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"title": "A Prop Gun Fired by Alec Baldwin Killed a Crew Member on Set, Sheriff Says",
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"content": "\u003cp>Actor Alec Baldwin discharged a prop firearm on a movie set near Santa Fe, killing the film’s director of photography and injuring the director, according to the sheriff’s office of Santa Fe County, N.M.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2021/10/22/1048377659/halyna-hutchins-cinematographer-killed-on-a-film-set-is-honored-by-colleagues\" target=\"_blank\" rel=\"noopener noreferrer\">Halyna Hutchins\u003c/a>, 42, was airlifted Thursday afternoon, to the University of New Mexico hospital, where she was pronounced dead. Director Joel Souza, 48, was being cared for at Christus St. Vincent Medical Center as of Thursday evening.\u003c/p>\n\u003cp>Deputies responded about 2 p.m. to the \u003cem>Rust\u003c/em> movie set at the Bonanza Creek Ranch after 911 calls came in of a person being shot on set, Juan Rios, a spokesman for the sheriff said.\u003c/p>\n\u003cp>“According to investigators, it appears that the scene being filmed involved the use of a prop firearm when it was discharged,” sheriff’s spokesman Rios told the \u003cem>Albuquerque Journal\u003c/em>. “\u003ca href=\"https://www.npr.org/2021/10/22/1048395324/alec-baldwin-rust-movie-shooting-prop-gun-halyna-hutchins\" target=\"_blank\" rel=\"noopener noreferrer\">Detectives are investigating\u003c/a> how and what type of projectile was discharged.”\u003c/p>\n\u003cp>The investigation is ongoing and authorities say no charges have been filed in this incident, the sheriff’s office said. Detectives are continuing to interview witnesses.\u003c/p>\n\u003cfigure id=\"attachment_13905063\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13905063\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Screen-Shot-2021-10-21-at-11.17.02-PM-800x448.png\" alt=\"\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-21-at-11.17.02-PM-800x448.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-21-at-11.17.02-PM-1020x572.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-21-at-11.17.02-PM-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-21-at-11.17.02-PM-768x430.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-21-at-11.17.02-PM-1536x861.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-21-at-11.17.02-PM.png 1674w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Santa Fe County Sheriff’s Officers respond to the scene of the shooting. \u003ccite>(Luis Sanchez-Saturno/Santa Fe New Mexican via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Production has so far been halted on the Western movie, which is being directed by Souza with Baldwin producing and starring.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A spokesperson for Baldwin said only there was an accident on the set involving the misfire of a prop gun with blanks.\u003c/p>\n\u003cp>A publicist and manager contacted by NPR for further comment didn’t immediately respond.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.santafenewmexican.com/news/local_news/sheriffs-office-alec-baldwins-prop-firearm-kills-one-injures-another/article_9612afc6-32c5-11ec-9e2e-e3cc47b69ce5.html\" target=\"_blank\" rel=\"noopener noreferrer\">Santa Fe New Mexican reported\u003c/a> Baldwin was seen Thursday outside the sheriff’s office in tears, but attempts to get a comment from him were unsuccessful.\u003c/p>\n\u003ch2>Unions call for a continued investigation\u003c/h2>\n\u003cp>SAG-AFTRA President Fran Drescher and National Executive Director Duncan Crabtree-Ireland \u003ca href=\"https://www.sagaftra.org/statement-regarding-accident-set-rust\" target=\"_blank\" rel=\"noopener noreferrer\">said in a statement\u003c/a> that the union was “devastated” by the tragic incident.\u003c/p>\n\u003cp>“This is still an active investigation and we do not yet have all the facts,” they said in a statement. “We will continue to work with production, the other unions and the authorities to investigate this incident and to understand how to prevent such a thing from happening again.”\u003c/p>\n\u003cp>The Cinematographers Guild, of which Hutchins was a member, said the group was mourning her loss.\u003c/p>\n\u003cp>The Guild’s National President, John Lindley, and National Executive Director, Rebecca Rhine \u003ca href=\"https://deadline.com/2021/10/alec-baldwin-movie-fatal-shooting-director-crew-member-dead-rust-1234860500/\" target=\"_blank\" rel=\"noopener noreferrer\">said in a statement shared with \u003cem>Deadline\u003c/em>\u003c/a>: “The details are unclear at this moment, but we are working to learn more, and we support a full investigation into this tragic event.”\u003c/p>\n\u003cp>Hutchins, who was originally from Ukraine, graduated from the AFI conservatory in 2015. She was selected as one of American Cinematographer’s Rising Stars of 2019, \u003ca href=\"http://www.halynahutchinsdp.com/bio\" target=\"_blank\" rel=\"noopener noreferrer\">according to her website\u003c/a>.\u003c/p>\n\u003cp>On her Instagram account, Hutchins shared video of her riding a horse during the filming of \u003cem>Rust\u003c/em> and a group photo of the crew on set, in which Baldwin is included.\u003c/p>\n\u003cp>https://www.instagram.com/p/CVOR_F9jZ0c/\u003c/p>\n\u003cp>Her recent work includes the superhero action film \u003cem>Archenemy\u003c/em>, starring Joe Manganiello, and \u003cem>Blindfire\u003c/em>.\u003c/p>\n\u003cp>Filming for \u003cem>Rust\u003c/em> was set to continue into early November, according to a news release from the New Mexico Film Office.\u003c/p>\n\u003cp>The movie is about a 13-year-old boy who is left to fend for himself and his younger brother following the death of their parents in 1880s Kansas, according to the Internet Movie Database website. The teen goes on the run with his long-estranged grandfather (played by Baldwin) after the boy is sentenced to hang for the accidental killing of a local rancher.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2021/10/22/1048295916/props-gun-death-injuries-rust-movie-set-rare\" target=\"_blank\" rel=\"noopener noreferrer\">Incidents on movie or television sets\u003c/a> in which someone is killed or injured by a prop firearm are rare.\u003c/p>\n\u003cp>One such incident came in 1993, when Brandon Lee, 28, son of the late martial-arts star Bruce Lee, died after being hit by a .44-caliber slug while filming a death scene for the movie \u003cem>The Crow\u003c/em>. The gun was supposed to have fired a blank, but an autopsy turned up a bullet lodged near his spine.