vividly catering the \u003cem>Being John Malkovich\u003c/em> premiere party and walking around with a tray of passed apps and none of these people looking me in the eye at all. I was just, like, a tray that moved, and feeling those feelings that all the characters in \u003cem>Party Down\u003c/em> were feeling, which was basically like, “Oh, you don’t know who I am now, but you just wait!” I actually think there’s like two schools of thought for actors: One, when you’re starting to come up, one group takes rejection and internalizes it and believes it to be true. All the things that they say about them, that they’re not funny enough, pretty enough, whatever. And then the other school, the other group feels like, this is just ammo for me and this is just fueling my inner fire and I’m going to prove all of you guys wrong and you just wait and see! And like I, for whatever reason, fell into the second group and every rejection, I like to imagine it making me stronger and angrier and more determined.\u003c/p>\n\u003cp>\u003cstrong>On how filming sex scenes has changed so much now with intimacy coordinators \u003c/strong>\u003c/p>\n\u003cp>So much [has changed]. Which is wonderful, especially for the young people starting out, for the young actresses that don’t yet feel powerful enough to speak up on set, because it’s a very intimidating place to be when you’re young and new. So [with my first time doing a sex scene in] \u003cem>True Blood\u003c/em>, it would never happen like that again now, where I was just, like, drinking vodka at 7:00 in the morning to try to build up the courage to do this. And they were wonderful on that set. I’m very, very fortunate. I never found myself in a situation doing any of these jobs where I felt unsafe or pressured into anything. And so I’m not really even the person the intimacy coordinator is there for. They’re there for the people that are having a very different experience. \u003cem>Masters of Sex\u003c/em>, definitely no intimacy coordinator. And it’s like a completely different time because since then I have worked on shows where there have been intimacy coordinators and there’s this whole other step that just didn’t exist at all back then.\u003c/p>\n\u003cp>\u003cstrong>On starring in a reimagining of the 1987 film \u003c/strong>\u003cstrong>\u003cem>Fatal Attraction \u003c/em>\u003c/strong>\u003cstrong>(coming April 2023 on Paramount+)\u003c/strong>\u003c/p>\n\u003cp>It’s important to note that I love the movie \u003cem>Fatal Attraction\u003c/em>. I think it’s wonderful. I think it holds up in so many ways. It’s still scary. It’s still exciting. It’s still very sexy. The performances are incredible. It looks beautiful. I love the film. But when you watch even the film now, I find, as an audience member, it’s really difficult to see it in the same way that audiences saw it in 1987.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In 1987, you go to a movie about a married man, who’s married with a child who has this torrid weekend-long affair, [and] everything obviously goes haywire. [The other woman] becomes obsessed with him and we walk away feeling like that woman was evil, horrible, despicable, deserved to die. This poor man who made this one little mistake deserves nothing more than to ride off into the sunset with his wife and child. Thank God he prevailed against this horrible woman!\u003c/p>\n\u003cp>When you watch it now, it’s very difficult to not have some follow up questions about that. That version of the film can’t exist in 2023 because of these questions, because we’re now primed as audiences to want to know more about the woman, where she was coming from, and also to place some very well-deserved blame on the man. There’s no blame placed on him in the film. So I think while I completely understand wanting to preserve things that meant a lot to us as audience members, like the holiness of a movie you loved growing up, there are other ones like \u003cem>Fatal Attraction \u003c/em>where I think, Why not? Let’s do a deeper dive into this, because there are now more questions when you rewatch it. And if nothing else, I really think that it holds a magnifying glass up to audiences and how much we’ve changed, that a movie like that was so hugely commercially successful as well as critically acclaimed and awards … audiences today can’t see it through that same prism anymore. We just have changed so much as a culture.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Seth Kelley and Susan Nyakundi produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Fleishman+Is+in+Trouble%27+is+a+Trojan+horse+for+women%27s+stories%2C+says+Lizzy+Caplan&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Get These Sundance 2023 Movies on Your Radar Now",
"headTitle": "Get These Sundance 2023 Movies on Your Radar Now | KQED",
"content": "\u003cp>The thing about the Sundance Film Festival — or any film festival, for that matter — is that it can be a fool’s errand to try and predict the trajectory of a movie beyond the initial wave of critics’ reactions and reports of multimillion distribution deals. Sure, \u003ca href=\"https://www.npr.org/2021/08/13/1027033602/coda-will-yank-shamelessly-on-your-heartstrings-but-its-very-good-at-it\">\u003cem>CODA\u003c/em>\u003c/a> was a hit upon its premiere at the fest in 2021, but was anyone at that time thinking it would go on to become the first Sundance movie \u003cem>and \u003c/em>a movie from a streaming service to win the Best Picture Oscar? On the other hand, an untold number of films have made a splash only to be buried and forgotten upon release months later.\u003c/p>\n\u003cp>[aside postid='arts_13924083']But one thing I love about Sundance is that if you see enough movies, there are always going to be some gems and genuine surprises to stumble upon, particularly when it comes to emerging filmmakers and performers. And then you hope that at the very least they find an enthusiastic audience beyond us fest-goers.\u003c/p>\n\u003cp>Sundance 2023 \u003ca href=\"https://www.npr.org/2023/01/19/1149924353/park-city-utah-welcomes-back-sundance-film-festival-attendees\">took place in-person\u003c/a> in Park City, Utah for the first time since 2020. I wasn’t able to head out to the mountains this year, but much of the program was also made available to press and audiences online, and I wound up screening nearly 20 movies over the past week. We’re still a couple days away from the conclusion of the festival, and the awards are set to be announced Friday evening, but below are a few of my favorites from this year.