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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/boots-riley\">Boots Riley\u003c/a>’s new film \u003ci>I Love Boosters\u003c/i> hits theaters May 22, but the Bay Area gets to see it early. The Oakland director’s comedy-thriller about a high-fashion heist will have its West Coast premiere at the \u003ca href=\"https://sffilm.org/\">69th annual San Francisco International Film Festival\u003c/a>, with two back-to-back screenings April 28 at Oakland’s Grand Lake Theater.\u003c/p>\n\u003cp>Set in the Bay Area, \u003ci>I Love Boosters\u003c/i> stars Keke Palmer as the leader of an all-woman shoplifting ring, which faces off against a villainous, bob-sporting mogul played by Demi Moore. \u003ca href=\"https://www.kqed.org/arts/13985867/i-love-boosters-trailer-boots-riley-keke-palmer-don-cheadle\">The stylish trailer\u003c/a> promises snappy dialogue, fast-paced action scenes and plenty of food for thought about class and capitalism. The film gets its name from a \u003ca href=\"https://youtu.be/geY-ydeYb4M?si=3AFxq8_rGb2uBsGP\">2006 song by Riley’s hip-hop group\u003c/a>, The Coup, where Riley raps: “This goes to all them hard working women / Who risk jail time just to make them a living.”\u003c/p>\n\u003cp>https://youtu.be/r4lPRISgr9c?si=prl4nFByl5RHuowt\u003c/p>\n\u003cp>Riley has a long history with SFFILM, the organization that produces the San Francisco International Film Festival. SFFILM grants supported his earliest forays into directing, and his 2018 debut feature film \u003ci>Sorry to Bother You\u003c/i>, a dark, surrealist comedy about climbing the corporate ladder, was the San Francisco International Film Festival Centerpiece program in 2018. \u003ci>I’m a Virgo\u003c/i>, his series about a giant and his friends who take on a nefarious crime-fighting “hero,” closed out the festival in 2023.\u003c/p>\n\u003cp>“I’m hyped as hell to bring \u003ci>I Love Boosters\u003c/i> to SFFILM since they were the first organization to recognize me as a filmmaker and to support me in my filmmaking journey,” Riley said in a statement. “It’s going to be extra special to premiere in my hometown at Grand Lake Theater I’ve been going to since I was a kid. This film is my best work and it’s going to be special to see this movie, which is set in the Bay Area, play here.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>I Love Boosters\u003c/i> will be San Francisco International Film Festival’s Centerpiece program, and a conversation with Riley will follow the April 28 screening at 6:30 p.m. The second screening at 9:30 p.m. will kick off with a moderated introduction.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://sffilm.org/event/69th-san-francisco-international-film-festival/\">Tickets\u003c/a> go on sale for SFFILM members on Monday, March 2, and will be available to the general public on Wednesday, March 4. The San Francisco International Film Festival runs from April 24–May 4, and the full program will be announced on April 1.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/boots-riley\">Boots Riley\u003c/a>’s new film \u003ci>I Love Boosters\u003c/i> hits theaters May 22, but the Bay Area gets to see it early. The Oakland director’s comedy-thriller about a high-fashion heist will have its West Coast premiere at the \u003ca href=\"https://sffilm.org/\">69th annual San Francisco International Film Festival\u003c/a>, with two back-to-back screenings April 28 at Oakland’s Grand Lake Theater.\u003c/p>\n\u003cp>Set in the Bay Area, \u003ci>I Love Boosters\u003c/i> stars Keke Palmer as the leader of an all-woman shoplifting ring, which faces off against a villainous, bob-sporting mogul played by Demi Moore. \u003ca href=\"https://www.kqed.org/arts/13985867/i-love-boosters-trailer-boots-riley-keke-palmer-don-cheadle\">The stylish trailer\u003c/a> promises snappy dialogue, fast-paced action scenes and plenty of food for thought about class and capitalism. The film gets its name from a \u003ca href=\"https://youtu.be/geY-ydeYb4M?si=3AFxq8_rGb2uBsGP\">2006 song by Riley’s hip-hop group\u003c/a>, The Coup, where Riley raps: “This goes to all them hard working women / Who risk jail time just to make them a living.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/r4lPRISgr9c'\n title='//www.youtube.com/embed/r4lPRISgr9c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Riley has a long history with SFFILM, the organization that produces the San Francisco International Film Festival. SFFILM grants supported his earliest forays into directing, and his 2018 debut feature film \u003ci>Sorry to Bother You\u003c/i>, a dark, surrealist comedy about climbing the corporate ladder, was the San Francisco International Film Festival Centerpiece program in 2018. \u003ci>I’m a Virgo\u003c/i>, his series about a giant and his friends who take on a nefarious crime-fighting “hero,” closed out the festival in 2023.\u003c/p>\n\u003cp>“I’m hyped as hell to bring \u003ci>I Love Boosters\u003c/i> to SFFILM since they were the first organization to recognize me as a filmmaker and to support me in my filmmaking journey,” Riley said in a statement. “It’s going to be extra special to premiere in my hometown at Grand Lake Theater I’ve been going to since I was a kid. This film is my best work and it’s going to be special to see this movie, which is set in the Bay Area, play here.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>San Francisco’s \u003ca href=\"https://www.kqed.org/arts/category/movies\">film\u003c/a> incentive program just got a major update to attract more movie productions to the city. Filmmakers are now eligible for a 100% rebate on permits, police costs and other city fees totaling up to $1 million. There’s also a 10% rebate on the first million of qualified local spending, including hiring local crews and paying for San Francisco goods and services; a 20% rebate applies to qualified spending above a million.\u003c/p>\n\u003cp>On Wednesday, Mayor Daniel Lurie signed the new legislation, which the San Francisco Board of Supervisors passed unanimously. [aside postid='arts_13986534']\u003c/p>\n\u003cp>“Every time people visit San Francisco, they’re blown away by our city’s beauty and energy,” said Lurie in a statement. “Film takes that feeling and carries it far beyond our city limits. And when productions choose San Francisco, they do more than showcase our city’s outstanding beauty. They invest directly in our workers, our neighborhoods and our creative economy.”\u003c/p>\n\u003cp>This is the first time the film incentive program, known as Scene in San Francisco, has been updated since 2006, when it was first introduced. Previously, it only reimbursed up to $600,000 in city fees. Over the past 20 years, the program has generated $26 million in wages for local workers and $69 million in spending at San Francisco businesses.\u003c/p>\n\u003cp>San Francisco recently made several headlines in the film world. In 2025, Luca Guadagnino’s \u003ci>Artificial\u003c/i>, a forthcoming drama about OpenAI founder Sam Altman, shut down several city blocks for filming in the Mission District. And \u003cem>Josephine\u003c/em>, a dramatic thriller about an eight-year-old girl who witnesses a sexual assault in Golden Gate Park, won the Grand Jury Prize at Sundance.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Having \u003cem>Josephine\u003c/em>’s world premiere at Sundance served as a reminder of what’s possible when a city invests in its storytellers,” said San Francisco-born director Beth de Araújo in a statement. “These updates to the incentive will open the door for even more SF filmmakers to create affordably and authentically, with the incredible support of the San Francisco Film Commission. This city has so many stories to tell, and I’m excited to see what comes next.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco’s \u003ca href=\"https://www.kqed.org/arts/category/movies\">film\u003c/a> incentive program just got a major update to attract more movie productions to the city. Filmmakers are now eligible for a 100% rebate on permits, police costs and other city fees totaling up to $1 million. There’s also a 10% rebate on the first million of qualified local spending, including hiring local crews and paying for San Francisco goods and services; a 20% rebate applies to qualified spending above a million.\u003c/p>\n\u003cp>On Wednesday, Mayor Daniel Lurie signed the new legislation, which the San Francisco Board of Supervisors passed unanimously. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Every time people visit San Francisco, they’re blown away by our city’s beauty and energy,” said Lurie in a statement. “Film takes that feeling and carries it far beyond our city limits. And when productions choose San Francisco, they do more than showcase our city’s outstanding beauty. They invest directly in our workers, our neighborhoods and our creative economy.”\u003c/p>\n\u003cp>This is the first time the film incentive program, known as Scene in San Francisco, has been updated since 2006, when it was first introduced. Previously, it only reimbursed up to $600,000 in city fees. Over the past 20 years, the program has generated $26 million in wages for local workers and $69 million in spending at San Francisco businesses.\u003c/p>\n\u003cp>San Francisco recently made several headlines in the film world. In 2025, Luca Guadagnino’s \u003ci>Artificial\u003c/i>, a forthcoming drama about OpenAI founder Sam Altman, shut down several city blocks for filming in the Mission District. And \u003cem>Josephine\u003c/em>, a dramatic thriller about an eight-year-old girl who witnesses a sexual assault in Golden Gate Park, won the Grand Jury Prize at Sundance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>A film about faith and other leaps, Mona Fastvold’s remarkable \u003cem>The Testament of Ann Lee\u003c/em> does not ask us to endorse or embrace the tenets of the 18th-century English sect called United Society of Believers in Christ’s Second Coming, aka Shaking Quakers, aka the Shakers. Given that an important principle of co-founder Ann Lee (Amanda Seyfried) was celibacy, many viewers would find that a bridge too far.\u003c/p>\n\u003cp>[aside postid='arts_13985705']Several of the Shakers’ other core values, like cooperation, collaboration, ecstasy and equality among genders resonate clearly, especially for anyone who can recall the Northern California communes of the 1960s and 70s. The pleasure and power of \u003cem>The Testament of Ann Lee\u003c/em> (opening Jan. 23), though, is not to be found in the utopian speeches but in surrendering to the selfless exhibition of true believers believing. If you are willing to be entranced — to accede from time to time to a trance state — you will have a uniquely thrilling time at the movies.\u003c/p>\n\u003cp>The story opens in the 1740s in Manchester, England, where the child Ann labors in a textile factory. As she grows up, her spiritual journey takes her to Jane and James Wardley (Stacy Martin and Scott Handy), through whose fervid Quaker prayer group she meets her husband Abraham Standerin (Christopher Abbott) and develops her specific philosophy.\u003c/p>\n\u003cfigure id=\"attachment_13985686\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985686\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00144_v2_2000.jpg\" alt=\"man and woman face each other in room of people\" width=\"2000\" height=\"827\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00144_v2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00144_v2_2000-160x66.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00144_v2_2000-768x318.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00144_v2_2000-1536x635.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Christopher Abbott and Amanda Seyfried in ‘The Testament of Ann Lee.’ \u003ccite>(Searchlight Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Marriage brings physical and psychic pain, and Ann’s crucible is further forged in the fire of family tragedy. Even as she is accepted by many of the Wardley circle and her stalwart brother William (Lewis Pullman) as the true leader, Mother Ann (as she is now called) captures the unwelcome attention of the powers-that-be and is incarcerated for a couple weeks.\u003c/p>\n\u003cp>The Shakers’ saga comes into focus as a familiar dynamic of nonconformity and determination, fueled by the certainty of religious faith, running into both official and street opposition, with blood being spilled. We judge for ourselves how much of the animosity is an overreaction to noisy praying and how much is fear and hatred of a powerful woman.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The departure of the Shakers by boat to America in 1774, trading the Old World for the New, is a hugely important development for the sect. The movie opens up as well, with Manchester’s drab, chilly confines replaced by America’s broad vistas and natural light.\u003c/p>\n\u003cp>Fastvold and Brady Corbet’s literate script, brought to pulsing life by a committed cast led by Seyfried, carries \u003cem>The Testament of Ann Lee\u003c/em> a long way. But a wholly unexpected element puts the film over the top.\u003c/p>\n\u003cfigure id=\"attachment_13985685\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985685\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00063_v2_2000.jpg\" alt=\"woman and man on deck of sailing ship\" width=\"2000\" height=\"828\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00063_v2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00063_v2_2000-160x66.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00063_v2_2000-768x318.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00063_v2_2000-1536x636.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Amanda Seyfried and Lewis Pullman journey to America in ‘The Testament of Ann Lee.’ \u003ccite>(Searchlight Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Vincent Minnelli and Bob Fosse artfully demonstrated, music and movement — song and dance — are powerful vehicles for not only conveying deep emotions but enrolling audiences in leaps of joy and amazement and flights of mind. Daring to dare is the sentiment at the heart of a movie musical, and the quality that moviegoers respond to.\u003c/p>\n\u003cp>\u003cem>The Testament of Ann Lee\u003c/em> isn’t exactly a musical in the sense that the songs don’t tell the story. Fastvold and composer Daniel Blumberg (whose score for Fastvold and Corbet’s \u003cem>The Brutalist\u003c/em> won the Oscar last year) chose a dozen melodies from the Shaker hymnal archive, and Celia Rowlson-Hall choreographed a mix of individual and ensemble numbers.\u003c/p>\n\u003cp>[aside postid='arts_13985320']These dances don’t just prevent \u003cem>The Testament of Ann Lee\u003c/em> from succumbing to the stuck-in-wax fate of a lot of standard biopics and period pieces. They bring the magic, and the entrancement, without feeling anachronistic and pulling us out of the 18th century.\u003c/p>\n\u003cp>\u003cem>The Testament of Ann Lee\u003c/em> is set in a world very different from ours and also not so different, a world of mysteries and dangers where people fear new ideas and are made to fear newcomers. Where superstitions or religious dogma or conspiracy theories are cited to soothe our uncertainty.\u003c/p>\n\u003cp>Perhaps every utopian endeavor is fated to come to an end, whether from internal dynamics or external forces. Maybe our task is to take inspiration from the faith and the effort. \u003cem>The Testament of Ann Lee\u003c/em> asks us to consider whether we are on the side of the creators or the destroyers.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Testament of Ann Lee’ opens Jan. 23, 2026 in Bay Area theaters.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A film about faith and other leaps, Mona Fastvold’s remarkable \u003cem>The Testament of Ann Lee\u003c/em> does not ask us to endorse or embrace the tenets of the 18th-century English sect called United Society of Believers in Christ’s Second Coming, aka Shaking Quakers, aka the Shakers. Given that an important principle of co-founder Ann Lee (Amanda Seyfried) was celibacy, many viewers would find that a bridge too far.