\u003c/p>\n\u003cp>[aside postid='arts_13905008']The accident on \u003cem>Rust\u003c/em> occurred on the same day that \u003ca href=\"https://www.instagram.com/rubyrose/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Ruby Rose posted a statement to their Instagram Stories\u003c/a> stating that their working environment on CW’s \u003cem>Batwoman\u003c/em> had been unsafe. Rose claimed that, in addition to being forced to go back to work too soon after an on-set injury and subsequent surgery, one stunt left her with a cut so close to her eye she feared being blinded.\u003c/p>\n\u003cp>Rose said that one “crew member got third degree burns over his whole body,” and that a P.A. “was left quadriplegic, and they tried to blame it on her being on her phone.”\u003c/p>\n\u003cp>Just last week, the International Alliance of Theatrical Stage Employees \u003ca href=\"https://www.npr.org/2021/10/17/1046905246/iatse-vice-president-believes-tentative-deal-will-be-overwhelmingly-ratified\" target=\"_blank\" rel=\"noopener noreferrer\">(IATSE) struck a deal with Hollywood studios\u003c/a> for better working conditions for production workers on movie and TV sets. The deal averted a labor strike.\u003c/p>\n\u003cp>\u003cem>KQED’s Rae Alexandra contributed reporting.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org/\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Actor Alec Baldwin discharged a prop firearm on a movie set near Santa Fe, killing the film’s director of photography and injuring the director, according to the sheriff’s office of Santa Fe County, N.M.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2021/10/22/1048377659/halyna-hutchins-cinematographer-killed-on-a-film-set-is-honored-by-colleagues\" target=\"_blank\" rel=\"noopener noreferrer\">Halyna Hutchins\u003c/a>, 42, was airlifted Thursday afternoon, to the University of New Mexico hospital, where she was pronounced dead. Director Joel Souza, 48, was being cared for at Christus St. Vincent Medical Center as of Thursday evening.\u003c/p>\n\u003cp>Deputies responded about 2 p.m. to the \u003cem>Rust\u003c/em> movie set at the Bonanza Creek Ranch after 911 calls came in of a person being shot on set, Juan Rios, a spokesman for the sheriff said.\u003c/p>\n\u003cp>“According to investigators, it appears that the scene being filmed involved the use of a prop firearm when it was discharged,” sheriff’s spokesman Rios told the \u003cem>Albuquerque Journal\u003c/em>. “\u003ca href=\"https://www.npr.org/2021/10/22/1048395324/alec-baldwin-rust-movie-shooting-prop-gun-halyna-hutchins\" target=\"_blank\" rel=\"noopener noreferrer\">Detectives are investigating\u003c/a> how and what type of projectile was discharged.”\u003c/p>\n\u003cp>The investigation is ongoing and authorities say no charges have been filed in this incident, the sheriff’s office said. Detectives are continuing to interview witnesses.\u003c/p>\n\u003cfigure id=\"attachment_13905063\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13905063\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Screen-Shot-2021-10-21-at-11.17.02-PM-800x448.png\" alt=\"\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-21-at-11.17.02-PM-800x448.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-21-at-11.17.02-PM-1020x572.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-21-at-11.17.02-PM-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-21-at-11.17.02-PM-768x430.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-21-at-11.17.02-PM-1536x861.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-21-at-11.17.02-PM.png 1674w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Santa Fe County Sheriff’s Officers respond to the scene of the shooting. \u003ccite>(Luis Sanchez-Saturno/Santa Fe New Mexican via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Production has so far been halted on the Western movie, which is being directed by Souza with Baldwin producing and starring.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A spokesperson for Baldwin said only there was an accident on the set involving the misfire of a prop gun with blanks.\u003c/p>\n\u003cp>A publicist and manager contacted by NPR for further comment didn’t immediately respond.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.santafenewmexican.com/news/local_news/sheriffs-office-alec-baldwins-prop-firearm-kills-one-injures-another/article_9612afc6-32c5-11ec-9e2e-e3cc47b69ce5.html\" target=\"_blank\" rel=\"noopener noreferrer\">Santa Fe New Mexican reported\u003c/a> Baldwin was seen Thursday outside the sheriff’s office in tears, but attempts to get a comment from him were unsuccessful.\u003c/p>\n\u003ch2>Unions call for a continued investigation\u003c/h2>\n\u003cp>SAG-AFTRA President Fran Drescher and National Executive Director Duncan Crabtree-Ireland \u003ca href=\"https://www.sagaftra.org/statement-regarding-accident-set-rust\" target=\"_blank\" rel=\"noopener noreferrer\">said in a statement\u003c/a> that the union was “devastated” by the tragic incident.\u003c/p>\n\u003cp>“This is still an active investigation and we do not yet have all the facts,” they said in a statement. “We will continue to work with production, the other unions and the authorities to investigate this incident and to understand how to prevent such a thing from happening again.”\u003c/p>\n\u003cp>The Cinematographers Guild, of which Hutchins was a member, said the group was mourning her loss.\u003c/p>\n\u003cp>The Guild’s National President, John Lindley, and National Executive Director, Rebecca Rhine \u003ca href=\"https://deadline.com/2021/10/alec-baldwin-movie-fatal-shooting-director-crew-member-dead-rust-1234860500/\" target=\"_blank\" rel=\"noopener noreferrer\">said in a statement shared with \u003cem>Deadline\u003c/em>\u003c/a>: “The details are unclear at this moment, but we are working to learn more, and we support a full investigation into this tragic event.”\u003c/p>\n\u003cp>Hutchins, who was originally from Ukraine, graduated from the AFI conservatory in 2015. She was selected as one of American Cinematographer’s Rising Stars of 2019, \u003ca href=\"http://www.halynahutchinsdp.com/bio\" target=\"_blank\" rel=\"noopener noreferrer\">according to her website\u003c/a>.\u003c/p>\n\u003cp>On her Instagram account, Hutchins shared video of her riding a horse during the filming of \u003cem>Rust\u003c/em> and a group photo of the crew on set, in which Baldwin is included.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Her recent work includes the superhero action film \u003cem>Archenemy\u003c/em>, starring Joe Manganiello, and \u003cem>Blindfire\u003c/em>.\u003c/p>\n\u003cp>Filming for \u003cem>Rust\u003c/em> was set to continue into early November, according to a news release from the New Mexico Film Office.