\u003c/p>\n\u003ch3>The crowd pleasers\u003c/h3>\n\u003cp>If there’s one specific formula Sundance programmers and audiences can’t resist, it’s the quirky coming-of-age drama/comedy/dramedy. (See \u003ca href=\"https://www.npr.org/2015/06/12/413947330/laughs-leaven-tears-in-me-and-earl-and-the-dying-girl\">\u003cem>Me and Earl and the Dying Girl\u003c/em>,\u003c/a> \u003ca href=\"https://www.npr.org/2021/08/08/1025124051/troy-kotsur-coda-deaf-actor-mandalorian-criminal-minds\">\u003cem>CODA\u003c/em> \u003c/a>and \u003ca href=\"https://www.npr.org/2022/06/17/1105212490/sundance-movie-reviews-good-luck-to-you-leo-grande-cha-cha-real-smooth\">\u003cem>Cha Cha Real Smooth\u003c/em>\u003c/a>, each of which won an Audience Award in their respective years.) Sometimes these movies can border on cloying and twee, but two such stories I saw this year managed to mercifully resist such categorization.\u003c/p>\n\u003cp>The first is \u003ca href=\"https://festival.sundance.org/program/film/638a1782d406b210f8f2cafb\">\u003cem>Polite Society,\u003c/em>\u003c/a> the genre-hopping feature directorial debut of Nida Manzoor, who is probably best known as the creator of the acclaimed series \u003ca href=\"https://www.wbur.org/npr/1007574314/we-are-lady-parts-rocks-with-bracing-honesty-and-nuance\">\u003cem>We Are Lady Parts\u003c/em>.\u003c/a> It stars Priya Kansara as Ria Khan, a plucky teen and aspiring stunt woman who takes it extremely personally when her older sister Lena (Ritu Arya) becomes engaged to a wealthy doctor. Ria, a die-hard feminist, is worried Lena has given up on her dreams of becoming an artist to go full-on Stepford Wife, so she’ll do everything in her power to keep the wedding from happening, with the assist of her best friends.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Lady Part’\u003c/em>s themes around sisterhood and feminine autonomy are all over this — as is the DNA of action-comedies like \u003ca href=\"https://www.npr.org/2010/04/15/114616124/shiv-and-let-shiv-making-peace-with-kick-ass-and-other-meditations\">\u003cem>Kick-Ass\u003c/em>\u003c/a> and\u003ca href=\"https://www.npr.org/2022/04/10/1091504221/michelle-yeoh-everything-everywhere-all-at-once\"> \u003cem>Everything Everywhere All at Once\u003c/em>,\u003c/a> and the twisty humor of Jordan Peele. The ensemble is a delight, especially Kansara and Nimra Bucha, who relishes her role as Lena’s soon-to-be mother-in-law, and the script is sharp-witted and breezy. Luckily, you won’t have to wait too long to check this out — it’s currently scheduled for theatrical release on April 28.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TRFM7HQmkH0\u003c/p>\n\u003cp>The other is Molly Gordon and Nick Lieberman’s\u003ca href=\"https://festival.sundance.org/program/film/638a6f5ea54797525eba76df\"> \u003cem>Theater Camp\u003c/em>\u003c/a>, a mockumentary about a kids camp that faces two big setbacks: The loss of its beloved founder Joan (Amy Sedaris), who slips into a coma following a seizure during a production of \u003cem>Bye Bye Birdie\u003c/em>, and impending financial doom. Her kind of dense, bro-y son Troy earnestly takes over, while the counselors, including alumni and best friends Amos and Rebecca-Diane (Ben Platt and Gordon) try to keep the show going.\u003c/p>\n\u003cp>I’ll admit that I’m especially biased on this one, having myself once been a theater kid — so I was able to overlook the bold and disappointing choice to cast the great Amy Sedaris only to relegate her to just a handful of minutes on screen. Also yes, the mockumentary format is mostly tired,\u003ca href=\"https://www.npr.org/2022/02/23/1082506558/abbott-elementary-quinta-brunson\"> \u003cem>Abbott Elementary\u003c/em>\u003c/a> aside. But many of the jokes about overenthusiastic theater geeks young and old landed for me. And the movie’s final act, involving the kids’ performance of a musical tribute to Joan, is both astonishingly silly and quite sweet. It \u003ca href=\"https://variety.com/2023/film/news/theater-camp-searchlight-sundance-film-festival-sale-ben-platt-1235499383/\">sold to Searchlight Pictures\u003c/a> at the festival, so expect to see it released in the coming months.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6D4rZzR15Wk\u003c/p>\n\u003ch3>Men are not OK\u003c/h3>\n\u003cp>There was no shortage of iterations on the current state of misogyny and patriarchy among this year’s Sundance offerings. One of the more interesting entries is Elijah Bynum’s \u003ca href=\"https://festival.sundance.org/program/film/638a1602d406b2db8ff2c6a1\">\u003cem>Magazine Dreams\u003c/em>\u003cem>.\u003c/em>\u003c/a> It was the talk of the festival, at first for not-great reasons (the jury, which included actor Marlee Matlin, \u003ca href=\"https://variety.com/2023/film/news/sundance-jury-walks-out-magazine-dreams-premiere-festival-marlee-matlin-captioning-1235497789/\">walked out \u003c/a>on the premiere because the theater’s open captions technology was not working), and then because of star Jonathan Majors’ towering performance as Killian, a socially awkward loner and aspiring body builder. The movie draws heavily from the likes of \u003cem>Taxi Driver’\u003c/em>s Travis Bickle and Eminem’s “Stan,” and heads in directions both obvious and confounding; the ending didn’t work for me, but Majors is a sight to behold, creating a challenging character who both embodies and resists the old racist trope of the “Black brute.”\u003c/p>\n\u003cfigure id=\"attachment_13924368\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924368\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Screen-Shot-2023-01-27-at-11.59.30-AM-800x524.png\" alt=\"A muscular Black man’s bare skin shines under stage lights, as he stands, head bowed.\" width=\"800\" height=\"524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-27-at-11.59.30-AM-800x524.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-27-at-11.59.30-AM-1020x668.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-27-at-11.59.30-AM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-27-at-11.59.30-AM-768x503.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-27-at-11.59.30-AM.png 1304w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jonathan Majors as Killian in ‘Magazine Dreams.’ \u003ccite>(Glen Wilson/Sundance Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp>I also really dug Chloe Domont’s \u003ca href=\"https://festival.sundance.org/program/film/638a208c77dd3dc87f80726b\">\u003cem>Fair Play\u003c/em>,\u003c/a> a thriller about a newly engaged heterosexual couple whose relationship is tested when one of them gets a promotion over the other at the cutthroat financial firm where they both work. Can you guess which one of them doesn’t get the coveted position? Why yes, it’s the man, Luke (Alden Ehrenreich), who tries really hard — at first — to be supportive of Emily (Phoebe Dynevor), his fiancée and, now, his superior. The guy who’s threatened by his girlfriend’s/wife’s career is a tale as old as time, but Domont puts a spin on it that feels very in tune with the now and all the discourse being had about the fraught nature of girl bosses and workplace relationships. (Netflix reportedly \u003ca href=\"https://variety.com/2023/film/festivals/fair-play-sundance-film-festival-sale-netflix-1235498052/\">acquired it in a $20 million deal\u003c/a>.)\u003c/p>\n\u003cp>[aside postid='arts_13924104']On a lighter note, the spiky rom-com \u003ca href=\"https://festival.sundance.org/program/film/638a16dfd406b2f146f2c7c9\">\u003cem>Shortcomings\u003c/em>\u003c/a> deals with fragile masculinity from an Asian American perspective. It stars Justin H. Min as Ben, a wannabe filmmaker living in Berkeley, who’s stuck in both a professional and romantic rut. When Ben’s girlfriend Miko (Ally Maki) leaves for New York to pursue an internship, he’s forced to finally confront his many insecurities and internalized racism — Miko and his best friend, Alice, played by Sherry Cola, frequently call out his fetish for blonde white women, as well as his hypocritical disdain for Asian women who date white men. Screenwriter Adrian Tomine adapted his graphic novel of the same name, and it marks the directorial debut of Randall Park; while it hits some familiar beats, the banter is often funny and the script heads to places few rom-coms dare go.\u003c/p>\n\u003ch3>Finding family, finding yourself\u003c/h3>\n\u003cp>Among my absolute favorite finds this year were several movies dealing with themes of memory, generational bonds, and self-discovery.\u003c/p>\n\u003cfigure id=\"attachment_13924364\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924364\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/all-dirt-roads-taste-of-salt-still-1_custom-69078a11b9b469144d524a11abce521308eafd6c-e1674849953725-800x450.jpg\" alt=\"A slender Black woman wearing a simple long white smock, cradles her baby closely in her arms. She is standing outside with lush green trees and a hedge behind her.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/all-dirt-roads-taste-of-salt-still-1_custom-69078a11b9b469144d524a11abce521308eafd6c-e1674849953725-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/all-dirt-roads-taste-of-salt-still-1_custom-69078a11b9b469144d524a11abce521308eafd6c-e1674849953725-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/all-dirt-roads-taste-of-salt-still-1_custom-69078a11b9b469144d524a11abce521308eafd6c-e1674849953725-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/all-dirt-roads-taste-of-salt-still-1_custom-69078a11b9b469144d524a11abce521308eafd6c-e1674849953725-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/all-dirt-roads-taste-of-salt-still-1_custom-69078a11b9b469144d524a11abce521308eafd6c-e1674849953725-1536x863.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/all-dirt-roads-taste-of-salt-still-1_custom-69078a11b9b469144d524a11abce521308eafd6c-e1674849953725.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sheila Atim in ‘All Dirt Roads Taste of Salt.’ \u003ccite>(Jaclyn Martinez/Sundance Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Raven Jackson’s debut \u003ca href=\"https://festival.sundance.org/program/film/638a20ae77dd3d361c8072eb\">\u003cem>All Dirt Roads Taste of Salt\u003c/em>\u003c/a> is a poetic, non-linear narrative that traverses several decades in the life of a Mississippi woman, from childhood through adulthood. This isn’t about plot, but about the moments of mundanity made profound through the inquisitive eyes of Mack (played as a kid by Kaylee Nicole Johnson and older by Charleen McClure) and the camera’s lingering gaze: fishing with dad, parents slow-dancing in the living room, listening to grandma’s stories. One scene in particular stuck with me and is already in the running for best scenes of the year — a quiet, trembling embrace that carries with it the weight of years, loss and connection without a single word. (There is in fact, very little dialogue throughout the film.) In stunning imagery and tone, it feels like a direct descendant of Julie Dash’s \u003ca href=\"https://www.npr.org/2016/11/20/502797705/daughters-of-the-dust-re-released-following-attention-from-beyonc\">\u003cem>Daughters of the Dust\u003c/em>\u003c/a>, yet stands powerfully on its own as a rumination on Black womanhood and its existence within nature. And as if you need any more reason to be on the lookout for this movie, Barry Jenkins is a producer.\u003c/p>\n\u003cp>[aside postid='arts_13923793']Milisuthando Bongela’s documentary \u003ca href=\"https://festival.sundance.org/program/film/638a180f77dd3d4e0880568b\">\u003cem>Milisuthando\u003c/em>\u003c/a> is similarly evocative, though Bongela embraces dialogue and a more literal approach, creating a compelling personal essay brought to life on screen. Through home movies, interviews, and tons of striking archival footage, she excavates the lingering effects of South African apartheid on herself and her friends and family. She challenges the myths that were perpetuated by those who supported the Transkei, an unrecognized state that was created in 1976 under the pretense that it would liberate the Xosha people and shield them from the harms of apartheid. And she questions what it means to have white friends in South Africa, which includes an illuminating, unflinching conversation between the filmmaker and her friend (and the movie’s producer) Marion Isaacs. The country’s history with race is emotionally rendered and made deeply personal in a way I haven’t quite seen before.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924358 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/mamacruz-still-1-kiti-m-nver_custom-b287ac1fec3a654217a08dd84977138c0e3b85fa-e1674850112136-800x450.jpe\" alt=\"An older woman with pale skin and chin-length grey hair examines her reflection in a small, round bathroom mirror.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/mamacruz-still-1-kiti-m-nver_custom-b287ac1fec3a654217a08dd84977138c0e3b85fa-e1674850112136-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/mamacruz-still-1-kiti-m-nver_custom-b287ac1fec3a654217a08dd84977138c0e3b85fa-e1674850112136-1020x573.