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Several of the Shakers’ other core values, like cooperation, collaboration, ecstasy and equality among genders resonate clearly, especially for anyone who can recall the Northern California communes of the 1960s and 70s. The pleasure and power of \u003cem>The Testament of Ann Lee\u003c/em> (opening Jan. 23), though, is not to be found in the utopian speeches but in surrendering to the selfless exhibition of true believers believing. If you are willing to be entranced — to accede from time to time to a trance state — you will have a uniquely thrilling time at the movies.\u003c/p>\n\u003cp>The story opens in the 1740s in Manchester, England, where the child Ann labors in a textile factory. As she grows up, her spiritual journey takes her to Jane and James Wardley (Stacy Martin and Scott Handy), through whose fervid Quaker prayer group she meets her husband Abraham Standerin (Christopher Abbott) and develops her specific philosophy.\u003c/p>\n\u003cfigure id=\"attachment_13985686\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985686\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00144_v2_2000.jpg\" alt=\"man and woman face each other in room of people\" width=\"2000\" height=\"827\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00144_v2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00144_v2_2000-160x66.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00144_v2_2000-768x318.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00144_v2_2000-1536x635.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Christopher Abbott and Amanda Seyfried in ‘The Testament of Ann Lee.’ \u003ccite>(Searchlight Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Marriage brings physical and psychic pain, and Ann’s crucible is further forged in the fire of family tragedy. Even as she is accepted by many of the Wardley circle and her stalwart brother William (Lewis Pullman) as the true leader, Mother Ann (as she is now called) captures the unwelcome attention of the powers-that-be and is incarcerated for a couple weeks.\u003c/p>\n\u003cp>The Shakers’ saga comes into focus as a familiar dynamic of nonconformity and determination, fueled by the certainty of religious faith, running into both official and street opposition, with blood being spilled. We judge for ourselves how much of the animosity is an overreaction to noisy praying and how much is fear and hatred of a powerful woman.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The departure of the Shakers by boat to America in 1774, trading the Old World for the New, is a hugely important development for the sect. The movie opens up as well, with Manchester’s drab, chilly confines replaced by America’s broad vistas and natural light.\u003c/p>\n\u003cp>Fastvold and Brady Corbet’s literate script, brought to pulsing life by a committed cast led by Seyfried, carries \u003cem>The Testament of Ann Lee\u003c/em> a long way. But a wholly unexpected element puts the film over the top.\u003c/p>\n\u003cfigure id=\"attachment_13985685\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985685\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00063_v2_2000.jpg\" alt=\"woman and man on deck of sailing ship\" width=\"2000\" height=\"828\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00063_v2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00063_v2_2000-160x66.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00063_v2_2000-768x318.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00063_v2_2000-1536x636.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Amanda Seyfried and Lewis Pullman journey to America in ‘The Testament of Ann Lee.’ \u003ccite>(Searchlight Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Vincent Minnelli and Bob Fosse artfully demonstrated, music and movement — song and dance — are powerful vehicles for not only conveying deep emotions but enrolling audiences in leaps of joy and amazement and flights of mind. Daring to dare is the sentiment at the heart of a movie musical, and the quality that moviegoers respond to.\u003c/p>\n\u003cp>\u003cem>The Testament of Ann Lee\u003c/em> isn’t exactly a musical in the sense that the songs don’t tell the story. Fastvold and composer Daniel Blumberg (whose score for Fastvold and Corbet’s \u003cem>The Brutalist\u003c/em> won the Oscar last year) chose a dozen melodies from the Shaker hymnal archive, and Celia Rowlson-Hall choreographed a mix of individual and ensemble numbers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>These dances don’t just prevent \u003cem>The Testament of Ann Lee\u003c/em> from succumbing to the stuck-in-wax fate of a lot of standard biopics and period pieces. They bring the magic, and the entrancement, without feeling anachronistic and pulling us out of the 18th century.\u003c/p>\n\u003cp>\u003cem>The Testament of Ann Lee\u003c/em> is set in a world very different from ours and also not so different, a world of mysteries and dangers where people fear new ideas and are made to fear newcomers. Where superstitions or religious dogma or conspiracy theories are cited to soothe our uncertainty.\u003c/p>\n\u003cp>Perhaps every utopian endeavor is fated to come to an end, whether from internal dynamics or external forces. Maybe our task is to take inspiration from the faith and the effort. \u003cem>The Testament of Ann Lee\u003c/em> asks us to consider whether we are on the side of the creators or the destroyers.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Testament of Ann Lee’ opens Jan. 23, 2026 in Bay Area theaters.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Leaves and bodies fall in \u003cem>No Other Choice\u003c/em>, Park Chan-wook’s masterfully devilish satire with a chilling autumnal wind blowing through it.\u003c/p>\n\u003cp>[aside postID='arts_13984386']“Come on, fall,” urges You Man-su (Lee Byung-hun) as he grills an eel for dinner for his family in the opening moments of Park’s film. He’s eager for the season to start but unprepared for the amount of cyclical collapse — familial, economic, even existential — that Park has in store.\u003c/p>\n\u003cp>Man-su pronounces the very thing no movie protagonist ever should: “I’ve got it all.” He lives with his wife, Miri (Son Ye-jin), and two children (Kim Woo Seung, Choi So Yul) in a handsome modernist house in the woods, with two golden retrievers. But almost as soon as he says that, Man-su’s fortunes turn. After 25 years at a paper mill, Man-su is laid off, as are many others, with little fanfare or apology. Desperation begins to set in. He’s forced to sell the home he loves so dearly, including the attached greenhouse where he tends to plants and bonsai trees. They even have to, horror of horrors, cancel Netflix.\u003c/p>\n\u003cfigure id=\"attachment_13985067\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13985067\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-2-2000x1333.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-2-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-2-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lee Byung-hun in ‘No Other Choice.’ \u003ccite>(Neon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another movie might have sunk with Man-su into bankruptcy and midlife struggle, following his quest to find a new line of work and restart his life. This is not that movie. Man-su, considering his prospects, decides he needs to better his odds of new employment. After posting a fake job listing and comparing all the incoming resumes, he decides he’s about the fifth best option for any new paper mill managerial jobs. He decides to kill the ones with better credentials.\u003c/p>\n\u003cp>The concept, a Grade-A barnburner of a movie idea, is not new. \u003cem>No Other Choice\u003c/em>, South Korea’s Oscar submission, is based on Donald Westlake’s 1997 crime novel \u003cem>The Ax\u003c/em>, which Costa-Gavras also made into a film in 2005. But Park, the filmmaker of such diabolical movies as \u003cem>Oldboy\u003c/em>, \u003cem>The Handmaiden\u003c/em> and \u003cem>Decision to Leave\u003c/em>, is exquisitely suited to the material. This is a director capable of conjuring menacing brutality with nothing but a hallway and hammer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And in \u003cem>No Other Choice\u003c/em>, he remains at the peak of his powers, archly and elegantly spinning a yarn about a murderous rampage that accumulates wider and wider reverberations. “Hitchcockian” is a term that often, understandably, finds Park. He is, like Hitch, a seemingly polite and erudite man with a latently dark imagination. But for more than two decades, Park has cut his own bloody, unyieldingly meticulous path in movies that are rarely predictable, very funny and sneakily revelatory.\u003c/p>\n\u003cfigure id=\"attachment_13985068\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13985068\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-3-2000x1333.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-3-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-3-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-3-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">So Yul Choi, left, and Son Ye-jin in ‘No Other Choice.’ \u003ccite>(Neon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Much of the delight of \u003cem>No Other Choice\u003c/em>, which Park co-wrote with Lee Kyoung-mi, Don McKellar and Jahye Lee, isn’t just seeing how Man-su’s scheme goes but how Park frames it. He is probably the preeminent filmmaker of putting wild, outrageous happenings into cleverly formal, eminently stylish imagery. As Man-su bumbles from target to target, each potential murder is a window into another family reckoning with unemployment. The way Man-su spies on them (or worse) adds delicious layers of satire. Relish, especially, the way Park uses reflections and trees.\u003c/p>\n\u003cp>How \u003cem>No Other Choice\u003c/em> puts capitalism in the crosshairs, with a handsome house in the center, will no doubt bring to mind another Korean satire: Bong Joon Ho’s \u003cem>Parasite\u003c/em>. Park had been wanting to make his film for almost two decades. Either way, the two movies would make one hell of a destabilizing double feature.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HKZpuG_ezvY\u003c/p>\n\u003cp>If \u003cem>Parasite\u003c/em> was the feat of an ensemble, \u003cem>No Other Choice\u003c/em> belongs to Lee. His Man-su is no killer at heart, and his attempts to become one are as comical as they are Dostoyevskian. The tone is so farcical that the gruesomeness of some of Man-su’s acts come slyly. How many movies have we seen about a parent driven, heroically, to extremes to defend their family? Man-su’s circumstance is frightfully understandable. “Our family is in a war,” he says. To keep them happy — in particular Miri — Man-su thinks whatever it takes is necessary.\u003c/p>\n\u003cp>But what makes \u003cem>No Other Choice\u003c/em> brilliant is how it shows that perceived predicament as a ubiquitous mistake of modern life. I won’t spoil the incredible final minutes of Park’s film, but they expand the notion of necessary termination — of a job, of a life — to automation, AI and beyond. The leaves falling in “No Other Choice” aren’t coming back in the spring.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘No Other Choice’ is in theaters now.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Come on, fall,” urges You Man-su (Lee Byung-hun) as he grills an eel for dinner for his family in the opening moments of Park’s film. He’s eager for the season to start but unprepared for the amount of cyclical collapse — familial, economic, even existential — that Park has in store.\u003c/p>\n\u003cp>Man-su pronounces the very thing no movie protagonist ever should: “I’ve got it all.” He lives with his wife, Miri (Son Ye-jin), and two children (Kim Woo Seung, Choi So Yul) in a handsome modernist house in the woods, with two golden retrievers. But almost as soon as he says that, Man-su’s fortunes turn. After 25 years at a paper mill, Man-su is laid off, as are many others, with little fanfare or apology. Desperation begins to set in. He’s forced to sell the home he loves so dearly, including the attached greenhouse where he tends to plants and bonsai trees. They even have to, horror of horrors, cancel Netflix.\u003c/p>\n\u003cfigure id=\"attachment_13985067\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13985067\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-2-2000x1333.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-2-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-2-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lee Byung-hun in ‘No Other Choice.’ \u003ccite>(Neon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another movie might have sunk with Man-su into bankruptcy and midlife struggle, following his quest to find a new line of work and restart his life. This is not that movie. Man-su, considering his prospects, decides he needs to better his odds of new employment. After posting a fake job listing and comparing all the incoming resumes, he decides he’s about the fifth best option for any new paper mill managerial jobs. He decides to kill the ones with better credentials.\u003c/p>\n\u003cp>The concept, a Grade-A barnburner of a movie idea, is not new. \u003cem>No Other Choice\u003c/em>, South Korea’s Oscar submission, is based on Donald Westlake’s 1997 crime novel \u003cem>The Ax\u003c/em>, which Costa-Gavras also made into a film in 2005. But Park, the filmmaker of such diabolical movies as \u003cem>Oldboy\u003c/em>, \u003cem>The Handmaiden\u003c/em> and \u003cem>Decision to Leave\u003c/em>, is exquisitely suited to the material. This is a director capable of conjuring menacing brutality with nothing but a hallway and hammer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And in \u003cem>No Other Choice\u003c/em>, he remains at the peak of his powers, archly and elegantly spinning a yarn about a murderous rampage that accumulates wider and wider reverberations. “Hitchcockian” is a term that often, understandably, finds Park. He is, like Hitch, a seemingly polite and erudite man with a latently dark imagination. But for more than two decades, Park has cut his own bloody, unyieldingly meticulous path in movies that are rarely predictable, very funny and sneakily revelatory.\u003c/p>\n\u003cfigure id=\"attachment_13985068\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13985068\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-3-2000x1333.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-3-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-3-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-3-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">So Yul Choi, left, and Son Ye-jin in ‘No Other Choice.’ \u003ccite>(Neon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Much of the delight of \u003cem>No Other Choice\u003c/em>, which Park co-wrote with Lee Kyoung-mi, Don McKellar and Jahye Lee, isn’t just seeing how Man-su’s scheme goes but how Park frames it. He is probably the preeminent filmmaker of putting wild, outrageous happenings into cleverly formal, eminently stylish imagery. As Man-su bumbles from target to target, each potential murder is a window into another family reckoning with unemployment. The way Man-su spies on them (or worse) adds delicious layers of satire. Relish, especially, the way Park uses reflections and trees.\u003c/p>\n\u003cp>How \u003cem>No Other Choice\u003c/em> puts capitalism in the crosshairs, with a handsome house in the center, will no doubt bring to mind another Korean satire: Bong Joon Ho’s \u003cem>Parasite\u003c/em>. Park had been wanting to make his film for almost two decades. Either way, the two movies would make one hell of a destabilizing double feature.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/HKZpuG_ezvY'\n title='//www.youtube.com/embed/HKZpuG_ezvY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If \u003cem>Parasite\u003c/em> was the feat of an ensemble, \u003cem>No Other Choice\u003c/em> belongs to Lee. His Man-su is no killer at heart, and his attempts to become one are as comical as they are Dostoyevskian. The tone is so farcical that the gruesomeness of some of Man-su’s acts come slyly. How many movies have we seen about a parent driven, heroically, to extremes to defend their family? Man-su’s circumstance is frightfully understandable. “Our family is in a war,” he says. To keep them happy — in particular Miri — Man-su thinks whatever it takes is necessary.\u003c/p>\n\u003cp>But what makes \u003cem>No Other Choice\u003c/em> brilliant is how it shows that perceived predicament as a ubiquitous mistake of modern life. I won’t spoil the incredible final minutes of Park’s film, but they expand the notion of necessary termination — of a job, of a life — to automation, AI and beyond. The leaves falling in “No Other Choice” aren’t coming back in the spring.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘No Other Choice’ is in theaters now.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘The Housemaid’ Is a Twisty Horror-Thriller With Nudity and Empowerment",