\u003c/p>\n\u003cp>The movie is about a 13-year-old boy who is left to fend for himself and his younger brother following the death of their parents in 1880s Kansas, according to the Internet Movie Database website. The teen goes on the run with his long-estranged grandfather (played by Baldwin) after the boy is sentenced to hang for the accidental killing of a local rancher.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2021/10/22/1048295916/props-gun-death-injuries-rust-movie-set-rare\" target=\"_blank\" rel=\"noopener noreferrer\">Incidents on movie or television sets\u003c/a> in which someone is killed or injured by a prop firearm are rare.\u003c/p>\n\u003cp>One such incident came in 1993, when Brandon Lee, 28, son of the late martial-arts star Bruce Lee, died after being hit by a .44-caliber slug while filming a death scene for the movie \u003cem>The Crow\u003c/em>. The gun was supposed to have fired a blank, but an autopsy turned up a bullet lodged near his spine.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The accident on \u003cem>Rust\u003c/em> occurred on the same day that \u003ca href=\"https://www.instagram.com/rubyrose/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Ruby Rose posted a statement to their Instagram Stories\u003c/a> stating that their working environment on CW’s \u003cem>Batwoman\u003c/em> had been unsafe. Rose claimed that, in addition to being forced to go back to work too soon after an on-set injury and subsequent surgery, one stunt left her with a cut so close to her eye she feared being blinded.\u003c/p>\n\u003cp>Rose said that one “crew member got third degree burns over his whole body,” and that a P.A. “was left quadriplegic, and they tried to blame it on her being on her phone.”\u003c/p>\n\u003cp>Just last week, the International Alliance of Theatrical Stage Employees \u003ca href=\"https://www.npr.org/2021/10/17/1046905246/iatse-vice-president-believes-tentative-deal-will-be-overwhelmingly-ratified\" target=\"_blank\" rel=\"noopener noreferrer\">(IATSE) struck a deal with Hollywood studios\u003c/a> for better working conditions for production workers on movie and TV sets. The deal averted a labor strike.\u003c/p>\n\u003cp>\u003cem>KQED’s Rae Alexandra contributed reporting.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org/\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! Past is Prologue at United Nations Association Film Festival",
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"content": "\u003cp>The old-school definition of documentary—a nonfiction work of journalism or history with a social-justice mission—prevails at the \u003ca href=\"http://www.unaff.org/2021/schedule.html\" rel=\"noopener noreferrer\" target=\"_blank\">United Nations Association Film Festival\u003c/a> (opening Oct. 21 and continuing through Oct. 31). Founded a quarter-century ago and continuously led by Stanford professor and force of nature Jasmina Bojic, UNAFF is a conscience-rouser for Peninsula and South Bay students and faculty (and city folks on Oct. 27, when the festival plays the Roxie). \u003c/p>\n\u003cp>UNAFF is a second-chance program in the sense that many of the 60 films have played the Bay Area within the last year. Local filmmaker Abby Ginzberg’s \u003cem>Barbara Lee: Speaking Truth to Power\u003c/em> returns to the spotlight on opening night; congresswoman Lee and singer-activist Harry Belafonte will be saluted with the UNAFF Visionary Award on closing night.\u003c/p>\n\u003cfigure id=\"attachment_13905031\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/ff_ZeroGravity-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13905031\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/ff_ZeroGravity-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/ff_ZeroGravity-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/ff_ZeroGravity-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/ff_ZeroGravity-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/ff_ZeroGravity-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/ff_ZeroGravity.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Zero Gravity.’ \u003ccite>(Courtesy UNAFF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thomas Verrette’s \u003cem>Zero Gravity\u003c/em>, a Cinequest premiere back in March, profiles a group of novice coders—San Jose middle-school students—vying to develop a robot for the International Space Station. Human connection is likewise at the heart of San Francisco directors Ken Schneider and Marcia Jarmel’s Cuba-inspired, music-infused \u003cem>Los Hermanos\u003c/em> (\u003cem>The Brothers\u003c/em>), being reprised at the Roxie. East Bay filmmaker Rick Goldsmith is represented by a couple of older works, \u003cem>Mind/Game: The Unquiet Journey of Chamique Holdsclaw\u003c/em> and Oscar nominee \u003cem>Tell the Truth and Run: George Seldes and the American Press\u003c/em>, the latter chosen to mark its 25th anniversary and to highlight the ensuing decline of journalism.\u003c/p>\n\u003cp>This year’s theme is “Moving Forward,” which evokes the world’s reemergence from the pandemic while reaffirming UNAFF’s longstanding support for the Universal Declaration of Human Rights. Compassion is the defining quality of \u003cem>The Return: Life After Isis\u003c/em>, Spanish director Alba Sotorra’s South by Southwest portrait of two teenage Western women who idealistically joined Isis in Syria and are now stateless and stranded in a refugee camp.\u003c/p>\n\u003cfigure id=\"attachment_13905032\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/ff_MindGame-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13905032\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/ff_MindGame-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/ff_MindGame-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/ff_MindGame-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/ff_MindGame-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/ff_MindGame-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/ff_MindGame.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Mind/Game: The Unquiet Journey of Chamique Holdsclaw.’ \u003ccite>(Courtesy UNAFF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sonia Kennebeck’s \u003cem>United States vs. Reality Winner\u003c/em> (another SXSW premiere screening hereabouts for the first time) traces the painful saga of another woman who acted out of conscience and was betrayed by her naivete—and the FBI and her government. Air Force veteran Reality Winner was an NSA-contracted intelligence analyst when she leaked a report about Russian interference in the 2016 Presidential election. Imprisoned without bail for a year pending trial, she eventually took a plea “in exchange for” the longest sentence ever handed down under the century-old Espionage Act. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The star of the film is Billie Winner-Davis, a regular ol’ Texan who backed her daughter completely and argued tirelessly to the media and the public during the Trump years that Reality was a whistleblower, not a traitor. Reality was released from prison earlier this year (after the completion of Kennebeck’s film) to home confinement. It’s hard to conceive of anybody in the UNAFF program more enthusiastic about moving forward.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The old-school definition of documentary—a nonfiction work of journalism or history with a social-justice mission—prevails at the \u003ca href=\"http://www.unaff.org/2021/schedule.html\" rel=\"noopener noreferrer\" target=\"_blank\">United Nations Association Film Festival\u003c/a> (opening Oct. 21 and continuing through Oct. 31). Founded a quarter-century ago and continuously led by Stanford professor and force of nature Jasmina Bojic, UNAFF is a conscience-rouser for Peninsula and South Bay students and faculty (and city folks on Oct. 27, when the festival plays the Roxie). \u003c/p>\n\u003cp>UNAFF is a second-chance program in the sense that many of the 60 films have played the Bay Area within the last year. Local filmmaker Abby Ginzberg’s \u003cem>Barbara Lee: Speaking Truth to Power\u003c/em> returns to the spotlight on opening night; congresswoman Lee and singer-activist Harry Belafonte will be saluted with the UNAFF Visionary Award on closing night.\u003c/p>\n\u003cfigure id=\"attachment_13905031\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/ff_ZeroGravity-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13905031\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/ff_ZeroGravity-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/ff_ZeroGravity-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/ff_ZeroGravity-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/ff_ZeroGravity-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/ff_ZeroGravity-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/ff_ZeroGravity.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Zero Gravity.’ \u003ccite>(Courtesy UNAFF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thomas Verrette’s \u003cem>Zero Gravity\u003c/em>, a Cinequest premiere back in March, profiles a group of novice coders—San Jose middle-school students—vying to develop a robot for the International Space Station. Human connection is likewise at the heart of San Francisco directors Ken Schneider and Marcia Jarmel’s Cuba-inspired, music-infused \u003cem>Los Hermanos\u003c/em> (\u003cem>The Brothers\u003c/em>), being reprised at the Roxie. East Bay filmmaker Rick Goldsmith is represented by a couple of older works, \u003cem>Mind/Game: The Unquiet Journey of Chamique Holdsclaw\u003c/em> and Oscar nominee \u003cem>Tell the Truth and Run: George Seldes and the American Press\u003c/em>, the latter chosen to mark its 25th anniversary and to highlight the ensuing decline of journalism.\u003c/p>\n\u003cp>This year’s theme is “Moving Forward,” which evokes the world’s reemergence from the pandemic while reaffirming UNAFF’s longstanding support for the Universal Declaration of Human Rights. Compassion is the defining quality of \u003cem>The Return: Life After Isis\u003c/em>, Spanish director Alba Sotorra’s South by Southwest portrait of two teenage Western women who idealistically joined Isis in Syria and are now stateless and stranded in a refugee camp.\u003c/p>\n\u003cfigure id=\"attachment_13905032\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/ff_MindGame-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13905032\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/ff_MindGame-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/ff_MindGame-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/ff_MindGame-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/ff_MindGame-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/ff_MindGame-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/ff_MindGame.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Mind/Game: The Unquiet Journey of Chamique Holdsclaw.’ \u003ccite>(Courtesy UNAFF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sonia Kennebeck’s \u003cem>United States vs. Reality Winner\u003c/em> (another SXSW premiere screening hereabouts for the first time) traces the painful saga of another woman who acted out of conscience and was betrayed by her naivete—and the FBI and her government. Air Force veteran Reality Winner was an NSA-contracted intelligence analyst when she leaked a report about Russian interference in the 2016 Presidential election. Imprisoned without bail for a year pending trial, she eventually took a plea “in exchange for” the longest sentence ever handed down under the century-old Espionage Act. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The star of the film is Billie Winner-Davis, a regular ol’ Texan who backed her daughter completely and argued tirelessly to the media and the public during the Trump years that Reality was a whistleblower, not a traitor. Reality was released from prison earlier this year (after the completion of Kennebeck’s film) to home confinement. It’s hard to conceive of anybody in the UNAFF program more enthusiastic about moving forward.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "With 'Dune,' Denis Villeneuve Has Made Hollywood's Definitive Post-9/11 Epic",
"headTitle": "With ‘Dune,’ Denis Villeneuve Has Made Hollywood’s Definitive Post-9/11 Epic | KQED",
"content": "\u003cp>A misguided military invasion of foreign lands. A brutal insurgency. Religious and tribal warfare. The beauty and brutality of the desert. A literal \u003ca href=\"https://www.jstor.org/stable/20045621\" target=\"_blank\" rel=\"noopener noreferrer\">“Clash of Civilizations.”\u003c/a>\u003c/p>\n\u003cp>The new film adaptation of the 1965 novel \u003cem>Dune \u003c/em>has been marketed and hailed as an epic film, shot in IMAX and designed as a feast for the senses. But beyond its visual grandeur, this is a film that also leans into the novel’s sweeping, heady ideas. Author Frank Herbert had ecological, political and cultural crises on his mind when he crafted \u003cem>Dune \u003c/em>in the early 1960s—and all those philosophical layers are why the novel was long considered a text too dense, inhospitable and metaphorical to film. Previous efforts have been made to questionable ends. \u003ca href=\"https://www.npr.org/sections/13.7/2010/04/dune_best_book_worse_movie_eve.html\" target=\"_blank\" rel=\"noopener noreferrer\">(Example A: David Lynch.)\u003c/a>\u003c/p>\n\u003cp>[aside postid='arts_10134762']With the new 2021 edition, director Denis Villeneuve turns the novel’s politics into riveting and undeniable cinema—its meditations on race, culture and colonialism transformed into a widescreen epic starring Timothée Chalamet as Paul Atreides, the colonizing outsider, and Zendaya as the desert native Chani. \u003cem>Dune \u003c/em>is bathed in menace and madness—its brooding intensity a cautionary vision of a future defined by forever wars, fueled by corporate greed and brittle tribalism.