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/mamacruz-still-1-kiti-m-nver_custom-b287ac1fec3a654217a08dd84977138c0e3b85fa-e1674850112136-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/mamacruz-still-1-kiti-m-nver_custom-b287ac1fec3a654217a08dd84977138c0e3b85fa-e1674850112136-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/mamacruz-still-1-kiti-m-nver_custom-b287ac1fec3a654217a08dd84977138c0e3b85fa-e1674850112136-1536x863.jpe 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/mamacruz-still-1-kiti-m-nver_custom-b287ac1fec3a654217a08dd84977138c0e3b85fa-e1674850112136.jpe 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And then there’s Patricia Ortega’s \u003ca href=\"https://festival.sundance.org/program/film/638a179977dd3d550a8054c9\">\u003cem>MAMACRUZ\u003c/em>,\u003c/a> a charming Spanish-language film about Cruz (Kiti Mánver), an older woman who has a late-in-life sexual awakening after discovering porn on the internet. The premise definitely leaves room for cheekiness (a scene where Cruz watches a couple have sex with chocolate is immediately followed up with the image of a churro being dipped in chocolate sauce), but the protagonist’s journey is treated seriously and with warmth. Cruz makes friends with other women in a sex therapy group, and tries to spice up the intimacy with her distant, barely affectionate husband. She struggles to reconcile her desires with her devoutly religious beliefs. And she attempts to reconnect with her daughter, who is herself trying to realize a dream later in life, of becoming a professional dancer. If you enjoyed last year’s Sundance hit \u003ca href=\"https://www.npr.org/2022/06/07/1103500146/emma-thompson-finds-herself-and-pleasure-in-good-luck-to-you-leo-grande\">\u003cem>Good Luck to You, Leo Grande \u003c/em>\u003c/a>(like I did), you’ll definitely find pleasure in \u003cem>MAMACRUZ. \u003c/em>(International rights to the movie \u003ca href=\"https://variety.com/2023/film/global/filmax-sundance-patricia-ortega-mamacruz-1235493897/\">were snagged by Spanish distributor Filmax\u003c/a>.)\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Get+these+Sundance+2023+movies+on+your+radar+now&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "NPR’s Aisha Harris screened nearly 20 films at Sundance — these are her favorites.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The thing about the Sundance Film Festival — or any film festival, for that matter — is that it can be a fool’s errand to try and predict the trajectory of a movie beyond the initial wave of critics’ reactions and reports of multimillion distribution deals. Sure, \u003ca href=\"https://www.npr.org/2021/08/13/1027033602/coda-will-yank-shamelessly-on-your-heartstrings-but-its-very-good-at-it\">\u003cem>CODA\u003c/em>\u003c/a> was a hit upon its premiere at the fest in 2021, but was anyone at that time thinking it would go on to become the first Sundance movie \u003cem>and \u003c/em>a movie from a streaming service to win the Best Picture Oscar? On the other hand, an untold number of films have made a splash only to be buried and forgotten upon release months later.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But one thing I love about Sundance is that if you see enough movies, there are always going to be some gems and genuine surprises to stumble upon, particularly when it comes to emerging filmmakers and performers. And then you hope that at the very least they find an enthusiastic audience beyond us fest-goers.\u003c/p>\n\u003cp>Sundance 2023 \u003ca href=\"https://www.npr.org/2023/01/19/1149924353/park-city-utah-welcomes-back-sundance-film-festival-attendees\">took place in-person\u003c/a> in Park City, Utah for the first time since 2020. I wasn’t able to head out to the mountains this year, but much of the program was also made available to press and audiences online, and I wound up screening nearly 20 movies over the past week. We’re still a couple days away from the conclusion of the festival, and the awards are set to be announced Friday evening, but below are a few of my favorites from this year.\u003c/p>\n\u003ch3>The crowd pleasers\u003c/h3>\n\u003cp>If there’s one specific formula Sundance programmers and audiences can’t resist, it’s the quirky coming-of-age drama/comedy/dramedy. (See \u003ca href=\"https://www.npr.org/2015/06/12/413947330/laughs-leaven-tears-in-me-and-earl-and-the-dying-girl\">\u003cem>Me and Earl and the Dying Girl\u003c/em>,\u003c/a> \u003ca href=\"https://www.npr.org/2021/08/08/1025124051/troy-kotsur-coda-deaf-actor-mandalorian-criminal-minds\">\u003cem>CODA\u003c/em> \u003c/a>and \u003ca href=\"https://www.npr.org/2022/06/17/1105212490/sundance-movie-reviews-good-luck-to-you-leo-grande-cha-cha-real-smooth\">\u003cem>Cha Cha Real Smooth\u003c/em>\u003c/a>, each of which won an Audience Award in their respective years.) Sometimes these movies can border on cloying and twee, but two such stories I saw this year managed to mercifully resist such categorization.\u003c/p>\n\u003cp>The first is \u003ca href=\"https://festival.sundance.org/program/film/638a1782d406b210f8f2cafb\">\u003cem>Polite Society,\u003c/em>\u003c/a> the genre-hopping feature directorial debut of Nida Manzoor, who is probably best known as the creator of the acclaimed series \u003ca href=\"https://www.wbur.org/npr/1007574314/we-are-lady-parts-rocks-with-bracing-honesty-and-nuance\">\u003cem>We Are Lady Parts\u003c/em>.\u003c/a> It stars Priya Kansara as Ria Khan, a plucky teen and aspiring stunt woman who takes it extremely personally when her older sister Lena (Ritu Arya) becomes engaged to a wealthy doctor. Ria, a die-hard feminist, is worried Lena has given up on her dreams of becoming an artist to go full-on Stepford Wife, so she’ll do everything in her power to keep the wedding from happening, with the assist of her best friends.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Lady Part’\u003c/em>s themes around sisterhood and feminine autonomy are all over this — as is the DNA of action-comedies like \u003ca href=\"https://www.npr.org/2010/04/15/114616124/shiv-and-let-shiv-making-peace-with-kick-ass-and-other-meditations\">\u003cem>Kick-Ass\u003c/em>\u003c/a> and\u003ca href=\"https://www.npr.org/2022/04/10/1091504221/michelle-yeoh-everything-everywhere-all-at-once\"> \u003cem>Everything Everywhere All at Once\u003c/em>,\u003c/a> and the twisty humor of Jordan Peele. The ensemble is a delight, especially Kansara and Nimra Bucha, who relishes her role as Lena’s soon-to-be mother-in-law, and the script is sharp-witted and breezy. Luckily, you won’t have to wait too long to check this out — it’s currently scheduled for theatrical release on April 28.