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"content": "\u003cp>Santa left us a present this holiday season and it is exactly what we didn’t know we needed: A twisty, psychological horror-thriller with nudity that’s all wrapped up in an empowerment message.\u003c/p>\n\u003cp>\u003cem>The Housemaid\u003c/em> is Paul Feig’s delicious, satirical look at the secret depravity of the ultra-rich, but it’s so well constructed that’s it’s not clear who’s naughty or nice. Halfway through, the movie zigs and everything you expected zags.\u003c/p>\n\u003cp>It’s almost impossible to thread the line between self-winking campy — “That’s a lot of bacon. Are you trying to kill us?” — and carving someone’s stomach with a broken piece of fine china, yet Feig and screenwriter Rebecca Sonnenshine do.\u003c/p>\n\u003cp>Sydney Sweeney stars as a down-on-her luck Millie Calloway, a gal with a troubled past living out of her car who answers an ad for a live-in housekeeper in a tony suburb of New York City. Her resume is fraudulent, as are her references.\u003c/p>\n\u003cfigure id=\"attachment_13985022\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985022\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_5_1920x1280.jpg\" alt=\"A woman stands in front of bookshelves.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_5_1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_5_1920x1280-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_5_1920x1280-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_5_1920x1280-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sydney Sweeney in ‘The Housemaid.’ \u003ccite>(Lionsgate)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Somehow, the madam of the mansion, Nina Winchester played with frosty excellence by Amanda Seyfried in pearls and creamy knits, takes a shine to this young soul. “I have a really good feeling about this, Millie,” she says in that perky, slightly crazed clipped way that Seyfried always slays with. “This is going to be fun, Millie.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Maybe not for Millie, but definitely for us. The young housekeeper gets her own room in the attic — weird that it closes with a deadbolt from the outside, but no matter — and we’re off. Mille gets a smartphone with the family’s credit card preloaded and a key for that deadbolt. “What kind of monsters are we?” asks Nina. Indeed.\u003c/p>\n\u003cp>The next day, the house is a mess when the housekeeper comes down and Seyfried is in a wide-eyed, crashing-plates, full-on psychotic rage. The sweet, supportive woman we met the day before is gone. But her hunky husband (Brandon Sklenar) is helpful and apologetic. And smoldering. Uh-oh. Did we mention he’s hunky?\u003c/p>\n\u003cfigure id=\"attachment_13985023\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985023\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_1_1920x1280.jpg\" alt=\"A woman stands in the doorway to a house.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_1_1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_1_1920x1280-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_1_1920x1280-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_1_1920x1280-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Amanda Seyfried in ‘The Housemaid.’ \u003ccite>(Lionsgate)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If at first we understand that the housekeeper is being a little manipulative — lying to get the job, for instance, or wearing glasses to seem more serious — we soon realize that all kinds of gaslighting games are being played behind these gates, and they’re much more impactful.\u003c/p>\n\u003cp>Based on Freida McFadden’s novel, \u003cem>The Housemaid\u003c/em> rides waves of manipulation and then turns the tables on what we think we’ve just seen, looking at male-female power structures and how privilege can trap people without it.\u003c/p>\n\u003cp>The film is as good looking as the actors, with nifty touches like having the main house spare, well-lit and bright, while the husband’s private screening room in the basement is done in a hellish red. There are little jokes throughout, like the husband and the housemaid bonding over old episodes of \u003cem>Family Feud\u003c/em>, with the name saying it all.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=48CtX6OgU3s\u003c/p>\n\u003cp>Feig and his team also have fun with horror movie conventions, like having a silent, foreboding groundskeeper, adding a creepy dollhouse and placing lightning and thunder during a pivotal scene. They surround the mansion with fussy, aristocratic PTA moms who have tea parties and say things like “You know what yoga means to me.”\u003c/p>\n\u003cp>Feig’s fascinating combination of gore, torture and hot sex ends happily, capped off with Taylor Swift’s perfectly conjured “I Did Something Bad” playing over the end credits. Not at all: This naughty movie is definitely on the nice list.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Housemaid’ opens in theaters Dec. 19, 2025.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Santa left us a present this holiday season and it is exactly what we didn’t know we needed: A twisty, psychological horror-thriller with nudity that’s all wrapped up in an empowerment message.\u003c/p>\n\u003cp>\u003cem>The Housemaid\u003c/em> is Paul Feig’s delicious, satirical look at the secret depravity of the ultra-rich, but it’s so well constructed that’s it’s not clear who’s naughty or nice. Halfway through, the movie zigs and everything you expected zags.\u003c/p>\n\u003cp>It’s almost impossible to thread the line between self-winking campy — “That’s a lot of bacon. Are you trying to kill us?” — and carving someone’s stomach with a broken piece of fine china, yet Feig and screenwriter Rebecca Sonnenshine do.\u003c/p>\n\u003cp>Sydney Sweeney stars as a down-on-her luck Millie Calloway, a gal with a troubled past living out of her car who answers an ad for a live-in housekeeper in a tony suburb of New York City. Her resume is fraudulent, as are her references.\u003c/p>\n\u003cfigure id=\"attachment_13985022\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985022\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_5_1920x1280.jpg\" alt=\"A woman stands in front of bookshelves.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_5_1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_5_1920x1280-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_5_1920x1280-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_5_1920x1280-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sydney Sweeney in ‘The Housemaid.’ \u003ccite>(Lionsgate)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Somehow, the madam of the mansion, Nina Winchester played with frosty excellence by Amanda Seyfried in pearls and creamy knits, takes a shine to this young soul. “I have a really good feeling about this, Millie,” she says in that perky, slightly crazed clipped way that Seyfried always slays with. “This is going to be fun, Millie.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Maybe not for Millie, but definitely for us. The young housekeeper gets her own room in the attic — weird that it closes with a deadbolt from the outside, but no matter — and we’re off. Mille gets a smartphone with the family’s credit card preloaded and a key for that deadbolt. “What kind of monsters are we?” asks Nina. Indeed.\u003c/p>\n\u003cp>The next day, the house is a mess when the housekeeper comes down and Seyfried is in a wide-eyed, crashing-plates, full-on psychotic rage. The sweet, supportive woman we met the day before is gone. But her hunky husband (Brandon Sklenar) is helpful and apologetic. And smoldering. Uh-oh. Did we mention he’s hunky?\u003c/p>\n\u003cfigure id=\"attachment_13985023\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985023\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_1_1920x1280.jpg\" alt=\"A woman stands in the doorway to a house.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_1_1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_1_1920x1280-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_1_1920x1280-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_1_1920x1280-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Amanda Seyfried in ‘The Housemaid.’ \u003ccite>(Lionsgate)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If at first we understand that the housekeeper is being a little manipulative — lying to get the job, for instance, or wearing glasses to seem more serious — we soon realize that all kinds of gaslighting games are being played behind these gates, and they’re much more impactful.\u003c/p>\n\u003cp>Based on Freida McFadden’s novel, \u003cem>The Housemaid\u003c/em> rides waves of manipulation and then turns the tables on what we think we’ve just seen, looking at male-female power structures and how privilege can trap people without it.\u003c/p>\n\u003cp>The film is as good looking as the actors, with nifty touches like having the main house spare, well-lit and bright, while the husband’s private screening room in the basement is done in a hellish red. There are little jokes throughout, like the husband and the housemaid bonding over old episodes of \u003cem>Family Feud\u003c/em>, with the name saying it all.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/48CtX6OgU3s'\n title='//www.youtube.com/embed/48CtX6OgU3s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Feig and his team also have fun with horror movie conventions, like having a silent, foreboding groundskeeper, adding a creepy dollhouse and placing lightning and thunder during a pivotal scene. They surround the mansion with fussy, aristocratic PTA moms who have tea parties and say things like “You know what yoga means to me.”\u003c/p>\n\u003cp>Feig’s fascinating combination of gore, torture and hot sex ends happily, capped off with Taylor Swift’s perfectly conjured “I Did Something Bad” playing over the end credits. Not at all: This naughty movie is definitely on the nice list.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Housemaid’ opens in theaters Dec. 19, 2025.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When I came down with a cold the day after I saw the third and latest \u003ci>Avatar\u003c/i> film, \u003ci>Fire and Ash\u003c/i>, I half-wondered if I had picked it up on Pandora.\u003c/p>\n\u003cp>The promise of Cameron’s 3D trilogy has always been immersion: immersion in a science-fiction world, in technological wonder, in a maybe future of movies. \u003cem>Avatar\u003c/em> is almost more a place to go than a movie to see.\u003c/p>\n\u003cp>[aside postID='arts_13984991']Still, it’s now been two decades since Cameron set off on this blue-tinted quest. The sheen of newness is off, or at least less pronounced, with new technological advances to contend with. \u003cem>Fire and Ash\u003c/em> is running with a behind-the-scenes video about how performance capture was used during the film’s making. The implicit message is: No, this isn’t AI.\u003c/p>\n\u003cp>The \u003cem>Avatar\u003c/em> films, with their visual-effects wizardry and clunky revisionist Western storytelling, have always felt, most of all, like an immersion in a dream of James Cameron’s. The idea of these movies, after all, first came to Cameron, he has said, in a bioluminescent vision decades ago. At their best, the \u003cem>Avatar\u003c/em> movies have felt like an otherworldly stage for Cameron to juggle so many of the things — hulking weaponry, ecological wonder, foolhardy human arrogance — that have marked his movies.\u003c/p>\n\u003cfigure id=\"attachment_13985012\" class=\"wp-caption aligncenter\" style=\"max-width: 1300px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_12_ecf8eef6.jpeg\" alt=\"flying alien ships in purple pink sky\" width=\"1300\" height=\"730\" class=\"size-full wp-image-13985012\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_12_ecf8eef6.jpeg 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_12_ecf8eef6-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_12_ecf8eef6-768x431.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_12_ecf8eef6-1200x675.jpeg 1200w\" sizes=\"auto, (max-width: 1300px) 100vw, 1300px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Avatar: Fire and Ash.’ \u003ccite>(20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Fire and Ash\u003c/em>, at well more than three hours, is our longest stay yet on Pandora and the one most likely to make you ponder why you came here in the first place. These remain epics of craft and conviction. You can feel Cameron’s deep devotion to the dynamics of his central characters, even when his interest outstrips our own.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That’s especially true in \u003cem>Fire and Ash\u003c/em>, which, following the deep-sea, family-focused part two, \u003cem>\u003ca href=\"https://www.kqed.org/arts/13922812/take-the-plunge-avatars-underwater-scenes-are-immersive-and-extraordinary\">The Way of Water\u003c/a>\u003c/em>, pivots to a new chapter of culture clash. It introduces a violent rival Na’vi clan whose rageful leader, Varang (Oona Chaplin), partners with Stephen Lang’s booming Col. Miles Quaritch and the human colonizers.\u003c/p>\n\u003cp>For those who have closely followed the \u003cem>Avatar\u003c/em> saga, I suspect \u003cem>Fire and Ash\u003c/em> will be a rewarding experience. Quaritch, Pandora’s answer to Robert Duvall’s Bill Kilgore in \u003cem>Apocalypse Now\u003c/em>, remains a ferociously captivating character. And the introduction of Chaplin’s Varang gives this installment an electricity that the previous two were missing.\u003c/p>\n\u003cp>But for those whose trips to Pandora have made less of an impact, \u003cem>Fire and Ash\u003c/em> is a bit like returning to a half-remembered vacation spot, only one where the local ponytail style is a little strange and everyone seems to have the waist of a supermodel.\u003c/p>\n\u003cfigure id=\"attachment_13985013\" class=\"wp-caption aligncenter\" style=\"max-width: 1300px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_06_9f555b49.jpeg\" alt=\"two aliens sharing a moment on shore under moonlight\" width=\"1300\" height=\"730\" class=\"size-full wp-image-13985013\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_06_9f555b49.jpeg 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_06_9f555b49-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_06_9f555b49-768x431.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_06_9f555b49-1200x675.jpeg 1200w\" sizes=\"auto, (max-width: 1300px) 100vw, 1300px\">\u003cfigcaption class=\"wp-caption-text\">Lo’ak, performed by Britain Dalton, left, and Tsireya, performed by Bailey Bass, in a scene from ‘Avatar: Fire and Ash.’ \u003ccite>(20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Time has only reinforced the sense that these films are hermetically sealed movie terrariums. They’re like a $1 billion beta test that, for all their box-office success, have ultimately proven that all the design capabilities in the world can’t conjure a story of meaningful impact. The often-remarked light cultural footprint left by the first two blockbusters only hints at why these movie seem to evaporate by the ending credits. It’s the lack of inner life to any of the characters and the bland, screen-saver aesthetics. At this point in a trilogy, nine hours in, that hollowness makes \u003cem>Fire and Ash\u003c/em> feel like almost theoretical drama: more avatar than genuine article.\u003c/p>\n\u003cp>These movies have had to work extremely hard, moment to moment, just to pass as believable. But almost every gesture, every movement and every bit of dialogue has had something unnatural about it. (The high frame rate is partially to blame.) That’s made these uncanny movies a combination, in equal measure, of things you’ve never seen before, and things you can’t unsee.