\u003c/p>\n\u003cp>Frank Herbert was deeply influenced by Islamic history and Bedouin culture when he wrote \u003cem>Dune\u003c/em>. The novel’s central character, Paul, is a futurist Lawrence of Arabia, an ode to one of Herbert’s key influences. In that same spirit, Villeneuve filmed \u003cem>Dune \u003c/em>in Jordan’s Wadi Rum—the canyons of rock and sand where David Lean shot the iconic 70mm sequences of his Oscar-winning film adaptation of \u003cem>Lawrence of Arabia\u003c/em>. As in that film, the white savior narrative so customary in Hollywood stories is complicated by an extraordinary landscape that challenges the intentions and identity of the outsider. While there are certainly legitimate critiques to be made about the Orientalism and the romanticism of stories like \u003cem>Lawrence \u003c/em>and \u003cem>Dune\u003c/em>, what feels most important is the extent to which they are landscapes haunted by failure.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8g18jFHCLXk&t=81s\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>To hear the Arabic-inflected local language of the desert planet Arrakis, where the story unfolds, and to see its vast landscapes is to be quite literally transported to the Middle East. \u003ca href=\"#Thedesert%20sequences%20were%20filmed%20on%20location%20in%20Jordan%20and%20the%20United%20Arab%20Emirates\" target=\"_blank\" rel=\"noopener noreferrer\">The desert sequences were filmed on location in Jordan and the United Arab Emirates.\u003c/a> The fictional resource-rich planet possesses a coveted substance known as ‘spice,’ which fuels intergalactic travel and is the most obvious allegory of the oil wars that haunt the real-life Middle East. In Herbert’s imagination, Arrakis’ sand dunes conceal the world of the native Fremen: robed tribes fluent in the workings of the desert, and a mystical, religious people who believe in a prophetic possibility of defeating the outsiders who seek to conquer their lands.\u003c/p>\n\u003cp>On the other side of the universe, Caladan is the misty, forest native planet of the House of Atreides—a setting filmed in real-life Norway for the film’s central (white) family in tailored uniforms. When the Emperor hands possession and rule of the dunes of Arrakis to the House of Atreides, cartons are packed and armies assembled as a new colonial regime begins. There are, of course, immediate and intentional political cues to seeing a Western military power invade a seemingly primitive desert culture in hopes of extracting lucrative mineral resources. As it turns out, the sands of Arrakis conceal a sophisticated and resistant native society—as well as natural forces no military equipment can defeat. (Sandworms!)\u003c/p>\n\u003cp>[aside postid='pop_95643']I first saw \u003cem>Dune \u003c/em>last month on the 20th anniversary of 9/11 at the Toronto International Film Festival. Its original release was delayed by the pandemic so, with the accident of timing, the IMAX world premiere happened to coincide with the anniversary commemorations in Washington, Pennsylvania and New York City. On that day, the festival organizers held a panel reflecting on the legacy of the attacks, with Denis Villeneuve in attendance. It was a moment to look back at how popular culture had metabolized the losses and the aftermath of that Tuesday. While there have certainly been films about 2001, counterterrorism and American grief, there have also been limitations to how truthful those studio-funded narratives could be about the broken world that 9/11 made. Misguided wars, national failures of understanding, Islamophobia, and surveillance were all starring features of the past two decades—but those ideas have rarely been represented with much urgency. But these themes are given proper attention in Villeneuve’s modernization of Herbert’s novel—in his drawing out the narrative and the dangers of “us” versus “them.”\u003c/p>\n\u003cp>\u003cem>Dune \u003c/em>is certainly not a direct allegory for Western military misadventures in the Muslim world—or ripped from the headlines of recent foreign policy handwringing about the tragic drawdown in Afghanistan. At its core, the film is a faithful adaptation of a prescient and beloved sci-fi novel that preceded all those headlines. But Villeneuve is also a highly intelligent contemporary filmmaker, drawn to stories that push the mettle and limits of his characters. Whether it was the Lebanese Civil War in \u003ca href=\"https://www.npr.org/2011/04/22/135511141/incendies-within-a-family-secret-fires-burn\" target=\"_blank\" rel=\"noopener noreferrer\">his breakout Oscar-nominated film \u003cem>Incendies\u003c/em>\u003c/a> or \u003ca href=\"https://www.npr.org/2015/09/18/441417416/sicario-offers-a-stupendous-morally-chaotic-dive-into-the-drug-wars\" target=\"_blank\" rel=\"noopener noreferrer\">the U.S.-Mexico border in \u003cem>Sicario\u003c/em>,\u003c/a> Villeneuve is a filmmaker drawn to political fault lines and uncomfortable awakenings. There is a brooding drama to his work that rarely provides closure or answers. He crafts images and ideas designed to linger.\u003c/p>\n\u003cfigure id=\"attachment_13905018\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13905018\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Screen-Shot-2021-10-21-at-2.05.37-PM-800x499.png\" alt=\"\" width=\"800\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-21-at-2.05.37-PM-800x499.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-21-at-2.05.37-PM-1020x636.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-21-at-2.05.37-PM-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-21-at-2.05.37-PM-768x479.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-21-at-2.05.37-PM.png 1234w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The battle scenes in ‘Dune’ feel fitting for a war film about tomorrow made for today. \u003ccite>(Courtesy of Warner Bros. Pictures and Legendary Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In one of the IMAX sequences in \u003cem>Dune\u003c/em>, military helicopters with dragonfly wings hover across vast desert landscapes, scanning and searching for spice fields and insurgent tribes as Hans Zimmer’s score rumbles below. Drones search for sandworms as radio signals and viewfinders become an integral part of the film’s visual language. In one extraordinary and terrifying set piece, missiles and flames fall like rain over an airfield. That mood of madness and war never lifts from Villeneuve’s filmmaking. It feels fitting for a war film about tomorrow made for today.