\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/TRFM7HQmkH0'\n title='//www.youtube.com/embed/TRFM7HQmkH0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The other is Molly Gordon and Nick Lieberman’s\u003ca href=\"https://festival.sundance.org/program/film/638a6f5ea54797525eba76df\"> \u003cem>Theater Camp\u003c/em>\u003c/a>, a mockumentary about a kids camp that faces two big setbacks: The loss of its beloved founder Joan (Amy Sedaris), who slips into a coma following a seizure during a production of \u003cem>Bye Bye Birdie\u003c/em>, and impending financial doom. Her kind of dense, bro-y son Troy earnestly takes over, while the counselors, including alumni and best friends Amos and Rebecca-Diane (Ben Platt and Gordon) try to keep the show going.\u003c/p>\n\u003cp>I’ll admit that I’m especially biased on this one, having myself once been a theater kid — so I was able to overlook the bold and disappointing choice to cast the great Amy Sedaris only to relegate her to just a handful of minutes on screen. Also yes, the mockumentary format is mostly tired,\u003ca href=\"https://www.npr.org/2022/02/23/1082506558/abbott-elementary-quinta-brunson\"> \u003cem>Abbott Elementary\u003c/em>\u003c/a> aside. But many of the jokes about overenthusiastic theater geeks young and old landed for me. And the movie’s final act, involving the kids’ performance of a musical tribute to Joan, is both astonishingly silly and quite sweet. It \u003ca href=\"https://variety.com/2023/film/news/theater-camp-searchlight-sundance-film-festival-sale-ben-platt-1235499383/\">sold to Searchlight Pictures\u003c/a> at the festival, so expect to see it released in the coming months.\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/6D4rZzR15Wk'\n title='//www.youtube.com/embed/6D4rZzR15Wk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Men are not OK\u003c/h3>\n\u003cp>There was no shortage of iterations on the current state of misogyny and patriarchy among this year’s Sundance offerings. One of the more interesting entries is Elijah Bynum’s \u003ca href=\"https://festival.sundance.org/program/film/638a1602d406b2db8ff2c6a1\">\u003cem>Magazine Dreams\u003c/em>\u003cem>.\u003c/em>\u003c/a> It was the talk of the festival, at first for not-great reasons (the jury, which included actor Marlee Matlin, \u003ca href=\"https://variety.com/2023/film/news/sundance-jury-walks-out-magazine-dreams-premiere-festival-marlee-matlin-captioning-1235497789/\">walked out \u003c/a>on the premiere because the theater’s open captions technology was not working), and then because of star Jonathan Majors’ towering performance as Killian, a socially awkward loner and aspiring body builder. The movie draws heavily from the likes of \u003cem>Taxi Driver’\u003c/em>s Travis Bickle and Eminem’s “Stan,” and heads in directions both obvious and confounding; the ending didn’t work for me, but Majors is a sight to behold, creating a challenging character who both embodies and resists the old racist trope of the “Black brute.”\u003c/p>\n\u003cfigure id=\"attachment_13924368\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924368\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Screen-Shot-2023-01-27-at-11.59.30-AM-800x524.png\" alt=\"A muscular Black man’s bare skin shines under stage lights, as he stands, head bowed.\" width=\"800\" height=\"524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-27-at-11.59.30-AM-800x524.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-27-at-11.59.30-AM-1020x668.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-27-at-11.59.30-AM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-27-at-11.59.30-AM-768x503.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-27-at-11.59.30-AM.png 1304w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jonathan Majors as Killian in ‘Magazine Dreams.’ \u003ccite>(Glen Wilson/Sundance Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp>I also really dug Chloe Domont’s \u003ca href=\"https://festival.sundance.org/program/film/638a208c77dd3dc87f80726b\">\u003cem>Fair Play\u003c/em>,\u003c/a> a thriller about a newly engaged heterosexual couple whose relationship is tested when one of them gets a promotion over the other at the cutthroat financial firm where they both work. Can you guess which one of them doesn’t get the coveted position? Why yes, it’s the man, Luke (Alden Ehrenreich), who tries really hard — at first — to be supportive of Emily (Phoebe Dynevor), his fiancée and, now, his superior. The guy who’s threatened by his girlfriend’s/wife’s career is a tale as old as time, but Domont puts a spin on it that feels very in tune with the now and all the discourse being had about the fraught nature of girl bosses and workplace relationships. (Netflix reportedly \u003ca href=\"https://variety.com/2023/film/festivals/fair-play-sundance-film-festival-sale-netflix-1235498052/\">acquired it in a $20 million deal\u003c/a>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>On a lighter note, the spiky rom-com \u003ca href=\"https://festival.sundance.org/program/film/638a16dfd406b2f146f2c7c9\">\u003cem>Shortcomings\u003c/em>\u003c/a> deals with fragile masculinity from an Asian American perspective. It stars Justin H. Min as Ben, a wannabe filmmaker living in Berkeley, who’s stuck in both a professional and romantic rut. When Ben’s girlfriend Miko (Ally Maki) leaves for New York to pursue an internship, he’s forced to finally confront his many insecurities and internalized racism — Miko and his best friend, Alice, played by Sherry Cola, frequently call out his fetish for blonde white women, as well as his hypocritical disdain for Asian women who date white men. Screenwriter Adrian Tomine adapted his graphic novel of the same name, and it marks the directorial debut of Randall Park; while it hits some familiar beats, the banter is often funny and the script heads to places few rom-coms dare go.\u003c/p>\n\u003ch3>Finding family, finding yourself\u003c/h3>\n\u003cp>Among my absolute favorite finds this year were several movies dealing with themes of memory, generational bonds, and self-discovery.\u003c/p>\n\u003cfigure id=\"attachment_13924364\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924364\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/all-dirt-roads-taste-of-salt-still-1_custom-69078a11b9b469144d524a11abce521308eafd6c-e1674849953725-800x450.jpg\" alt=\"A slender Black woman wearing a simple long white smock, cradles her baby closely in her arms. She is standing outside with lush green trees and a hedge behind her.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/all-dirt-roads-taste-of-salt-still-1_custom-69078a11b9b469144d524a11abce521308eafd6c-e1674849953725-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/all-dirt-roads-taste-of-salt-still-1_custom-69078a11b9b469144d524a11abce521308eafd6c-e1674849953725-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/all-dirt-roads-taste-of-salt-still-1_custom-69078a11b9b469144d524a11abce521308eafd6c-e1674849953725-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/all-dirt-roads-taste-of-salt-still-1_custom-69078a11b9b469144d524a11abce521308eafd6c-e1674849953725-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/all-dirt-roads-taste-of-salt-still-1_custom-69078a11b9b469144d524a11abce521308eafd6c-e1674849953725-1536x863.