\u003c/p>\n\u003cp>\u003cem>Fire and Ash\u003c/em>, scripted by Cameron, Rick Jaffa and Amanda Silver, picks up with the aftermath of the climatic battle of \u003cem>The Way of Water\u003c/em>. The Na’vi and their seafaring allies, the Metkayina clan, are nursing their wounds and recovering the human weapons that sunk to the sea floor.\u003c/p>\n\u003cp>When a rival clan called the Mangkwan or Ash People come to challenge the Na’vi, those weapons represent an ethical quandary. Should they use such firepower in their own local battles? This is a more difficult question partially because the fire-mad Mangkwan are especially bloodthirsty, led by their slinky sorceress, Vanang (played with seductive sadism by Chaplin, granddaughter of Charlie).\u003c/p>\n\u003cp>But their fight is only a piece of the larger war of \u003cem>Fire and Ash\u003c/em>. The focus of this third chapter (films four and five are said to be written but not greenlit) is interspecies coexistence. As human and Na’vi lines continue to blur, the question becomes whether the human invaders will transform Pandora or if Pandora will transform them.\u003c/p>\n\u003cfigure id=\"attachment_13985014\" class=\"wp-caption aligncenter\" style=\"max-width: 1300px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_02_e3c86849.jpeg\" alt=\"aliens in military attire glower\" width=\"1300\" height=\"730\" class=\"size-full wp-image-13985014\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_02_e3c86849.jpeg 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_02_e3c86849-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_02_e3c86849-768x431.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_02_e3c86849-1200x675.jpeg 1200w\" sizes=\"auto, (max-width: 1300px) 100vw, 1300px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Lang’s character Quaritch in a scene from ‘Avatar: Fire and Ash.’ \u003ccite>(20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That puts the focus on the three characters in various in-between states. First, there’s Spider (Jack Champion), the human son of Quaritch who lives happily with the Na’vi while breathing through a machine to survive the Pandora atmosphere. (Champion has the double misfortune of wearing a mask and looking downright puny next to the tall and slender natives.) But in \u003cem>Fire and Ash\u003c/em>, he discovers he can breathe unfiltered, a development that prompts intense military interest in a potentially hugely profitable breakthrough in Pandora assimilation.\u003c/p>\n\u003cp>There’s also Jake Sully (Sam Worthington), the former human who has made a Na’vi family with Neytiri (Zoe Saldaña). For Neytiri, the growing menace of human warfare causes her to doubt her bond with Jake. The prejudices of \u003cem>Fire and Ash\u003c/em> seep even into the home.\u003c/p>\n\u003cp>Most interesting of the three, though, remains Quaritch. He may be violently trying to subjugate Pandora but he also obviously delights in his Na’vi body and in his life on this distant moon. You can see him flinch when his commander, General Ardmore (Edie Falco), refers to their Mangkwan allies as “savages.” Meanwhile, Quaritch and Vanang hit it off like gangbusters.\u003c/p>\n\u003cp>“You’ve got new eyes, colonel,” one character tells Quaritch. “All you’ve got to do is open them.”\u003c/p>\n\u003cp>The \u003cem>Avatar\u003c/em> films have done plenty to open eyes over the past 16 years. To new cinematic horizons, to the boundlessness of Cameron’s visions, to the Papyrus font. But the most endearing quality of \u003cem>Avatar\u003c/em> is that Cameron believes so ardently in it. I might be caught up less in the goings on Pandora, but I’m kind of glad that he is. There are worse things than dreaming up a better world, with still a fighting chance.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘Avatar: Fire and Ash,’ opens in theaters Dec. 19, 2025.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I came down with a cold the day after I saw the third and latest \u003ci>Avatar\u003c/i> film, \u003ci>Fire and Ash\u003c/i>, I half-wondered if I had picked it up on Pandora.\u003c/p>\n\u003cp>The promise of Cameron’s 3D trilogy has always been immersion: immersion in a science-fiction world, in technological wonder, in a maybe future of movies. \u003cem>Avatar\u003c/em> is almost more a place to go than a movie to see.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Still, it’s now been two decades since Cameron set off on this blue-tinted quest. The sheen of newness is off, or at least less pronounced, with new technological advances to contend with. \u003cem>Fire and Ash\u003c/em> is running with a behind-the-scenes video about how performance capture was used during the film’s making. The implicit message is: No, this isn’t AI.\u003c/p>\n\u003cp>The \u003cem>Avatar\u003c/em> films, with their visual-effects wizardry and clunky revisionist Western storytelling, have always felt, most of all, like an immersion in a dream of James Cameron’s. The idea of these movies, after all, first came to Cameron, he has said, in a bioluminescent vision decades ago. At their best, the \u003cem>Avatar\u003c/em> movies have felt like an otherworldly stage for Cameron to juggle so many of the things — hulking weaponry, ecological wonder, foolhardy human arrogance — that have marked his movies.\u003c/p>\n\u003cfigure id=\"attachment_13985012\" class=\"wp-caption aligncenter\" style=\"max-width: 1300px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_12_ecf8eef6.jpeg\" alt=\"flying alien ships in purple pink sky\" width=\"1300\" height=\"730\" class=\"size-full wp-image-13985012\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_12_ecf8eef6.jpeg 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_12_ecf8eef6-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_12_ecf8eef6-768x431.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_12_ecf8eef6-1200x675.jpeg 1200w\" sizes=\"auto, (max-width: 1300px) 100vw, 1300px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Avatar: Fire and Ash.’ \u003ccite>(20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Fire and Ash\u003c/em>, at well more than three hours, is our longest stay yet on Pandora and the one most likely to make you ponder why you came here in the first place. These remain epics of craft and conviction. You can feel Cameron’s deep devotion to the dynamics of his central characters, even when his interest outstrips our own.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s especially true in \u003cem>Fire and Ash\u003c/em>, which, following the deep-sea, family-focused part two, \u003cem>\u003ca href=\"https://www.kqed.org/arts/13922812/take-the-plunge-avatars-underwater-scenes-are-immersive-and-extraordinary\">The Way of Water\u003c/a>\u003c/em>, pivots to a new chapter of culture clash. It introduces a violent rival Na’vi clan whose rageful leader, Varang (Oona Chaplin), partners with Stephen Lang’s booming Col. Miles Quaritch and the human colonizers.\u003c/p>\n\u003cp>For those who have closely followed the \u003cem>Avatar\u003c/em> saga, I suspect \u003cem>Fire and Ash\u003c/em> will be a rewarding experience. Quaritch, Pandora’s answer to Robert Duvall’s Bill Kilgore in \u003cem>Apocalypse Now\u003c/em>, remains a ferociously captivating character. And the introduction of Chaplin’s Varang gives this installment an electricity that the previous two were missing.\u003c/p>\n\u003cp>But for those whose trips to Pandora have made less of an impact, \u003cem>Fire and Ash\u003c/em> is a bit like returning to a half-remembered vacation spot, only one where the local ponytail style is a little strange and everyone seems to have the waist of a supermodel.\u003c/p>\n\u003cfigure id=\"attachment_13985013\" class=\"wp-caption aligncenter\" style=\"max-width: 1300px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_06_9f555b49.jpeg\" alt=\"two aliens sharing a moment on shore under moonlight\" width=\"1300\" height=\"730\" class=\"size-full wp-image-13985013\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_06_9f555b49.jpeg 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_06_9f555b49-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_06_9f555b49-768x431.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_06_9f555b49-1200x675.jpeg 1200w\" sizes=\"auto, (max-width: 1300px) 100vw, 1300px\">\u003cfigcaption class=\"wp-caption-text\">Lo’ak, performed by Britain Dalton, left, and Tsireya, performed by Bailey Bass, in a scene from ‘Avatar: Fire and Ash.’ \u003ccite>(20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Time has only reinforced the sense that these films are hermetically sealed movie terrariums. They’re like a $1 billion beta test that, for all their box-office success, have ultimately proven that all the design capabilities in the world can’t conjure a story of meaningful impact. The often-remarked light cultural footprint left by the first two blockbusters only hints at why these movie seem to evaporate by the ending credits. It’s the lack of inner life to any of the characters and the bland, screen-saver aesthetics. At this point in a trilogy, nine hours in, that hollowness makes \u003cem>Fire and Ash\u003c/em> feel like almost theoretical drama: more avatar than genuine article.\u003c/p>\n\u003cp>These movies have had to work extremely hard, moment to moment, just to pass as believable. But almost every gesture, every movement and every bit of dialogue has had something unnatural about it. (The high frame rate is partially to blame.) That’s made these uncanny movies a combination, in equal measure, of things you’ve never seen before, and things you can’t unsee.\u003c/p>\n\u003cp>\u003cem>Fire and Ash\u003c/em>, scripted by Cameron, Rick Jaffa and Amanda Silver, picks up with the aftermath of the climatic battle of \u003cem>The Way of Water\u003c/em>. The Na’vi and their seafaring allies, the Metkayina clan, are nursing their wounds and recovering the human weapons that sunk to the sea floor.\u003c/p>\n\u003cp>When a rival clan called the Mangkwan or Ash People come to challenge the Na’vi, those weapons represent an ethical quandary. Should they use such firepower in their own local battles? This is a more difficult question partially because the fire-mad Mangkwan are especially bloodthirsty, led by their slinky sorceress, Vanang (played with seductive sadism by Chaplin, granddaughter of Charlie).\u003c/p>\n\u003cp>But their fight is only a piece of the larger war of \u003cem>Fire and Ash\u003c/em>. The focus of this third chapter (films four and five are said to be written but not greenlit) is interspecies coexistence. As human and Na’vi lines continue to blur, the question becomes whether the human invaders will transform Pandora or if Pandora will transform them.\u003c/p>\n\u003cfigure id=\"attachment_13985014\" class=\"wp-caption aligncenter\" style=\"max-width: 1300px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_02_e3c86849.jpeg\" alt=\"aliens in military attire glower\" width=\"1300\" height=\"730\" class=\"size-full wp-image-13985014\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_02_e3c86849.jpeg 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_02_e3c86849-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_02_e3c86849-768x431.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_02_e3c86849-1200x675.jpeg 1200w\" sizes=\"auto, (max-width: 1300px) 100vw, 1300px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Lang’s character Quaritch in a scene from ‘Avatar: Fire and Ash.’ \u003ccite>(20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That puts the focus on the three characters in various in-between states. First, there’s Spider (Jack Champion), the human son of Quaritch who lives happily with the Na’vi while breathing through a machine to survive the Pandora atmosphere. (Champion has the double misfortune of wearing a mask and looking downright puny next to the tall and slender natives.) But in \u003cem>Fire and Ash\u003c/em>, he discovers he can breathe unfiltered, a development that prompts intense military interest in a potentially hugely profitable breakthrough in Pandora assimilation.\u003c/p>\n\u003cp>There’s also Jake Sully (Sam Worthington), the former human who has made a Na’vi family with Neytiri (Zoe Saldaña). For Neytiri, the growing menace of human warfare causes her to doubt her bond with Jake. The prejudices of \u003cem>Fire and Ash\u003c/em> seep even into the home.\u003c/p>\n\u003cp>Most interesting of the three, though, remains Quaritch. He may be violently trying to subjugate Pandora but he also obviously delights in his Na’vi body and in his life on this distant moon. You can see him flinch when his commander, General Ardmore (Edie Falco), refers to their Mangkwan allies as “savages.” Meanwhile, Quaritch and Vanang hit it off like gangbusters.\u003c/p>\n\u003cp>“You’ve got new eyes, colonel,” one character tells Quaritch. “All you’ve got to do is open them.”\u003c/p>\n\u003cp>The \u003cem>Avatar\u003c/em> films have done plenty to open eyes over the past 16 years. To new cinematic horizons, to the boundlessness of Cameron’s visions, to the Papyrus font. But the most endearing quality of \u003cem>Avatar\u003c/em> is that Cameron believes so ardently in it. I might be caught up less in the goings on Pandora, but I’m kind of glad that he is. There are worse things than dreaming up a better world, with still a fighting chance.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Avatar: Fire and Ash,’ opens in theaters Dec. 19, 2025.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Rooting for the underdog, on the field or in a movie, is one of America’s greatest traditions. You can trace it all the way back to our time-honored, tea-stained origin story of a ragtag band of farmers and shopkeepers taking on the British Empire. \u003c/p>\n\u003cp>[aside postID='arts_13984386']\u003cem>Marty Supreme\u003c/em> (opening Dec. 25), Josh Safdie’s beautifully crafted runaway train with an astonishing Timothée Chalamet as its pedal-to-the-metal engineer, turns the basic underdog dynamic, with all its brio and bravery and desperation and bullshit, into a feverish exposé of the fury and folly of the American Dream. If that isn’t your cup of mead, friend, what kind of patriot are you?\u003c/p>\n\u003cp>Josh Safdie’s best films (\u003cem>\u003ca href=\"https://www.kqed.org/arts/13872331/uncut-gems-glittering-darkly\">Uncut Gems\u003c/a>\u003c/em> and \u003cem>\u003ca href=\"https://www.npr.org/2017/08/11/542423079/stylishly-gritty-this-chase-thriller-really-is-a-good-time\">Good Time\u003c/a>\u003c/em>, co-directed with his brother Bennie, who also directed a sports movie on his own this year, \u003cem>\u003ca href=\"https://www.kqed.org/arts/13982077/smashing-machine-movie-review-mark-kerr-biopic-mma-dwayne-rock-johnson\">The Smashing Machine\u003c/a>\u003c/em>) center on men who know only one direction (forward) and one speed (faster). Are those protagonists (played by Adam Sandler and Robert Pattinson) and Marty running toward something or away from something? It’s a trick question, of course.\u003c/p>\n\u003cfigure id=\"attachment_13984493\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000.jpg\" alt=\"blurry image of man running down busy city street with valise\" width=\"2000\" height=\"838\" class=\"size-full wp-image-13984493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000-1536x644.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Timothée Chalamet in ‘Marty Supreme.’ \u003ccite>(A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chalamet’s Marty Mauser is inspired by the late Marty Reisman, who titled his (ghostwritten) 1974 autobiography \u003cem>\u003ca href=\"https://archive.org/details/moneyplayercon00reis\">The Money Player: The Confessions of America’s Greatest Table Tennis Champion and Hustler\u003c/a>\u003c/em>. But we have no clue this skinny kid is an athlete when we are introduced to him in the early 1950s. He’s conning a customer in his uncle’s Lower East Side shoe store into buying the too-tight pair he’s passing off as her size.\u003c/p>\n\u003cp>She’s too savvy to fall for Marty’s spiel — much of the tension in \u003cem>Marty Supreme\u003c/em> derives from whether people will fold or stiffen in the face of his high-speed verbal onslaughts — but she’s instantly displaced by the arrival of a young woman who has some urgent footwear business with Marty that takes them downstairs to the storeroom.