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>America’s wars of 9/11 were essentially sand wars, waged in inhospitable and formidable ancient cultures amid expansive, cinematic landscapes. Insurgencies and guerilla warfare humbled and crumbled delusions of victory despite military superiority. What \u003cem>Dune \u003c/em>achieves—as Frank Herbert himself wrote—is an ambivalence and suspicion of “good wars.” The film’s allegiance is with the natives, and certainly with cultural humility toward the unfamiliar and the unknowable. Colonizing another is a brutal if not a fatal mission. There is also a palpable fatigue and exhaustion from waging distant wars that haunts the soldiers of \u003cem>Dune\u003c/em>. Unseen but ever-present forces make Arrakis a graveyard of Empires—and an ambivalence about heroism makes \u003cem>Dune \u003c/em>a quite rare mainstream Hollywood epic for and about the world 9/11 made.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=With+%27Dune%2C%27+Denis+Villeneuve+has+made+Hollywood%27s+definitive+post-9%2F11+epic&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A misguided military invasion of foreign lands. A brutal insurgency. Religious and tribal warfare. The beauty and brutality of the desert. A literal \u003ca href=\"https://www.jstor.org/stable/20045621\" target=\"_blank\" rel=\"noopener noreferrer\">“Clash of Civilizations.”\u003c/a>\u003c/p>\n\u003cp>The new film adaptation of the 1965 novel \u003cem>Dune \u003c/em>has been marketed and hailed as an epic film, shot in IMAX and designed as a feast for the senses. But beyond its visual grandeur, this is a film that also leans into the novel’s sweeping, heady ideas. Author Frank Herbert had ecological, political and cultural crises on his mind when he crafted \u003cem>Dune \u003c/em>in the early 1960s—and all those philosophical layers are why the novel was long considered a text too dense, inhospitable and metaphorical to film. Previous efforts have been made to questionable ends. \u003ca href=\"https://www.npr.org/sections/13.7/2010/04/dune_best_book_worse_movie_eve.html\" target=\"_blank\" rel=\"noopener noreferrer\">(Example A: David Lynch.)\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>With the new 2021 edition, director Denis Villeneuve turns the novel’s politics into riveting and undeniable cinema—its meditations on race, culture and colonialism transformed into a widescreen epic starring Timothée Chalamet as Paul Atreides, the colonizing outsider, and Zendaya as the desert native Chani. \u003cem>Dune \u003c/em>is bathed in menace and madness—its brooding intensity a cautionary vision of a future defined by forever wars, fueled by corporate greed and brittle tribalism.\u003c/p>\n\u003cp>Frank Herbert was deeply influenced by Islamic history and Bedouin culture when he wrote \u003cem>Dune\u003c/em>. The novel’s central character, Paul, is a futurist Lawrence of Arabia, an ode to one of Herbert’s key influences. In that same spirit, Villeneuve filmed \u003cem>Dune \u003c/em>in Jordan’s Wadi Rum—the canyons of rock and sand where David Lean shot the iconic 70mm sequences of his Oscar-winning film adaptation of \u003cem>Lawrence of Arabia\u003c/em>. As in that film, the white savior narrative so customary in Hollywood stories is complicated by an extraordinary landscape that challenges the intentions and identity of the outsider. While there are certainly legitimate critiques to be made about the Orientalism and the romanticism of stories like \u003cem>Lawrence \u003c/em>and \u003cem>Dune\u003c/em>, what feels most important is the extent to which they are landscapes haunted by failure.\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/8g18jFHCLXk'\n title='//www.youtube.com/embed/8g18jFHCLXk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To hear the Arabic-inflected local language of the desert planet Arrakis, where the story unfolds, and to see its vast landscapes is to be quite literally transported to the Middle East. \u003ca href=\"#Thedesert%20sequences%20were%20filmed%20on%20location%20in%20Jordan%20and%20the%20United%20Arab%20Emirates\" target=\"_blank\" rel=\"noopener noreferrer\">The desert sequences were filmed on location in Jordan and the United Arab Emirates.\u003c/a> The fictional resource-rich planet possesses a coveted substance known as ‘spice,’ which fuels intergalactic travel and is the most obvious allegory of the oil wars that haunt the real-life Middle East. In Herbert’s imagination, Arrakis’ sand dunes conceal the world of the native Fremen: robed tribes fluent in the workings of the desert, and a mystical, religious people who believe in a prophetic possibility of defeating the outsiders who seek to conquer their lands.\u003c/p>\n\u003cp>On the other side of the universe, Caladan is the misty, forest native planet of the House of Atreides—a setting filmed in real-life Norway for the film’s central (white) family in tailored uniforms. When the Emperor hands possession and rule of the dunes of Arrakis to the House of Atreides, cartons are packed and armies assembled as a new colonial regime begins. There are, of course, immediate and intentional political cues to seeing a Western military power invade a seemingly primitive desert culture in hopes of extracting lucrative mineral resources. As it turns out, the sands of Arrakis conceal a sophisticated and resistant native society—as well as natural forces no military equipment can defeat. (Sandworms!)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I first saw \u003cem>Dune \u003c/em>last month on the 20th anniversary of 9/11 at the Toronto International Film Festival. Its original release was delayed by the pandemic so, with the accident of timing, the IMAX world premiere happened to coincide with the anniversary commemorations in Washington, Pennsylvania and New York City. On that day, the festival organizers held a panel reflecting on the legacy of the attacks, with Denis Villeneuve in attendance. It was a moment to look back at how popular culture had metabolized the losses and the aftermath of that Tuesday. While there have certainly been films about 2001, counterterrorism and American grief, there have also been limitations to how truthful those studio-funded narratives could be about the broken world that 9/11 made. Misguided wars, national failures of understanding, Islamophobia, and surveillance were all starring features of the past two decades—but those ideas have rarely been represented with much urgency. But these themes are given proper attention in Villeneuve’s modernization of Herbert’s novel—in his drawing out the narrative and the dangers of “us” versus “them.”