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/all-dirt-roads-taste-of-salt-still-1_custom-69078a11b9b469144d524a11abce521308eafd6c-e1674849953725.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sheila Atim in ‘All Dirt Roads Taste of Salt.’ \u003ccite>(Jaclyn Martinez/Sundance Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Raven Jackson’s debut \u003ca href=\"https://festival.sundance.org/program/film/638a20ae77dd3d361c8072eb\">\u003cem>All Dirt Roads Taste of Salt\u003c/em>\u003c/a> is a poetic, non-linear narrative that traverses several decades in the life of a Mississippi woman, from childhood through adulthood. This isn’t about plot, but about the moments of mundanity made profound through the inquisitive eyes of Mack (played as a kid by Kaylee Nicole Johnson and older by Charleen McClure) and the camera’s lingering gaze: fishing with dad, parents slow-dancing in the living room, listening to grandma’s stories. One scene in particular stuck with me and is already in the running for best scenes of the year — a quiet, trembling embrace that carries with it the weight of years, loss and connection without a single word. (There is in fact, very little dialogue throughout the film.) In stunning imagery and tone, it feels like a direct descendant of Julie Dash’s \u003ca href=\"https://www.npr.org/2016/11/20/502797705/daughters-of-the-dust-re-released-following-attention-from-beyonc\">\u003cem>Daughters of the Dust\u003c/em>\u003c/a>, yet stands powerfully on its own as a rumination on Black womanhood and its existence within nature. And as if you need any more reason to be on the lookout for this movie, Barry Jenkins is a producer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Milisuthando Bongela’s documentary \u003ca href=\"https://festival.sundance.org/program/film/638a180f77dd3d4e0880568b\">\u003cem>Milisuthando\u003c/em>\u003c/a> is similarly evocative, though Bongela embraces dialogue and a more literal approach, creating a compelling personal essay brought to life on screen. Through home movies, interviews, and tons of striking archival footage, she excavates the lingering effects of South African apartheid on herself and her friends and family. She challenges the myths that were perpetuated by those who supported the Transkei, an unrecognized state that was created in 1976 under the pretense that it would liberate the Xosha people and shield them from the harms of apartheid. And she questions what it means to have white friends in South Africa, which includes an illuminating, unflinching conversation between the filmmaker and her friend (and the movie’s producer) Marion Isaacs. The country’s history with race is emotionally rendered and made deeply personal in a way I haven’t quite seen before.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924358 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/mamacruz-still-1-kiti-m-nver_custom-b287ac1fec3a654217a08dd84977138c0e3b85fa-e1674850112136-800x450.jpe\" alt=\"An older woman with pale skin and chin-length grey hair examines her reflection in a small, round bathroom mirror.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/mamacruz-still-1-kiti-m-nver_custom-b287ac1fec3a654217a08dd84977138c0e3b85fa-e1674850112136-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/mamacruz-still-1-kiti-m-nver_custom-b287ac1fec3a654217a08dd84977138c0e3b85fa-e1674850112136-1020x573.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/mamacruz-still-1-kiti-m-nver_custom-b287ac1fec3a654217a08dd84977138c0e3b85fa-e1674850112136-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/mamacruz-still-1-kiti-m-nver_custom-b287ac1fec3a654217a08dd84977138c0e3b85fa-e1674850112136-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/mamacruz-still-1-kiti-m-nver_custom-b287ac1fec3a654217a08dd84977138c0e3b85fa-e1674850112136-1536x863.jpe 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/mamacruz-still-1-kiti-m-nver_custom-b287ac1fec3a654217a08dd84977138c0e3b85fa-e1674850112136.jpe 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And then there’s Patricia Ortega’s \u003ca href=\"https://festival.sundance.org/program/film/638a179977dd3d550a8054c9\">\u003cem>MAMACRUZ\u003c/em>,\u003c/a> a charming Spanish-language film about Cruz (Kiti Mánver), an older woman who has a late-in-life sexual awakening after discovering porn on the internet. The premise definitely leaves room for cheekiness (a scene where Cruz watches a couple have sex with chocolate is immediately followed up with the image of a churro being dipped in chocolate sauce), but the protagonist’s journey is treated seriously and with warmth. Cruz makes friends with other women in a sex therapy group, and tries to spice up the intimacy with her distant, barely affectionate husband. She struggles to reconcile her desires with her devoutly religious beliefs. And she attempts to reconnect with her daughter, who is herself trying to realize a dream later in life, of becoming a professional dancer. If you enjoyed last year’s Sundance hit \u003ca href=\"https://www.npr.org/2022/06/07/1103500146/emma-thompson-finds-herself-and-pleasure-in-good-luck-to-you-leo-grande\">\u003cem>Good Luck to You, Leo Grande \u003c/em>\u003c/a>(like I did), you’ll definitely find pleasure in \u003cem>MAMACRUZ. \u003c/em>(International rights to the movie \u003ca href=\"https://variety.com/2023/film/global/filmax-sundance-patricia-ortega-mamacruz-1235493897/\">were snagged by Spanish distributor Filmax\u003c/a>.)\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Get+these+Sundance+2023+movies+on+your+radar+now&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "No Lie: Natasha Lyonne is Unforgettable in ‘Poker Face’",
"headTitle": "No Lie: Natasha Lyonne is Unforgettable in ‘Poker Face’ | KQED",