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Marty Supreme\u003c/em>’s early scenes, set in confined spaces, convey the claustrophobia driving its namesake to exceed the world’s expectations and escape the crummy, anonymous life everyone around him seems fated to. But we aren’t prepared for Marty’s lunatic ambition, and his off-putting brand of American exceptionalism in which he effortlessly shifts from hero to victim to suit his schemes.\u003c/p>\n\u003cfigure id=\"attachment_13985002\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeScene_2000.jpg\" alt=\"black man and white man gesture over ping pong table in bowling alley\" width=\"2000\" height=\"838\" class=\"size-full wp-image-13985002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeScene_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeScene_2000-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeScene_2000-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeScene_2000-1536x644.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Tyler, the Creator and Timothée Chalamet in a scene from ‘Marty Supreme.’ \u003ccite>(A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We are both charmed by and leery of this showman, gambler and flamboyant self-promoter who, we come to see, is indifferent to the damage he leaves in his wake. If Marty is a kind of forerunner for larger-than-life competitors like Muhammad Ali, Evel Knievel, Pete Rose and John McEnroe, he’s also cut from the same cloth as the “pal” who borrowed your car and lied about the scratches and dents.\u003c/p>\n\u003cp>Most filmmakers would be content to highlight the working-class desolation of Marty’s milieu, and let the high-stakes drama of far-flung table-tennis tournaments and New Jersey bowling alley scams rivet the viewer. Safdie and co-writer Ronald Bronstein bravely go further, repeatedly reminding us of Marty’s Jewishness in ways that are edgy and shocking.\u003c/p>\n\u003cp>In one scene, Marty cajoles fellow player Béla (Hungarian actor Géza Rohrig of the shattering 2015 concentration-camp saga \u003cem>\u003ca href=\"https://www.kqed.org/arts/11241009/shallow-focus-creates-depth-of-feeling-in-son-of-saul\">Son of Saul\u003c/a>\u003c/em>) to reveal the tattooed numbers on his arm to a stranger. Later, on a trip to the Middle East, Marty shamelessly chips off a piece from a pyramid that he gifts to his mother with the line, “We built it.”\u003c/p>\n\u003cfigure id=\"attachment_13985003\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeGwen_2000.jpg\" alt=\"blond woman in hat looking up\" width=\"2000\" height=\"838\" class=\"size-full wp-image-13985003\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeGwen_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeGwen_2000-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeGwen_2000-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeGwen_2000-1536x644.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Gwyneth Paltrow in ‘Marty Supreme.’ \u003ccite>(A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It isn’t enough for Marty to make some money, get his picture in the papers and travel abroad. Nor is it enough to capture the attention of a one-time movie star (Gwyneth Paltrow) with a rich husband. Sadly, he isn’t satisfied with success.\u003c/p>\n\u003cp>If I were a lousy psychotherapist, I might see \u003cem>Marty Supreme\u003c/em> as a Holocaust-revenge movie. Marty’s taking (back) what’s his (or what he sees as the Jewish people’s). The problem with that interpretation is that Marty directs his white-hot frenzy at anyone in his path, including erstwhile friends and supporters. He combines the ambition of \u003ca href=\"https://www.youtube.com/watch?v=1ADWjL42OGc\">Duddy Kravitz\u003c/a>, the zero-to-60 acceleration of the Roadrunner and the relentlessness of the Terminator with their accompanying lack of scruples.\u003c/p>\n\u003cp>\u003cem>Marty Supreme\u003c/em> is far and away one of the best movies of 2025, and its brilliant execution extends to the way it guides your feelings toward its anti-hero. There comes a point, sooner or later, where you will stop taking Marty’s side. You may even hope for his comeuppance, as I did. And then there’s a turn where Safdie and Chalamet will likely make you root for Marty again.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>American movies typically encourage us to cheer for the underdog. \u003cem>Marty Supreme\u003c/em> makes you question that simple loyalty, and ponder how much a child of immigrants who seeks to prove that the streets are paved with gold is allowed to get away with.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rooting for the underdog, on the field or in a movie, is one of America’s greatest traditions. You can trace it all the way back to our time-honored, tea-stained origin story of a ragtag band of farmers and shopkeepers taking on the British Empire. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Marty Supreme\u003c/em> (opening Dec. 25), Josh Safdie’s beautifully crafted runaway train with an astonishing Timothée Chalamet as its pedal-to-the-metal engineer, turns the basic underdog dynamic, with all its brio and bravery and desperation and bullshit, into a feverish exposé of the fury and folly of the American Dream. If that isn’t your cup of mead, friend, what kind of patriot are you?\u003c/p>\n\u003cp>Josh Safdie’s best films (\u003cem>\u003ca href=\"https://www.kqed.org/arts/13872331/uncut-gems-glittering-darkly\">Uncut Gems\u003c/a>\u003c/em> and \u003cem>\u003ca href=\"https://www.npr.org/2017/08/11/542423079/stylishly-gritty-this-chase-thriller-really-is-a-good-time\">Good Time\u003c/a>\u003c/em>, co-directed with his brother Bennie, who also directed a sports movie on his own this year, \u003cem>\u003ca href=\"https://www.kqed.org/arts/13982077/smashing-machine-movie-review-mark-kerr-biopic-mma-dwayne-rock-johnson\">The Smashing Machine\u003c/a>\u003c/em>) center on men who know only one direction (forward) and one speed (faster). Are those protagonists (played by Adam Sandler and Robert Pattinson) and Marty running toward something or away from something? It’s a trick question, of course.\u003c/p>\n\u003cfigure id=\"attachment_13984493\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000.jpg\" alt=\"blurry image of man running down busy city street with valise\" width=\"2000\" height=\"838\" class=\"size-full wp-image-13984493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000-1536x644.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Timothée Chalamet in ‘Marty Supreme.’ \u003ccite>(A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chalamet’s Marty Mauser is inspired by the late Marty Reisman, who titled his (ghostwritten) 1974 autobiography \u003cem>\u003ca href=\"https://archive.org/details/moneyplayercon00reis\">The Money Player: The Confessions of America’s Greatest Table Tennis Champion and Hustler\u003c/a>\u003c/em>. But we have no clue this skinny kid is an athlete when we are introduced to him in the early 1950s. He’s conning a customer in his uncle’s Lower East Side shoe store into buying the too-tight pair he’s passing off as her size.\u003c/p>\n\u003cp>She’s too savvy to fall for Marty’s spiel — much of the tension in \u003cem>Marty Supreme\u003c/em> derives from whether people will fold or stiffen in the face of his high-speed verbal onslaughts — but she’s instantly displaced by the arrival of a young woman who has some urgent footwear business with Marty that takes them downstairs to the storeroom.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Marty Supreme\u003c/em>’s early scenes, set in confined spaces, convey the claustrophobia driving its namesake to exceed the world’s expectations and escape the crummy, anonymous life everyone around him seems fated to. But we aren’t prepared for Marty’s lunatic ambition, and his off-putting brand of American exceptionalism in which he effortlessly shifts from hero to victim to suit his schemes.\u003c/p>\n\u003cfigure id=\"attachment_13985002\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeScene_2000.jpg\" alt=\"black man and white man gesture over ping pong table in bowling alley\" width=\"2000\" height=\"838\" class=\"size-full wp-image-13985002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeScene_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeScene_2000-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeScene_2000-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeScene_2000-1536x644.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Tyler, the Creator and Timothée Chalamet in a scene from ‘Marty Supreme.’ \u003ccite>(A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We are both charmed by and leery of this showman, gambler and flamboyant self-promoter who, we come to see, is indifferent to the damage he leaves in his wake. If Marty is a kind of forerunner for larger-than-life competitors like Muhammad Ali, Evel Knievel, Pete Rose and John McEnroe, he’s also cut from the same cloth as the “pal” who borrowed your car and lied about the scratches and dents.\u003c/p>\n\u003cp>Most filmmakers would be content to highlight the working-class desolation of Marty’s milieu, and let the high-stakes drama of far-flung table-tennis tournaments and New Jersey bowling alley scams rivet the viewer. Safdie and co-writer Ronald Bronstein bravely go further, repeatedly reminding us of Marty’s Jewishness in ways that are edgy and shocking.\u003c/p>\n\u003cp>In one scene, Marty cajoles fellow player Béla (Hungarian actor Géza Rohrig of the shattering 2015 concentration-camp saga \u003cem>\u003ca href=\"https://www.kqed.org/arts/11241009/shallow-focus-creates-depth-of-feeling-in-son-of-saul\">Son of Saul\u003c/a>\u003c/em>) to reveal the tattooed numbers on his arm to a stranger. Later, on a trip to the Middle East, Marty shamelessly chips off a piece from a pyramid that he gifts to his mother with the line, “We built it.”\u003c/p>\n\u003cfigure id=\"attachment_13985003\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeGwen_2000.jpg\" alt=\"blond woman in hat looking up\" width=\"2000\" height=\"838\" class=\"size-full wp-image-13985003\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeGwen_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeGwen_2000-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeGwen_2000-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeGwen_2000-1536x644.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Gwyneth Paltrow in ‘Marty Supreme.’ \u003ccite>(A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It isn’t enough for Marty to make some money, get his picture in the papers and travel abroad. Nor is it enough to capture the attention of a one-time movie star (Gwyneth Paltrow) with a rich husband. Sadly, he isn’t satisfied with success.\u003c/p>\n\u003cp>If I were a lousy psychotherapist, I might see \u003cem>Marty Supreme\u003c/em> as a Holocaust-revenge movie. Marty’s taking (back) what’s his (or what he sees as the Jewish people’s). The problem with that interpretation is that Marty directs his white-hot frenzy at anyone in his path, including erstwhile friends and supporters. He combines the ambition of \u003ca href=\"https://www.youtube.com/watch?v=1ADWjL42OGc\">Duddy Kravitz\u003c/a>, the zero-to-60 acceleration of the Roadrunner and the relentlessness of the Terminator with their accompanying lack of scruples.\u003c/p>\n\u003cp>\u003cem>Marty Supreme\u003c/em> is far and away one of the best movies of 2025, and its brilliant execution extends to the way it guides your feelings toward its anti-hero. There comes a point, sooner or later, where you will stop taking Marty’s side. You may even hope for his comeuppance, as I did. And then there’s a turn where Safdie and Chalamet will likely make you root for Marty again.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>American movies typically encourage us to cheer for the underdog. \u003cem>Marty Supreme\u003c/em> makes you question that simple loyalty, and ponder how much a child of immigrants who seeks to prove that the streets are paved with gold is allowed to get away with.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "best-movies-moments-films-2025",
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"content": "\u003cp>\u003cem>This week, we’re looking back on the best art, music, food, movies and more from the year. \u003ca href=\"https://www.kqed.org/arts/tag/best-of-2025\">See our entire Best of 2025 guide here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>The imperative of narrative films, indeed of all storytelling, is forward movement. Our insistent, perennial question is, “And \u003cem>then\u003c/em> what happened?” But “what” only matters if we care about “who,” and how they react and respond to what happens.\u003c/p>\n\u003cp>The characters who stuck with me this year were on singular, propulsive journeys. They may have boarded a ship or hopped a train or ridden a spaceship, or stayed home and picked up a camera or a Ping-Pong paddle. They made unexpected and valuable discoveries, and I was glad to be along for the ride.\u003c/p>\n\u003cfigure id=\"attachment_13984487\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/LEGS04_Courtesy-of-A24_2000.jpg\" alt=\"woman on therapist couch, man taking notes beside her\" width=\"2000\" height=\"808\" class=\"size-full wp-image-13984487\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/LEGS04_Courtesy-of-A24_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/LEGS04_Courtesy-of-A24_2000-160x65.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/LEGS04_Courtesy-of-A24_2000-768x310.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/LEGS04_Courtesy-of-A24_2000-1536x621.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Conan O’Brien and Rose Byrne in ‘If I Had Legs I’d Kick You.’ \u003ccite>(Logan White/A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13982228/rose-byrne-astonishes-in-the-gripping-if-i-had-legs-id-kick-you\">If I Had Legs I’d Kick You\u003c/a>’\u003c/h2>\n\u003cp>Mary Bronstein’s desperate portrait of a struggling mother (and therapist) on her own begins with an extreme close-up of Linda (Rose Byrne) not-so-calmly listening to \u003cem>her\u003c/em> therapist and young daughter. This intimate, uncomfortable sequence is the whole movie in a nutshell: The camera never strays far from Linda’s face, immersing us in the cascading pressures that threaten to submerge her. Linda’s trajectory is a downward spiral (physician, heal thyself!), but my therapist tells me it’s always darkest just before the dawn.\u003c/p>\n\u003cfigure id=\"attachment_13984488\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NOUVELLE_VAGUE_n_00_50_48_21_2000.jpg\" alt=\"two men pushing cart with concealed camera trail man and woman on parisian street\" width=\"2000\" height=\"1459\" class=\"size-full wp-image-13984488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NOUVELLE_VAGUE_n_00_50_48_21_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NOUVELLE_VAGUE_n_00_50_48_21_2000-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NOUVELLE_VAGUE_n_00_50_48_21_2000-768x560.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NOUVELLE_VAGUE_n_00_50_48_21_2000-1536x1121.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Guillaume Marbeck as Jean-Luc Godard, Aubry Dullin as Jean-Paul Belmondo and Zoey Deutch as Jean Seberg in ‘Nouvelle Vague.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13983246/nouvelle-vague-movie-review-french-new-wave-linklater-on-godard-breathless\">Nouvelle Vague\u003c/a>’\u003c/h2>\n\u003cp>Jean-Luc Godard was the last of his many film-critic peers to direct a feature film. That made the cocky auteur slightly insecure, yet he made zero concessions to his radical approach or compromises to his unique vision. Richard Linklater’s marvelous French-language, black-and-white recreation of the making of \u003cem>Breathless\u003c/em> in Paris in 1959 chronicles the many ways the artist willfully risked a fall. Like provoking a mid-day café brawl with his producer, a physical manifestation of the philosophical tensions between art and commerce, improvisation and script, inspiration and pragmatism. Vive la révolution du cinéma!\u003c/p>\n\u003cfigure id=\"attachment_13984489\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/SentimentalValue_Renate_Reinsve_Stellan_Skarsga%CC%8Ard_Photo-Christian-Belgaux_2000.jpg\" alt=\"older man faces younger woman in front of hedge\" width=\"2000\" height=\"1202\" class=\"size-full wp-image-13984489\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/SentimentalValue_Renate_Reinsve_Stellan_Skarsgård_Photo-Christian-Belgaux_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/SentimentalValue_Renate_Reinsve_Stellan_Skarsgård_Photo-Christian-Belgaux_2000-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/SentimentalValue_Renate_Reinsve_Stellan_Skarsgård_Photo-Christian-Belgaux_2000-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/SentimentalValue_Renate_Reinsve_Stellan_Skarsgård_Photo-Christian-Belgaux_2000-1536x923.