\u003c/p>\n\u003cp>\u003cem>Dune \u003c/em>is certainly not a direct allegory for Western military misadventures in the Muslim world—or ripped from the headlines of recent foreign policy handwringing about the tragic drawdown in Afghanistan. At its core, the film is a faithful adaptation of a prescient and beloved sci-fi novel that preceded all those headlines. But Villeneuve is also a highly intelligent contemporary filmmaker, drawn to stories that push the mettle and limits of his characters. Whether it was the Lebanese Civil War in \u003ca href=\"https://www.npr.org/2011/04/22/135511141/incendies-within-a-family-secret-fires-burn\" target=\"_blank\" rel=\"noopener noreferrer\">his breakout Oscar-nominated film \u003cem>Incendies\u003c/em>\u003c/a> or \u003ca href=\"https://www.npr.org/2015/09/18/441417416/sicario-offers-a-stupendous-morally-chaotic-dive-into-the-drug-wars\" target=\"_blank\" rel=\"noopener noreferrer\">the U.S.-Mexico border in \u003cem>Sicario\u003c/em>,\u003c/a> Villeneuve is a filmmaker drawn to political fault lines and uncomfortable awakenings. There is a brooding drama to his work that rarely provides closure or answers. He crafts images and ideas designed to linger.\u003c/p>\n\u003cfigure id=\"attachment_13905018\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13905018\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Screen-Shot-2021-10-21-at-2.05.37-PM-800x499.png\" alt=\"\" width=\"800\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-21-at-2.05.37-PM-800x499.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-21-at-2.05.37-PM-1020x636.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-21-at-2.05.37-PM-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-21-at-2.05.37-PM-768x479.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-21-at-2.05.37-PM.png 1234w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The battle scenes in ‘Dune’ feel fitting for a war film about tomorrow made for today. \u003ccite>(Courtesy of Warner Bros. Pictures and Legendary Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In one of the IMAX sequences in \u003cem>Dune\u003c/em>, military helicopters with dragonfly wings hover across vast desert landscapes, scanning and searching for spice fields and insurgent tribes as Hans Zimmer’s score rumbles below. Drones search for sandworms as radio signals and viewfinders become an integral part of the film’s visual language. In one extraordinary and terrifying set piece, missiles and flames fall like rain over an airfield. That mood of madness and war never lifts from Villeneuve’s filmmaking. It feels fitting for a war film about tomorrow made for today.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>America’s wars of 9/11 were essentially sand wars, waged in inhospitable and formidable ancient cultures amid expansive, cinematic landscapes. Insurgencies and guerilla warfare humbled and crumbled delusions of victory despite military superiority. What \u003cem>Dune \u003c/em>achieves—as Frank Herbert himself wrote—is an ambivalence and suspicion of “good wars.” The film’s allegiance is with the natives, and certainly with cultural humility toward the unfamiliar and the unknowable. Colonizing another is a brutal if not a fatal mission. There is also a palpable fatigue and exhaustion from waging distant wars that haunts the soldiers of \u003cem>Dune\u003c/em>. Unseen but ever-present forces make Arrakis a graveyard of Empires—and an ambivalence about heroism makes \u003cem>Dune \u003c/em>a quite rare mainstream Hollywood epic for and about the world 9/11 made.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=With+%27Dune%2C%27+Denis+Villeneuve+has+made+Hollywood%27s+definitive+post-9%2F11+epic&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'The Last Duel' is a 'Rashomon'-Style #MeToo Story—and a Messy Medieval Epic",
"headTitle": "‘The Last Duel’ is a ‘Rashomon’-Style #MeToo Story—and a Messy Medieval Epic | KQED",
"content": "\u003cp>\u003cem>The Last Duel \u003c/em>is a sprawling, often ungainly movie—a talky, three-part \u003ca href=\"https://www.youtube.com/watch?v=Zqoyl2p8_lw\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Rashomon\u003c/em>\u003c/a>-style drama that mixes past and present-day politics—but there’s a bracing intelligence to its messiness. It opens the way a lot of Ridley Scott period epics do, on a gloomy day with two sides preparing for battle.\u003c/p>\n\u003cp>[aside postid='arts_13894842']We’re in Paris in the year 1386, and the combatants are the dashing squire Jacques Le Gris—that’s \u003ca href=\"https://www.npr.org/2015/08/26/434868775/former-marine-adam-driver-on-what-acting-and-the-military-have-in-common\" target=\"_blank\" rel=\"noopener noreferrer\">Adam Driver\u003c/a>—and the sullen knight Sir Jean de Carrouges—that’s \u003ca href=\"https://www.kqed.org/pop/96702/even-when-matt-damon-is-apologizing-he-gets-it-wrong\" target=\"_blank\" rel=\"noopener noreferrer\">Matt Damon\u003c/a>. Jean’s wife, Marguerite, played by Jodie Comer, watches anxiously from her seat. Just as the two men are about to clash lances, the movie cuts away and rewinds several years to show what brought these three characters to this moment.\u003c/p>\n\u003cp>There’s a lot more rewinding to come. \u003cem>The Last Duel\u003c/em> is based on a true story that it tells no fewer than three times, each time from a different character’s perspective. The script, adapted from Eric Jager’s \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=4245183\" target=\"_blank\" rel=\"noopener noreferrer\">nonfiction book\u003c/a>, emerged from a unique collaboration among three writers. Damon and \u003ca href=\"https://www.npr.org/2014/10/04/352772313/affleck-gone-girl-was-freeing-and-batman-will-be-no-daredevil\" target=\"_blank\" rel=\"noopener noreferrer\">Ben Affleck\u003c/a> wrote the first two chapters focusing on the men, while \u003ca href=\"https://www.npr.org/2019/02/22/696961097/oscar-nominated-filmmaker-nicole-holofcener\">Nicole Holofcener\u003c/a> wrote the third chapter centering on Marguerite. It’s an ingenious approach to what plays like a medieval #MeToo story, tackling the dynamics of power, class and gender in an era when women were regarded as little more than male property.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mgygUwPJvYk\u003c/p>\n\u003cp>The opening chapter focuses on Carrouges, played by Damon with a righteous scowl and a mullet so hideous it almost immediately turns you against him. Carrouges is a brave warrior from a long line of brave warriors, but also a proud, petty man with a chip on his shoulder. We first see him and Le Gris in 1370, fighting valiantly against the English and becoming close friends. But Carrouges begins to feel resentful when their superior—Count Pierre d’Alençon, a saucy libertine played hilariously by Affleck—takes Le Gris under his wing. The count even gives Le Gris a coveted piece of land that was originally intended for Carrouges as part of his wife Marguerite’s dowry, leading to years of legal struggles.