"content": "\u003cp>From the start, it’s no secret that the new series \u003cem>Poker Face \u003c/em>is a throwback to an earlier era of television — to \u003cem>Columbo\u003c/em>, especially. The opening titles even recall the yellow \u003cem>Columbo \u003c/em>font. And while it might not be instantly obvious that Natasha Lyonne is the Peter Falk of her generation, by the end of a couple of episodes, you will believe.\u003c/p>\n\u003cp>\u003cem>Poker Face \u003c/em>was created by Rian Johnson, the writer and director of\u003ca href=\"https://www.npr.org/2019/11/27/782165138/knives-out-a-classic-comic-mystery-of-uncommon-sharpness\"> \u003cem>Knives Out \u003c/em>\u003c/a>and \u003ca href=\"https://www.npr.org/2022/12/12/1142183112/glass-onion-knives-out-rian-johnson\">\u003cem>Glass Onion\u003c/em>, \u003c/a>who directed and wrote some, though not all, of the episodes. His sense of structure — the idea that you don’t withhold everything until the end, even in something that’s done in the style of a mystery — recalled \u003cem>Columbo \u003c/em>to begin with. (Every episode of \u003cem>Columbo\u003c/em>, for those who may not be fans, started with the viewer seeing what actually happened, and the rest was watching Columbo figure it out.) So it makes sense that he’s created a show here that, in a similar fashion, shows the crime itself at the top, then tells the longer story of how it came to happen and how it unravels. But instead of a detective, these stories intersect with the life of Charlie Cale, played by Lyonne, whom we first meet as a casino worker prized for her ability to tell when people are lying.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4x2NzusLAqk\u003c/p>\n\u003cp>The first episode sees Charlie get tangled up in a mess that involves her boss (Adrien Brody) and his henchman (Benjamin Bratt). That mystery, in turn, puts her in danger and sends her on the run. Subsequent episodes find her in various parts of the country, scratching together cash in odd jobs.\u003c/p>\n\u003cp>One advantage of this format is that it allows Charlie to cross paths with an impressive lineup of guest stars. There’s trucker played by (new Oscar nominee for \u003cem>The Whale\u003c/em>) Hong Chau, feuding actors played by Ellen Barkin and Tim Meadows, a barbecue entrepreneur played by Lil Rel Howery, retirement community residents played by Judith Light and \u003cem>Law & Order \u003c/em>legend S. Epatha Merkerson, and musicians played by Chloe Sevigny and The Mountain Goats’ John Darnielle. All these stories are self-contained, because even as she tries to escape her own perilous situation, Charlie stumbles into a crime in every town.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Naturally, Charlie’s story is in part a travelogue. \u003cem>Poker Face \u003c/em>takes her to a lot of different locations, but Johnson’s love of the dusty landscapes he shot in a couple of great episodes of \u003cem>Breaking Bad \u003c/em>is echoed in Charlie’s initial Vegas home (there’s a terrific shot of her sitting in a folding chair outside her trailer) and in some of the desolate roads she ends up on later. But these standalone episodes (critics have gotten to see six out of what will eventually be 10) take the series into a marvelous variety of different worlds.\u003c/p>\n\u003cp>[aside postid='arts_13923656']At the center of the show and its appeal is Natasha Lyonne. On the one hand, she is an actor who is always herself — she doesn’t often disappear into roles in a way that will make you say, “Oh wow, that’s Natasha Lyonne?” But at the same time, there are shadings to her work here that are different from, for instance, her highly regarded role in Netflix’s \u003cem>Russian Doll\u003c/em>. She’s more relaxed and under control in this part, still funny and still utterly unique, but also careful and deliberate. Charlie is a good bit happier, too, even when she’s in trouble.\u003c/p>\n\u003cp>Lyonne’s affect is almost always one of world-weariness, of having seen \u003cem>a lot\u003c/em>, which makes her a natural as a woman like Charlie, whose accumulated experiences make her skeptical, quick on her feet and sympathetic. If Columbo was always getting tied up in mysteries because he’s a detective and it’s his job, Charlie keeps getting tied up in them because she doesn’t like liars and it bugs her when unfair things — whether violence or false accusations — happen to people she meets and likes.\u003c/p>\n\u003cfigure id=\"attachment_13924194\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924194\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/nup_200257_00013_wide-b3000f696bcda8513a2491bc7dc627be61ebaa5d-800x450.jpg\" alt=\"A Black man wearing 1980s-style glasses, a white cowboy hat, blue denim shirt and bolo tie looks confounded.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/nup_200257_00013_wide-b3000f696bcda8513a2491bc7dc627be61ebaa5d-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/nup_200257_00013_wide-b3000f696bcda8513a2491bc7dc627be61ebaa5d-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/nup_200257_00013_wide-b3000f696bcda8513a2491bc7dc627be61ebaa5d-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/nup_200257_00013_wide-b3000f696bcda8513a2491bc7dc627be61ebaa5d.jpg 998w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lil Rel Howery is just one of the guest stars who crosses paths with Charlie as she runs from her problems.\u003c/figcaption>\u003c/figure>\n\u003cp>And the focus remains on the characters, because fortunately, \u003cem>Poker Face \u003c/em>makes sparing use of Charlie’s special talent for knowing when people are lying. As she explains it, as long as a person is lying intentionally — that is, they know what they’re saying isn’t true, as opposed to being wrong — she can always tell. This could easily become a lazy shortcut, where she always suddenly solves the whole case based on her magical abilities. But her special radar is deployed rarely, to the point where you’ll forget she even can do this until it comes up. And it isn’t usually about a big and central lie (like “I didn’t kill him!”), but about a small and seemingly insignificant lie (like “I had fish for dinner”) that sends her looking for an explanation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[aside postid='arts_13923488']The drop schedule for \u003cem>Poker Face \u003c/em>honestly is a bit baffling; a natural candidate for a week-to-week release, it’s instead getting four episodes dropped on Peacock on January 26, and then the rest will be one per week. But whatever pacing you choose, this is a terrific show, funny and smart, that accomplishes exactly the combination of homage and experimentation that it promises.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=No+lie%3A+Natasha+Lyonne+is+unforgettable+in+%27Poker+Face%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From the start, it’s no secret that the new series \u003cem>Poker Face \u003c/em>is a throwback to an earlier era of television — to \u003cem>Columbo\u003c/em>, especially. The opening titles even recall the yellow \u003cem>Columbo \u003c/em>font. And while it might not be instantly obvious that Natasha Lyonne is the Peter Falk of her generation, by the end of a couple of episodes, you will believe.