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Stellan Skarsgård and Renate Reinsve in ‘Sentimental Value.’ \u003ccite>(Christian Belgaux/NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13983315/sentimental-value-movie-review-joachim-trier-drama-stellan-skarsgard\">Sentimental Value\u003c/a>’\u003c/h2>\n\u003cp>In Joachim Trier’s richly layered drama, the fight over artistic expression is a family affair. You might think that legendary filmmaker Gustav Borg (Stellan Skarsgård) holds all the cards. However, his daughter Nora (Renate Reinsve) is a drama queen. Really. She’s a phenom whose acute stage fright — which she shockingly invokes to make out backstage with the stage manager — threatens to derail the opening night of her latest buzzy play. Trier blurs and blots the line between art and life in this dramatic opening, setting the terms of Gustav and Nora’s relationship.\u003c/p>\n\u003cfigure id=\"attachment_13984490\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/rev-1-OBAA-20250623_High_Res_JPEG_2000.jpg\" alt=\"seated young woman looks furtively to right\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13984490\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/rev-1-OBAA-20250623_High_Res_JPEG_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/rev-1-OBAA-20250623_High_Res_JPEG_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/rev-1-OBAA-20250623_High_Res_JPEG_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/rev-1-OBAA-20250623_High_Res_JPEG_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Chase Infiniti as Willa Ferguson in ‘One Battle After Another.’ \u003ccite>(Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13981463/one-battle-after-another-movie-review-leonardo-dicaprio-paul-thomas-anderson-immigration-revolution-action\">One Battle After Another\u003c/a>‘\u003c/h2>\n\u003cp>Paul Thomas Anderson’s would-be SoCal epic is framed as a long-running grudge match between erstwhile revolutionaries and the military clampdown. (\u003ca href=\"https://www.youtube.com/watch?v=9XEnTxlBuGo\">Which side are you on, which side are you on?\u003c/a>) Willa (Chase Infiniti), a mixed-race teenager of unambiguous innocence, is caught in the crossfire. In a rare quiet moment amid the battlefield chaos and cacophony, alone in a sun-blazed car while men fight over her, she peers through the shadows on the windshield and takes her life into her own hands. Now Willa’s journey truly begins, while everyone else keeps on running in circles over the same old ground.\u003c/p>\n\u003cfigure id=\"attachment_13984491\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/08_4243_D012_00172_R_rgb_2000.jpg\" alt=\"woman with shaved head and white cream on skin sits on bed, hands bound\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13984491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/08_4243_D012_00172_R_rgb_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/08_4243_D012_00172_R_rgb_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/08_4243_D012_00172_R_rgb_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/08_4243_D012_00172_R_rgb_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Emma Stone as Michelle in director Yorgos Lanthimos’ ‘Bugonia.’Focus Features release. \u003ccite>(Atsushi Nishijima/Focus Features)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13982740/bugonia-movie-review-emma-stone-jesse-plemons-yorgos-lanthimos\">Bugonia\u003c/a>’\u003c/h2>\n\u003cp>High-powered biotech CEO Michelle (Emma Stone) isn’t on a journey so much as a mission. But it isn’t apparent until Michelle has been kidnapped and chained in a mad conspiracy theorist’s basement. Abused, humiliated and covered in blood, Michelle refuses to be a victim for even a nanosecond. Stone’s commitment to frequent collaborator Yorgos Lanthimos is extraordinary, notably in the moment her face hardens into a mask of fearless fury.\u003c/p>\n\u003cfigure id=\"attachment_13984492\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Train_Dreams_u_00_43_38_15_R_2000.jpg\" alt=\"white man holds axe, looks up at massive tree\" width=\"2000\" height=\"1373\" class=\"size-full wp-image-13984492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Train_Dreams_u_00_43_38_15_R_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Train_Dreams_u_00_43_38_15_R_2000-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Train_Dreams_u_00_43_38_15_R_2000-768x527.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Train_Dreams_u_00_43_38_15_R_2000-1536x1054.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Joel Edgerton as Robert Grainier in ‘Train Dreams.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13983447/train-dreams-review-movie\">Train Dreams\u003c/a>’\u003c/h2>\n\u003cp>Looking straight down on a green Pacific Northwest forest, we watch a branch inexorably fall from a great height onto a man. Is it random bad luck? God’s mighty hand? Nature’s way of avenging the violence that loggers do to trees? Or the accidental handiwork of another laborer? Robert Grainier (Joel Edgerton), the simple protagonist of Clint Bentley’s meditation on the effects of 20th-century progress on one individual, grapples as best he can with these and other questions. \u003c/p>\n\u003cfigure id=\"attachment_13984493\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000.jpg\" alt=\"blurry image of man running down busy city street with valise\" width=\"2000\" height=\"838\" class=\"size-full wp-image-13984493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000-1536x644.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Timothée Chalamet in ‘Marty Supreme.’ \u003ccite>(A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Marty Supreme’\u003c/h2>\n\u003cp>Table-tennis hotshot/shoe salesman Marty Mauser’s manic drive to escape the shabby New York confines of his 1950s existence is, essentially, one battle after another. Here’s one: Dead-set on flying to London for a major tournament, the perpetually broke Marty (Timothée Chalamet) forces a co-worker at gunpoint to open the safe so he can take his “back pay.” Josh Safdie’s astonishing film is a nonstop barrage of extreme moments. Alas, for all his sound and fury, Marty ain’t going nowhere.\u003c/p>\n\u003cfigure id=\"attachment_13984494\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/TTAL_SG_00067_v2_2000.jpg\" alt=\"people in 18th-century clothes raise arms together on ship deck\" width=\"2000\" height=\"828\" class=\"size-full wp-image-13984494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/TTAL_SG_00067_v2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/TTAL_SG_00067_v2_2000-160x66.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/TTAL_SG_00067_v2_2000-768x318.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/TTAL_SG_00067_v2_2000-1536x636.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Amanda Seyfried and ensemble in ‘The Testament of Ann Lee.’ \u003ccite>(Searchlight Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Testament of Ann Lee’\u003c/h2>\n\u003cp>Mona Fastvold’s entrancing recreation of the Shaker religious movement contemplates the utopian aspirations of faith. In a turning point in the English sect’s development, its single-minded leader Ann Lee (Amanda Seyfried) declares that its future is in the New World. En route, a mid-Atlantic storm threatens the ship. Lee and her followers commandeer the deck for ecstatic prayer, braving the rain and the jeers of the disbelieving crew. On a rough and uncertain journey, it is helpful to be accompanied by your God, or a strong director. Some would say they are the same thing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Eight scintillating scenes from (some of) the year’s most compelling cinematic journeys.",
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"title": "The Best Movie Moments of 2025 | KQED",
"description": "Eight scintillating scenes from (some of) the year’s most compelling cinematic journeys.",
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"headline": "The Best Movie Moments of 2025",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This week, we’re looking back on the best art, music, food, movies and more from the year. \u003ca href=\"https://www.kqed.org/arts/tag/best-of-2025\">See our entire Best of 2025 guide here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>The imperative of narrative films, indeed of all storytelling, is forward movement. Our insistent, perennial question is, “And \u003cem>then\u003c/em> what happened?” But “what” only matters if we care about “who,” and how they react and respond to what happens.\u003c/p>\n\u003cp>The characters who stuck with me this year were on singular, propulsive journeys. They may have boarded a ship or hopped a train or ridden a spaceship, or stayed home and picked up a camera or a Ping-Pong paddle. They made unexpected and valuable discoveries, and I was glad to be along for the ride.\u003c/p>\n\u003cfigure id=\"attachment_13984487\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/LEGS04_Courtesy-of-A24_2000.jpg\" alt=\"woman on therapist couch, man taking notes beside her\" width=\"2000\" height=\"808\" class=\"size-full wp-image-13984487\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/LEGS04_Courtesy-of-A24_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/LEGS04_Courtesy-of-A24_2000-160x65.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/LEGS04_Courtesy-of-A24_2000-768x310.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/LEGS04_Courtesy-of-A24_2000-1536x621.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Conan O’Brien and Rose Byrne in ‘If I Had Legs I’d Kick You.’ \u003ccite>(Logan White/A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13982228/rose-byrne-astonishes-in-the-gripping-if-i-had-legs-id-kick-you\">If I Had Legs I’d Kick You\u003c/a>’\u003c/h2>\n\u003cp>Mary Bronstein’s desperate portrait of a struggling mother (and therapist) on her own begins with an extreme close-up of Linda (Rose Byrne) not-so-calmly listening to \u003cem>her\u003c/em> therapist and young daughter. This intimate, uncomfortable sequence is the whole movie in a nutshell: The camera never strays far from Linda’s face, immersing us in the cascading pressures that threaten to submerge her. Linda’s trajectory is a downward spiral (physician, heal thyself!), but my therapist tells me it’s always darkest just before the dawn.\u003c/p>\n\u003cfigure id=\"attachment_13984488\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NOUVELLE_VAGUE_n_00_50_48_21_2000.jpg\" alt=\"two men pushing cart with concealed camera trail man and woman on parisian street\" width=\"2000\" height=\"1459\" class=\"size-full wp-image-13984488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NOUVELLE_VAGUE_n_00_50_48_21_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NOUVELLE_VAGUE_n_00_50_48_21_2000-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NOUVELLE_VAGUE_n_00_50_48_21_2000-768x560.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NOUVELLE_VAGUE_n_00_50_48_21_2000-1536x1121.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Guillaume Marbeck as Jean-Luc Godard, Aubry Dullin as Jean-Paul Belmondo and Zoey Deutch as Jean Seberg in ‘Nouvelle Vague.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13983246/nouvelle-vague-movie-review-french-new-wave-linklater-on-godard-breathless\">Nouvelle Vague\u003c/a>’\u003c/h2>\n\u003cp>Jean-Luc Godard was the last of his many film-critic peers to direct a feature film. That made the cocky auteur slightly insecure, yet he made zero concessions to his radical approach or compromises to his unique vision. Richard Linklater’s marvelous French-language, black-and-white recreation of the making of \u003cem>Breathless\u003c/em> in Paris in 1959 chronicles the many ways the artist willfully risked a fall. Like provoking a mid-day café brawl with his producer, a physical manifestation of the philosophical tensions between art and commerce, improvisation and script, inspiration and pragmatism. Vive la révolution du cinéma!\u003c/p>\n\u003cfigure id=\"attachment_13984489\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/SentimentalValue_Renate_Reinsve_Stellan_Skarsga%CC%8Ard_Photo-Christian-Belgaux_2000.jpg\" alt=\"older man faces younger woman in front of hedge\" width=\"2000\" height=\"1202\" class=\"size-full wp-image-13984489\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/SentimentalValue_Renate_Reinsve_Stellan_Skarsgård_Photo-Christian-Belgaux_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/SentimentalValue_Renate_Reinsve_Stellan_Skarsgård_Photo-Christian-Belgaux_2000-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/SentimentalValue_Renate_Reinsve_Stellan_Skarsgård_Photo-Christian-Belgaux_2000-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/SentimentalValue_Renate_Reinsve_Stellan_Skarsgård_Photo-Christian-Belgaux_2000-1536x923.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Stellan Skarsgård and Renate Reinsve in ‘Sentimental Value.’ \u003ccite>(Christian Belgaux/NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13983315/sentimental-value-movie-review-joachim-trier-drama-stellan-skarsgard\">Sentimental Value\u003c/a>’\u003c/h2>\n\u003cp>In Joachim Trier’s richly layered drama, the fight over artistic expression is a family affair. You might think that legendary filmmaker Gustav Borg (Stellan Skarsgård) holds all the cards. However, his daughter Nora (Renate Reinsve) is a drama queen. Really. She’s a phenom whose acute stage fright — which she shockingly invokes to make out backstage with the stage manager — threatens to derail the opening night of her latest buzzy play. Trier blurs and blots the line between art and life in this dramatic opening, setting the terms of Gustav and Nora’s relationship.\u003c/p>\n\u003cfigure id=\"attachment_13984490\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/rev-1-OBAA-20250623_High_Res_JPEG_2000.jpg\" alt=\"seated young woman looks furtively to right\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13984490\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/rev-1-OBAA-20250623_High_Res_JPEG_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/rev-1-OBAA-20250623_High_Res_JPEG_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/rev-1-OBAA-20250623_High_Res_JPEG_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/rev-1-OBAA-20250623_High_Res_JPEG_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Chase Infiniti as Willa Ferguson in ‘One Battle After Another.’ \u003ccite>(Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13981463/one-battle-after-another-movie-review-leonardo-dicaprio-paul-thomas-anderson-immigration-revolution-action\">One Battle After Another\u003c/a>‘\u003c/h2>\n\u003cp>Paul Thomas Anderson’s would-be SoCal epic is framed as a long-running grudge match between erstwhile revolutionaries and the military clampdown. (\u003ca href=\"https://www.youtube.com/watch?v=9XEnTxlBuGo\">Which side are you on, which side are you on?\u003c/a>) Willa (Chase Infiniti), a mixed-race teenager of unambiguous innocence, is caught in the crossfire. In a rare quiet moment amid the battlefield chaos and cacophony, alone in a sun-blazed car while men fight over her, she peers through the shadows on the windshield and takes her life into her own hands. Now Willa’s journey truly begins, while everyone else keeps on running in circles over the same old ground.\u003c/p>\n\u003cfigure id=\"attachment_13984491\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/08_4243_D012_00172_R_rgb_2000.jpg\" alt=\"woman with shaved head and white cream on skin sits on bed, hands bound\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13984491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/08_4243_D012_00172_R_rgb_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/08_4243_D012_00172_R_rgb_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/08_4243_D012_00172_R_rgb_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/08_4243_D012_00172_R_rgb_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Emma Stone as Michelle in director Yorgos Lanthimos’ ‘Bugonia.’Focus Features release. \u003ccite>(Atsushi Nishijima/Focus Features)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13982740/bugonia-movie-review-emma-stone-jesse-plemons-yorgos-lanthimos\">Bugonia\u003c/a>’\u003c/h2>\n\u003cp>High-powered biotech CEO Michelle (Emma Stone) isn’t on a journey so much as a mission. But it isn’t apparent until Michelle has been kidnapped and chained in a mad conspiracy theorist’s basement. Abused, humiliated and covered in blood, Michelle refuses to be a victim for even a nanosecond. Stone’s commitment to frequent collaborator Yorgos Lanthimos is extraordinary, notably in the moment her face hardens into a mask of fearless fury.\u003c/p>\n\u003cfigure id=\"attachment_13984492\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Train_Dreams_u_00_43_38_15_R_2000.jpg\" alt=\"white man holds axe, looks up at massive tree\" width=\"2000\" height=\"1373\" class=\"size-full wp-image-13984492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Train_Dreams_u_00_43_38_15_R_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Train_Dreams_u_00_43_38_15_R_2000-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Train_Dreams_u_00_43_38_15_R_2000-768x527.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Train_Dreams_u_00_43_38_15_R_2000-1536x1054.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Joel Edgerton as Robert Grainier in ‘Train Dreams.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13983447/train-dreams-review-movie\">Train Dreams\u003c/a>’\u003c/h2>\n\u003cp>Looking straight down on a green Pacific Northwest forest, we watch a branch inexorably fall from a great height onto a man. Is it random bad luck? God’s mighty hand? Nature’s way of avenging the violence that loggers do to trees? Or the accidental handiwork of another laborer? Robert Grainier (Joel Edgerton), the simple protagonist of Clint Bentley’s meditation on the effects of 20th-century progress on one individual, grapples as best he can with these and other questions. \u003c/p>\n\u003cfigure id=\"attachment_13984493\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000.jpg\" alt=\"blurry image of man running down busy city street with valise\" width=\"2000\" height=\"838\" class=\"size-full wp-image-13984493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000-1536x644.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Timothée Chalamet in ‘Marty Supreme.’ \u003ccite>(A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Marty Supreme’\u003c/h2>\n\u003cp>Table-tennis hotshot/shoe salesman Marty Mauser’s manic drive to escape the shabby New York confines of his 1950s existence is, essentially, one battle after another. Here’s one: Dead-set on flying to London for a major tournament, the perpetually broke Marty (Timothée Chalamet) forces a co-worker at gunpoint to open the safe so he can take his “back pay.” Josh Safdie’s astonishing film is a nonstop barrage of extreme moments. Alas, for all his sound and fury, Marty ain’t going nowhere.\u003c/p>\n\u003cfigure id=\"attachment_13984494\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/TTAL_SG_00067_v2_2000.jpg\" alt=\"people in 18th-century clothes raise arms together on ship deck\" width=\"2000\" height=\"828\" class=\"size-full wp-image-13984494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/TTAL_SG_00067_v2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/TTAL_SG_00067_v2_2000-160x66.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/TTAL_SG_00067_v2_2000-768x318.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/TTAL_SG_00067_v2_2000-1536x636.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Amanda Seyfried and ensemble in ‘The Testament of Ann Lee.’ \u003ccite>(Searchlight Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Testament of Ann Lee’\u003c/h2>\n\u003cp>Mona Fastvold’s entrancing recreation of the Shaker religious movement contemplates the utopian aspirations of faith. In a turning point in the English sect’s development, its single-minded leader Ann Lee (Amanda Seyfried) declares that its future is in the New World. En route, a mid-Atlantic storm threatens the ship. Lee and her followers commandeer the deck for ecstatic prayer, braving the rain and the jeers of the disbelieving crew. On a rough and uncertain journey, it is helpful to be accompanied by your God, or a strong director. Some would say they are the same thing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/sffilm\">SFFILM\u003c/a> has awarded $543,000 in grants to film filmmakers from around the world. The funding, \u003ca href=\"https://sffilm.org/sffilm-announces-543k-in-grants-for-filmmakers/\">announced today\u003c/a>, will support over 30 projects ranging from short films to full-length documentaries.\u003c/p>\n\u003cp>While the artistic development grants support filmmakers as far away as Haiti, Honduras, Ghana and Guatemala, a handful of recipients have Bay Area ties — and are telling Bay Area stories. San Francisco-based \u003ca href=\"https://snikflix.com/about\">Sahand Nikoukar\u003c/a>, Berkeley filmmaker \u003ca href=\"https://www.eliviashaw.com/\">Elivia Shaw\u003c/a>, and Stanford professor \u003ca href=\"https://art.stanford.edu/people/jamie-meltzer\">Jamie Meltzer\u003c/a>, as well as San Francisco born-and-raised artist \u003ca href=\"https://www.bravenewfilms.org/roisin_isner\">Róisín Isner\u003c/a> and Richmond’s own \u003ca href=\"https://mariavictoriaponce.com/\">Vicky Ponce\u003c/a> are all SFFILM grantees.\u003c/p>\n\u003cp>Ponce says the funds will assist her with post-production for her comical coming-of-age film, \u003cem>Juan Po and The Last Day of School\u003c/em>.\u003c/p>\n\u003cp>The story, written by Ponce, centers on a 13-year-old boy who wants to impress his teacher, so he gets an in-home perm done by his pops — and then the teenager has to manage the hairy situation that comes thereafter.\u003c/p>\n\u003cp>“It’s about Sierreño music, broccoli haircuts and all the things all the kids are into,” says Ponce during a phone call. A filmmaker whose \u003ca href=\"https://www.kqed.org/arts/13921773/maria-victoria-ponce\">past works\u003c/a> explore the awkward stages of youth and the importance of family connections, she says this feel-good tale is both universal and very grounded in the Bay Area.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She says having a good story, one that will capture audiences, is just part of the equation when she’s looking for funding these days. After \u003ca href=\"https://www.kqed.org/arts/13975921/national-endowment-for-the-arts-grant-cancellations\">major cuts to national arts funding\u003c/a> this year, “the pot has become smaller,” Ponce says. “People are applying for the same things.” \u003c/p>\n\u003cp>Her saving grace as a full-time filmmaker has come from local grants like the one she just received, the SFFILM/San Francisco Conservatory of Music Sound and Cinema Fellowship, which specifically helps develop an original soundtrack.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s exciting get to save $6,000–$10,000, not having to worry about someone creating my post-music,” says Ponce. “It’s exciting that there are still some grants out there for Bay Area artists.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/sffilm\">SFFILM\u003c/a> has awarded $543,000 in grants to film filmmakers from around the world. The funding, \u003ca href=\"https://sffilm.org/sffilm-announces-543k-in-grants-for-filmmakers/\">announced today\u003c/a>, will support over 30 projects ranging from short films to full-length documentaries.\u003c/p>\n\u003cp>While the artistic development grants support filmmakers as far away as Haiti, Honduras, Ghana and Guatemala, a handful of recipients have Bay Area ties — and are telling Bay Area stories. San Francisco-based \u003ca href=\"https://snikflix.com/about\">Sahand Nikoukar\u003c/a>, Berkeley filmmaker \u003ca href=\"https://www.eliviashaw.com/\">Elivia Shaw\u003c/a>, and Stanford professor \u003ca href=\"https://art.stanford.edu/people/jamie-meltzer\">Jamie Meltzer\u003c/a>, as well as San Francisco born-and-raised artist \u003ca href=\"https://www.bravenewfilms.org/roisin_isner\">Róisín Isner\u003c/a> and Richmond’s own \u003ca href=\"https://mariavictoriaponce.com/\">Vicky Ponce\u003c/a> are all SFFILM grantees.\u003c/p>\n\u003cp>Ponce says the funds will assist her with post-production for her comical coming-of-age film, \u003cem>Juan Po and The Last Day of School\u003c/em>.\u003c/p>\n\u003cp>The story, written by Ponce, centers on a 13-year-old boy who wants to impress his teacher, so he gets an in-home perm done by his pops — and then the teenager has to manage the hairy situation that comes thereafter.\u003c/p>\n\u003cp>“It’s about Sierreño music, broccoli haircuts and all the things all the kids are into,” says Ponce during a phone call. A filmmaker whose \u003ca href=\"https://www.kqed.org/arts/13921773/maria-victoria-ponce\">past works\u003c/a> explore the awkward stages of youth and the importance of family connections, she says this feel-good tale is both universal and very grounded in the Bay Area.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She says having a good story, one that will capture audiences, is just part of the equation when she’s looking for funding these days. After \u003ca href=\"https://www.kqed.org/arts/13975921/national-endowment-for-the-arts-grant-cancellations\">major cuts to national arts funding\u003c/a> this year, “the pot has become smaller,” Ponce says. “People are applying for the same things.” \u003c/p>\n\u003cp>Her saving grace as a full-time filmmaker has come from local grants like the one she just received, the SFFILM/San Francisco Conservatory of Music Sound and Cinema Fellowship, which specifically helps develop an original soundtrack.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s exciting get to save $6,000–$10,000, not having to worry about someone creating my post-music,” says Ponce. “It’s exciting that there are still some grants out there for Bay Area artists.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In His New Film, Oakland Rapper Bryce Savoy Explores Fatherhood Through Generations",
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"content": "\u003cp>On New Year’s Day, 2024, hip-hop artist Bryce Savoy’s life was irrevocably changed: His biggest fan, his father Bryce Fluellen, tragically passed away at 53 years old. Among the important lessons Big Bryce (as he was known to friends and family) imparted on his son were that everything one wants to do in life is ripe for the taking, and what life offers is not restricted to one lane. [aside postid='arts_13983443']\u003c/p>\n\u003cp>Originally from Ann Arbor, Michigan, Big Bryce attended Howard University where he met Tee Tee from Hercules, California. They fell in love and moved to East Oakland, where Savoy was born and raised. Big Bryce worked as a chef and was involved in the food-justice movement; he did cooking demos for the American Heart Association, and made healthy and accessible food his life’s work until his untimely death. His advocacy led him to Los Angeles, where he worked in food policy and taught entrepreneurship in underserved communities through \u003ca href=\"https://everytable.com/pages/about\">Everytable\u003c/a>.\u003c/p>\n\u003cp>Savoy eventually left Oakland and moved to LA to pursue music and, more importantly, be closer to his father. Unbeknownst to him, he’d be spending his father’s final years with him.\u003c/p>\n\u003cp>In Savoy’s grief, he processed the best way he knew how, recording a four-track EP titled \u003ci>Big Bryce Son\u003c/i>, which includes a heartfelt title track. Big Bryce’s death was followed by the birth of Savoy’s son Zimri — monumental life events occurring just ten months apart.\u003c/p>\n\u003cp>“I think I realized how much life and death sit in the same house,” Savoy tells KQED. “They occupy the same space in life, in terms of a beginning and an end.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/b-NYAegfPDk?si=CRqXhRqGWYHZDGfM\u003c/p>\n\u003cp>Despite the joy Zimri brings Savoy, the fact that Zimri will never meet his grandfather compounds his grief, as does Zimri arriving into this world with serious health complications. So Savoy decided to capture this moment in time in a short documentary, also titled \u003ci>Big Bryce Son\u003c/i>.\u003c/p>\n\u003cp>Savoy hosts the \u003ca href=\"https://luma.com/euus0fft\">documentary’s Oakland premiere on Friday, Nov. 14\u003c/a>, at Rhythm Section Art Lounge for two screenings at 7:30 p.m. and 9 p.m.\u003c/p>\n\u003cp>“That’s my gift, to be able to transmute whatever grieving, trauma or suffering I’m going through over my life, and being able to put it into my artistry,” Savoy says. “It’s powerful because it’s all of our stories. We’re all going to experience grief. We’re all going to experience trials and tribulations.”\u003c/p>\n\u003cfigure id=\"attachment_13983612\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983612\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_0781.jpg\" alt=\"A father and his adult son put their arms around each other. \" width=\"2048\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_0781.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_0781-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_0781-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_0781-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_0781-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Bryce Fluellen (right) imparted many lessons about following one’s creative path. \u003ccite>(Courtesy of Bryce Savoy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the documentary’s 30-minute run time, more than a dozen interviews with loved ones filmed across California tell this tale of fatherhood across generations. Viewers hear from Big Bryce in his own words, taken from a \u003ca href=\"https://youtube.com/playlist?list=PLpYbHFVGjoX0P5BfAeblzv_F2u3McAtRT&si=EiXeMw0Ffkx8l05a\">father-son podcast\u003c/a> they recorded together.\u003c/p>\n\u003cp>Big Bryce compliments Savoy for being a point guard in his rap career, unafraid to hand the ball to others so they can contribute or shine. Later, he reflects on his son’s two albums, \u003ci>Neighborhood Diamonds\u003c/i> and \u003ci>King Diamond\u003c/i> with the highest praise hip-hop heads can give: “No skips.” Seeing Savoy’s reaction tells the whole story: Big Bryce poured love into his son that empowered Savoy to chase his dreams and persevere through obstacles. His latest LP, \u003ci>\u003ca href=\"https://youtu.be/5g2aGen5Fnw?si=MZ4tdGE_IvZkLrsz\">Just Keep Shining\u003c/a>\u003c/i>, released on Nov. 3, gets its name from the mantra that’s kept Savoy going through his grief.\u003c/p>\n\u003cp>https://youtu.be/U1FJemD7sJk?si=QbDSuJTLFVv_p7TD\u003c/p>\n\u003cp>“I know I’m going through the most trying, most transformational, toughest times of my life right now, but I’m the most inspired,” Savoy says. “All the opportunities that I’ve wanted in life are coming rapidly. That’s not for nothing. It’s a testament to my perseverance and resilience, and that’s what this project represents for sure.”\u003c/p>\n\u003cp>Hip-hop is a constant, unifying and driving force in Savoy’s life. When he was a baby, his uncle, Bay Area rap legend G-Nut, would delight him with raps. His older cousin is rapper G Maly, and they’ve been making music together their whole lives, going on 20-plus years of official releases.\u003c/p>\n\u003cp>Savoy has expanded his entrepreneurship to media projects that depict Black life with nuance through his Neighborhood Diamonds brand. \u003ci>Big Bryce Son\u003c/i> the documentary does that by following a narrative thread that embraces familial love and rejects anti-Black stereotypes about broken families. The philosophy behind Neighborhood Diamonds — to find, recognize and support diamonds in the rough — stems from how Big Bryce moved through the world. Savoy infuses that spirit into his music and entrepreneurship, and he intends to pass it down to his son Zimri. It’s all rooted in Oakland.\u003c/p>\n\u003cp>“It’s never been about the fame,” Savoy says. “It’s about being inspiring, empowering and uplifting others in my community, and making a living off my artistry.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://luma.com/euus0fft\">‘Big Bryce Son’ screens at Rhythm Section Art Lounge (2744 Eat 11th Street, Oakland) on Nov. 14\u003c/a> at 7 p.m. and 9:30 p.m., followed by a performance by Bryce Savoy and a Q&A. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On New Year’s Day, 2024, hip-hop artist Bryce Savoy’s life was irrevocably changed: His biggest fan, his father Bryce Fluellen, tragically passed away at 53 years old. Among the important lessons Big Bryce (as he was known to friends and family) imparted on his son were that everything one wants to do in life is ripe for the taking, and what life offers is not restricted to one lane. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Originally from Ann Arbor, Michigan, Big Bryce attended Howard University where he met Tee Tee from Hercules, California. They fell in love and moved to East Oakland, where Savoy was born and raised. Big Bryce worked as a chef and was involved in the food-justice movement; he did cooking demos for the American Heart Association, and made healthy and accessible food his life’s work until his untimely death. His advocacy led him to Los Angeles, where he worked in food policy and taught entrepreneurship in underserved communities through \u003ca href=\"https://everytable.com/pages/about\">Everytable\u003c/a>.\u003c/p>\n\u003cp>Savoy eventually left Oakland and moved to LA to pursue music and, more importantly, be closer to his father. Unbeknownst to him, he’d be spending his father’s final years with him.\u003c/p>\n\u003cp>In Savoy’s grief, he processed the best way he knew how, recording a four-track EP titled \u003ci>Big Bryce Son\u003c/i>, which includes a heartfelt title track. Big Bryce’s death was followed by the birth of Savoy’s son Zimri — monumental life events occurring just ten months apart.\u003c/p>\n\u003cp>“I think I realized how much life and death sit in the same house,” Savoy tells KQED. “They occupy the same space in life, in terms of a beginning and an end.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/b-NYAegfPDk'\n title='//www.youtube.com/embed/b-NYAegfPDk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Despite the joy Zimri brings Savoy, the fact that Zimri will never meet his grandfather compounds his grief, as does Zimri arriving into this world with serious health complications. So Savoy decided to capture this moment in time in a short documentary, also titled \u003ci>Big Bryce Son\u003c/i>.\u003c/p>\n\u003cp>Savoy hosts the \u003ca href=\"https://luma.com/euus0fft\">documentary’s Oakland premiere on Friday, Nov. 14\u003c/a>, at Rhythm Section Art Lounge for two screenings at 7:30 p.m. and 9 p.m.\u003c/p>\n\u003cp>“That’s my gift, to be able to transmute whatever grieving, trauma or suffering I’m going through over my life, and being able to put it into my artistry,” Savoy says. “It’s powerful because it’s all of our stories. We’re all going to experience grief. We’re all going to experience trials and tribulations.”\u003c/p>\n\u003cfigure id=\"attachment_13983612\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983612\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_0781.jpg\" alt=\"A father and his adult son put their arms around each other. \" width=\"2048\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_0781.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_0781-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_0781-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_0781-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_0781-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Bryce Fluellen (right) imparted many lessons about following one’s creative path. \u003ccite>(Courtesy of Bryce Savoy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the documentary’s 30-minute run time, more than a dozen interviews with loved ones filmed across California tell this tale of fatherhood across generations. Viewers hear from Big Bryce in his own words, taken from a \u003ca href=\"https://youtube.com/playlist?list=PLpYbHFVGjoX0P5BfAeblzv_F2u3McAtRT&si=EiXeMw0Ffkx8l05a\">father-son podcast\u003c/a> they recorded together.\u003c/p>\n\u003cp>Big Bryce compliments Savoy for being a point guard in his rap career, unafraid to hand the ball to others so they can contribute or shine. Later, he reflects on his son’s two albums, \u003ci>Neighborhood Diamonds\u003c/i> and \u003ci>King Diamond\u003c/i> with the highest praise hip-hop heads can give: “No skips.” Seeing Savoy’s reaction tells the whole story: Big Bryce poured love into his son that empowered Savoy to chase his dreams and persevere through obstacles. His latest LP, \u003ci>\u003ca href=\"https://youtu.be/5g2aGen5Fnw?si=MZ4tdGE_IvZkLrsz\">Just Keep Shining\u003c/a>\u003c/i>, released on Nov. 3, gets its name from the mantra that’s kept Savoy going through his grief.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/U1FJemD7sJk'\n title='//www.youtube.com/embed/U1FJemD7sJk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I know I’m going through the most trying, most transformational, toughest times of my life right now, but I’m the most inspired,” Savoy says. “All the opportunities that I’ve wanted in life are coming rapidly. That’s not for nothing. It’s a testament to my perseverance and resilience, and that’s what this project represents for sure.”\u003c/p>\n\u003cp>Hip-hop is a constant, unifying and driving force in Savoy’s life. When he was a baby, his uncle, Bay Area rap legend G-Nut, would delight him with raps. His older cousin is rapper G Maly, and they’ve been making music together their whole lives, going on 20-plus years of official releases.\u003c/p>\n\u003cp>Savoy has expanded his entrepreneurship to media projects that depict Black life with nuance through his Neighborhood Diamonds brand. \u003ci>Big Bryce Son\u003c/i> the documentary does that by following a narrative thread that embraces familial love and rejects anti-Black stereotypes about broken families. The philosophy behind Neighborhood Diamonds — to find, recognize and support diamonds in the rough — stems from how Big Bryce moved through the world. Savoy infuses that spirit into his music and entrepreneurship, and he intends to pass it down to his son Zimri. It’s all rooted in Oakland.\u003c/p>\n\u003cp>“It’s never been about the fame,” Savoy says. “It’s about being inspiring, empowering and uplifting others in my community, and making a living off my artistry.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://luma.com/euus0fft\">‘Big Bryce Son’ screens at Rhythm Section Art Lounge (2744 Eat 11th Street, Oakland) on Nov. 14\u003c/a> at 7 p.m. and 9:30 p.m., followed by a performance by Bryce Savoy and a Q&A. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Annemarie Jacir’s \u003ca href=\"https://arabfilm29.eventive.org/films/68ede939c29a8a39aee41cf2\">\u003ci>Palestine 36\u003c/i>\u003c/a> debuted at the Toronto Film Festival earlier this fall to a 15-minute standing ovation — the longest in the festival’s history. The historical drama is the only feature film shot in Gaza within the past two years, as Israeli missiles flew overhead.\u003c/p>\n\u003cp>Critics have hailed \u003ci>Palestine 36\u003c/i> as a stirring and deeply human depiction of a 1936 rebellion against British colonial rule, centered on the story of Yusuf, a young man whose village is threatened by displacement.\u003c/p>\n\u003cp>In an \u003ca href=\"https://www.youtube.com/watch?v=XnoNd98Gqvo\">interview with the Enlightenment Podcast\u003c/a>, Jacir connected the 1930s uprising to today’s movement for Palestinian freedom and human rights. “There’s the story of trauma and how trauma passes from generation to generation,” she said, “but there’s also the story of resistance and how we’re refusing that erasure.”\u003c/p>\n\u003cp>https://youtu.be/2sTVlhmxwEU?si=VlIxGoB-rJCW-7gA\u003c/p>\n\u003cp>\u003ci>Palestine 36\u003c/i> arrives in the Bay Area this week to kick off the \u003ca href=\"https://arabfilm29.eventive.org/welcome\">Arab Film Festival\u003c/a> with two screenings on Nov. 6 at San Francisco’s Kabuki Theater, and another on Nov. 14 at the New Parkway in Oakland. The film is Palestine’s official submission to the 2026 Academy Awards.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The festival runs through Nov. 15 and includes a diverse selection of feature films and shorts, including several other Palestinian stories. Cherien Dabis’ \u003ca href=\"https://arabfilm29.eventive.org/films/68eec122950e09bff3087c76\">\u003ci>All That’s Left of You\u003c/i>\u003c/a>, the official Academy Awards submission for Jordan, begins with a teenage Palestinian boy protesting the Israeli occupation in 1988, and rewinds time to the 1948 Nakba, when his family was driven from their home. \u003ca href=\"https://arabfilm29.eventive.org/films/6900593f49051a23aea04a85\">\u003ci>The Voice of Hind Rajab\u003c/i>\u003c/a>, the Oscar submission for Tunisia, is a narrative film about the true story of a five-year-old girl from Gaza whose killing spurred \u003ca href=\"https://www.ohchr.org/en/press-releases/2024/07/gaza-killing-hind-rajab-and-her-family-war-crime-too-many-warn-experts\">war crime accusations against Israel\u003c/a>.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The 29th annual \u003ca href=\"https://arabfilm29.eventive.org/welcome\">Arab Film Festival\u003c/a> hits theaters in San Francisco, Oakland and San Jose Nov. 6–15; some of the films are available for streaming.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Annemarie Jacir’s \u003ca href=\"https://arabfilm29.eventive.org/films/68ede939c29a8a39aee41cf2\">\u003ci>Palestine 36\u003c/i>\u003c/a> debuted at the Toronto Film Festival earlier this fall to a 15-minute standing ovation — the longest in the festival’s history. The historical drama is the only feature film shot in Gaza within the past two years, as Israeli missiles flew overhead.\u003c/p>\n\u003cp>Critics have hailed \u003ci>Palestine 36\u003c/i> as a stirring and deeply human depiction of a 1936 rebellion against British colonial rule, centered on the story of Yusuf, a young man whose village is threatened by displacement.\u003c/p>\n\u003cp>In an \u003ca href=\"https://www.youtube.com/watch?v=XnoNd98Gqvo\">interview with the Enlightenment Podcast\u003c/a>, Jacir connected the 1930s uprising to today’s movement for Palestinian freedom and human rights. “There’s the story of trauma and how trauma passes from generation to generation,” she said, “but there’s also the story of resistance and how we’re refusing that erasure.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/2sTVlhmxwEU'\n title='//www.youtube.com/embed/2sTVlhmxwEU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ci>Palestine 36\u003c/i> arrives in the Bay Area this week to kick off the \u003ca href=\"https://arabfilm29.eventive.org/welcome\">Arab Film Festival\u003c/a> with two screenings on Nov. 6 at San Francisco’s Kabuki Theater, and another on Nov. 14 at the New Parkway in Oakland. The film is Palestine’s official submission to the 2026 Academy Awards.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The festival runs through Nov. 15 and includes a diverse selection of feature films and shorts, including several other Palestinian stories. Cherien Dabis’ \u003ca href=\"https://arabfilm29.eventive.org/films/68eec122950e09bff3087c76\">\u003ci>All That’s Left of You\u003c/i>\u003c/a>, the official Academy Awards submission for Jordan, begins with a teenage Palestinian boy protesting the Israeli occupation in 1988, and rewinds time to the 1948 Nakba, when his family was driven from their home. \u003ca href=\"https://arabfilm29.eventive.org/films/6900593f49051a23aea04a85\">\u003ci>The Voice of Hind Rajab\u003c/i>\u003c/a>, the Oscar submission for Tunisia, is a narrative film about the true story of a five-year-old girl from Gaza whose killing spurred \u003ca href=\"https://www.ohchr.org/en/press-releases/2024/07/gaza-killing-hind-rajab-and-her-family-war-crime-too-many-warn-experts\">war crime accusations against Israel\u003c/a>.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The 29th annual \u003ca href=\"https://arabfilm29.eventive.org/welcome\">Arab Film Festival\u003c/a> hits theaters in San Francisco, Oakland and San Jose Nov. 6–15; some of the films are available for streaming.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Our girl Minnie Goetze would be in her mid-20s now, if movie time followed the logic of real time. Instead, the central character in the 2015 film \u003ci>\u003ca href=\"https://www.kqed.org/arts/10892979/diary-tells-a-coming-of-age-tale-rarely-seen-on-film\">The Diary of a Teenage Girl\u003c/a>\u003c/i> is forever 15 in 1976 San Francisco, figuring out who she is in the context of sex, family and her artistic dreams.\u003c/p>\n\u003cp>Even a decade after its release, Marielle Heller’s debut film remains a rare thing: a girl’s coming-of-age story that a) acknowledges its protagonist’s sexual desires; and b) doesn’t punish her for acting on them. These would be reasons enough to revisit the movie, but a \u003ca href=\"https://roxie.com/film/the-diary-of-a-teenage-girl/\">Nov. 4 screening at the Roxie\u003c/a>, co-presented by the San Francisco Film Commission (Film SF) and SFFILM, further celebrates \u003ci>Diary of a Teenage Girl\u003c/i>’s relationship to San Francisco.\u003c/p>\n\u003cp>“It was essential to me to authentically capture the city’s iconic look, feel, and spirit,” Heller said in a statement released by Film SF. “It wouldn’t have been the same anywhere else.” Heller, whose most recent film was \u003ci>\u003ca href=\"https://www.kqed.org/arts/13969167/nightbitch-movie-review-amy-adams-motherhood-wild-feminism\">Nightbitch\u003c/a>\u003c/i>, grew up in Alameda.\u003c/p>\n\u003cp>Adapted from Phoebe Gloeckner’s \u003ca href=\"https://en.wikipedia.org/wiki/The_Diary_of_a_Teenage_Girl:_An_Account_in_Words_and_Pictures\">semi-autobiographical graphic novel\u003c/a>, \u003ci>Diary of a Teenage Girl\u003c/i> follows Minnie (a breakout Bel Powley) in her pursuit of the suboptimal but “handsomest” Monroe Rutherford (Alexander Skarsgård), her mother’s 35-year-old boyfriend.\u003c/p>\n\u003cfigure id=\"attachment_13983108\" class=\"wp-caption aligncenter\" style=\"max-width: 726px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983108\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/diary-of-a-teenage-girl-kristen-wiig.jpg\" alt=\"teenage girl and woman sit at table with meal on plates\" width=\"726\" height=\"478\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/diary-of-a-teenage-girl-kristen-wiig.jpg 726w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/diary-of-a-teenage-girl-kristen-wiig-160x105.jpg 160w\" sizes=\"auto, (max-width: 726px) 100vw, 726px\">\u003cfigcaption class=\"wp-caption-text\">Bel Powley as Minnie Goetze and Kristen Wiig as her mother, Charlotte Goetze in ‘The Diary of a Teenage Girl.’ \u003ccite>(Sam Emerson/Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Everyone watching knows this is a bad idea, but this is Minnie’s story, and she’s ecstatic: “I had sex today … Holy shit!” Powley embodies Minnie and all her emotional turbulence with the help of incisive, sometimes hilarious voiceovers. Animated sequences that further illustrate Minnie’s inner life pay homage to her idol, the cartoonist \u003ca href=\"https://www.kqed.org/arts/13831138/make-way-for-the-queen-aline-kominsky-crumb-returns-to-sf\">Aline Kominsky\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The thrills, self-knowledge and, yes, fallout of Minnie’s decisions are never formulaic, in part because \u003ci>Diary of a Teenage Girl\u003c/i> is rooted in such a specific time and place. The movie benefited from Film SF’s “Scene in San Francisco” incentive program, which offers productions rebates of up to $600,000 in city fees.\u003c/p>\n\u003cp>For those interested in behind-the-scenes stories, the Roxie’s 10th anniversary screening will include a Q&A with the movie’s line producer Debbie Brubaker, first assistant director Brian Benson and set decorator Susie Alegria.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://roxie.com/film/the-diary-of-a-teenage-girl/\">The Diary of a Teenage Girl\u003c/a>’ screens Nov. 4, 2025 at 6 p.m. at the Roxie (3125 16th St., San Francisco).\u003c/i>\u003c/p>\n\n",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
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"meta": {
"site": "radio",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"id": "here-and-now",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
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"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
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