\u003c/p>\n\u003cp>\u003cem>Poker Face \u003c/em>was created by Rian Johnson, the writer and director of\u003ca href=\"https://www.npr.org/2019/11/27/782165138/knives-out-a-classic-comic-mystery-of-uncommon-sharpness\"> \u003cem>Knives Out \u003c/em>\u003c/a>and \u003ca href=\"https://www.npr.org/2022/12/12/1142183112/glass-onion-knives-out-rian-johnson\">\u003cem>Glass Onion\u003c/em>, \u003c/a>who directed and wrote some, though not all, of the episodes. His sense of structure — the idea that you don’t withhold everything until the end, even in something that’s done in the style of a mystery — recalled \u003cem>Columbo \u003c/em>to begin with. (Every episode of \u003cem>Columbo\u003c/em>, for those who may not be fans, started with the viewer seeing what actually happened, and the rest was watching Columbo figure it out.) So it makes sense that he’s created a show here that, in a similar fashion, shows the crime itself at the top, then tells the longer story of how it came to happen and how it unravels. But instead of a detective, these stories intersect with the life of Charlie Cale, played by Lyonne, whom we first meet as a casino worker prized for her ability to tell when people are lying.\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/4x2NzusLAqk'\n title='//www.youtube.com/embed/4x2NzusLAqk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The first episode sees Charlie get tangled up in a mess that involves her boss (Adrien Brody) and his henchman (Benjamin Bratt). That mystery, in turn, puts her in danger and sends her on the run. Subsequent episodes find her in various parts of the country, scratching together cash in odd jobs.\u003c/p>\n\u003cp>One advantage of this format is that it allows Charlie to cross paths with an impressive lineup of guest stars. There’s trucker played by (new Oscar nominee for \u003cem>The Whale\u003c/em>) Hong Chau, feuding actors played by Ellen Barkin and Tim Meadows, a barbecue entrepreneur played by Lil Rel Howery, retirement community residents played by Judith Light and \u003cem>Law & Order \u003c/em>legend S. Epatha Merkerson, and musicians played by Chloe Sevigny and The Mountain Goats’ John Darnielle. All these stories are self-contained, because even as she tries to escape her own perilous situation, Charlie stumbles into a crime in every town.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Naturally, Charlie’s story is in part a travelogue. \u003cem>Poker Face \u003c/em>takes her to a lot of different locations, but Johnson’s love of the dusty landscapes he shot in a couple of great episodes of \u003cem>Breaking Bad \u003c/em>is echoed in Charlie’s initial Vegas home (there’s a terrific shot of her sitting in a folding chair outside her trailer) and in some of the desolate roads she ends up on later. But these standalone episodes (critics have gotten to see six out of what will eventually be 10) take the series into a marvelous variety of different worlds.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At the center of the show and its appeal is Natasha Lyonne. On the one hand, she is an actor who is always herself — she doesn’t often disappear into roles in a way that will make you say, “Oh wow, that’s Natasha Lyonne?” But at the same time, there are shadings to her work here that are different from, for instance, her highly regarded role in Netflix’s \u003cem>Russian Doll\u003c/em>. She’s more relaxed and under control in this part, still funny and still utterly unique, but also careful and deliberate. Charlie is a good bit happier, too, even when she’s in trouble.\u003c/p>\n\u003cp>Lyonne’s affect is almost always one of world-weariness, of having seen \u003cem>a lot\u003c/em>, which makes her a natural as a woman like Charlie, whose accumulated experiences make her skeptical, quick on her feet and sympathetic. If Columbo was always getting tied up in mysteries because he’s a detective and it’s his job, Charlie keeps getting tied up in them because she doesn’t like liars and it bugs her when unfair things — whether violence or false accusations — happen to people she meets and likes.\u003c/p>\n\u003cfigure id=\"attachment_13924194\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924194\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/nup_200257_00013_wide-b3000f696bcda8513a2491bc7dc627be61ebaa5d-800x450.jpg\" alt=\"A Black man wearing 1980s-style glasses, a white cowboy hat, blue denim shirt and bolo tie looks confounded.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/nup_200257_00013_wide-b3000f696bcda8513a2491bc7dc627be61ebaa5d-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/nup_200257_00013_wide-b3000f696bcda8513a2491bc7dc627be61ebaa5d-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/nup_200257_00013_wide-b3000f696bcda8513a2491bc7dc627be61ebaa5d-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/nup_200257_00013_wide-b3000f696bcda8513a2491bc7dc627be61ebaa5d.jpg 998w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lil Rel Howery is just one of the guest stars who crosses paths with Charlie as she runs from her problems.\u003c/figcaption>\u003c/figure>\n\u003cp>And the focus remains on the characters, because fortunately, \u003cem>Poker Face \u003c/em>makes sparing use of Charlie’s special talent for knowing when people are lying. As she explains it, as long as a person is lying intentionally — that is, they know what they’re saying isn’t true, as opposed to being wrong — she can always tell. This could easily become a lazy shortcut, where she always suddenly solves the whole case based on her magical abilities. But her special radar is deployed rarely, to the point where you’ll forget she even can do this until it comes up. And it isn’t usually about a big and central lie (like “I didn’t kill him!”), but about a small and seemingly insignificant lie (like “I had fish for dinner”) that sends her looking for an explanation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The drop schedule for \u003cem>Poker Face \u003c/em>honestly is a bit baffling; a natural candidate for a week-to-week release, it’s instead getting four episodes dropped on Peacock on January 26, and then the rest will be one per week. But whatever pacing you choose, this is a terrific show, funny and smart, that accomplishes exactly the combination of homage and experimentation that it promises.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=No+lie%3A+Natasha+Lyonne+is+unforgettable+in+%27Poker+Face%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
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