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Then one evening, Marguerite comes forward and tells her husband that while he was away, Le Gris came to their castle in Normandy and raped her. Carrouges takes the accusation public, setting in motion a duel between himself and Le Gris, which would become the last trial by combat officially recognized in France.\u003c/p>\n\u003cp>At this point, the first chapter ends and the movie returns to the beginning, this time replaying events from Le Gris’ perspective. As one of the count’s closest allies, Le Gris has come to enjoy a life of privilege and debauchery, and Driver basically plays him as God’s gift to women. That stokes his tensions with Carrouges, who eventually is made a knight and demands that Le Gris show him respect.\u003c/p>\n\u003cp>Around this time, Le Gris falls madly in love with Marguerite and becomes certain that she reciprocates his feelings. That brings us to their fateful encounter, in which Le Gris convinces himself that Marguerite’s protests are merely the signs of a guilty conscience. But even though the movie is showing us his version of events, it rejects his delusion completely: What we see is unmistakably a sexual assault, in which Marguerite repeatedly says no and tries to push him away.\u003c/p>\n\u003cp>[aside postid='arts_13903966']The third chapter, which unfolds from Marguerite’s perspective, revisits the rape scene, and for some viewers—fair warning—it may seem like one grueling replay too many, especially since Marguerite’s trauma is now even more apparent. But this is also the chapter in which the moral arc of the story snaps into focus. After so much boorish male behavior, fully embodied by Damon and Driver, the fierce intelligence and humanity of Comer’s performance is like a balm. Marguerite emerges as by far the most honest and clear-eyed of the movie’s three leads, heroic in her refusal to stay silent about what she endured.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Near the end of the film, Marguerite finds herself on trial, forced to defend her rape allegation in a court full of men trying to discredit her. The sequence plays like dark satire, suggesting how much has changed and also how much hasn’t. And then there’s the duel, which feels almost subversively anticlimactic: It delivers all the gory virtuosity you’d expect from Ridley Scott, but something about it rings deliberately hollow. It hardly matters which man wins, the movie seems to be saying, in a world where women are destined to lose.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Last+Duel%27+is+a+%27Rashomon%27-style+%23MeToo+story+%E2%80%94+and+a+messy+medieval+epic&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>The Last Duel \u003c/em>is a sprawling, often ungainly movie—a talky, three-part \u003ca href=\"https://www.youtube.com/watch?v=Zqoyl2p8_lw\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Rashomon\u003c/em>\u003c/a>-style drama that mixes past and present-day politics—but there’s a bracing intelligence to its messiness. It opens the way a lot of Ridley Scott period epics do, on a gloomy day with two sides preparing for battle.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>We’re in Paris in the year 1386, and the combatants are the dashing squire Jacques Le Gris—that’s \u003ca href=\"https://www.npr.org/2015/08/26/434868775/former-marine-adam-driver-on-what-acting-and-the-military-have-in-common\" target=\"_blank\" rel=\"noopener noreferrer\">Adam Driver\u003c/a>—and the sullen knight Sir Jean de Carrouges—that’s \u003ca href=\"https://www.kqed.org/pop/96702/even-when-matt-damon-is-apologizing-he-gets-it-wrong\" target=\"_blank\" rel=\"noopener noreferrer\">Matt Damon\u003c/a>. Jean’s wife, Marguerite, played by Jodie Comer, watches anxiously from her seat. Just as the two men are about to clash lances, the movie cuts away and rewinds several years to show what brought these three characters to this moment.\u003c/p>\n\u003cp>There’s a lot more rewinding to come. \u003cem>The Last Duel\u003c/em> is based on a true story that it tells no fewer than three times, each time from a different character’s perspective. The script, adapted from Eric Jager’s \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=4245183\" target=\"_blank\" rel=\"noopener noreferrer\">nonfiction book\u003c/a>, emerged from a unique collaboration among three writers. Damon and \u003ca href=\"https://www.npr.org/2014/10/04/352772313/affleck-gone-girl-was-freeing-and-batman-will-be-no-daredevil\" target=\"_blank\" rel=\"noopener noreferrer\">Ben Affleck\u003c/a> wrote the first two chapters focusing on the men, while \u003ca href=\"https://www.npr.org/2019/02/22/696961097/oscar-nominated-filmmaker-nicole-holofcener\">Nicole Holofcener\u003c/a> wrote the third chapter centering on Marguerite. It’s an ingenious approach to what plays like a medieval #MeToo story, tackling the dynamics of power, class and gender in an era when women were regarded as little more than male property.\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/mgygUwPJvYk'\n title='//www.youtube.com/embed/mgygUwPJvYk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The opening chapter focuses on Carrouges, played by Damon with a righteous scowl and a mullet so hideous it almost immediately turns you against him. Carrouges is a brave warrior from a long line of brave warriors, but also a proud, petty man with a chip on his shoulder. We first see him and Le Gris in 1370, fighting valiantly against the English and becoming close friends. But Carrouges begins to feel resentful when their superior—Count Pierre d’Alençon, a saucy libertine played hilariously by Affleck—takes Le Gris under his wing. The count even gives Le Gris a coveted piece of land that was originally intended for Carrouges as part of his wife Marguerite’s dowry, leading to years of legal struggles.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Then one evening, Marguerite comes forward and tells her husband that while he was away, Le Gris came to their castle in Normandy and raped her. Carrouges takes the accusation public, setting in motion a duel between himself and Le Gris, which would become the last trial by combat officially recognized in France.\u003c/p>\n\u003cp>At this point, the first chapter ends and the movie returns to the beginning, this time replaying events from Le Gris’ perspective. As one of the count’s closest allies, Le Gris has come to enjoy a life of privilege and debauchery, and Driver basically plays him as God’s gift to women. That stokes his tensions with Carrouges, who eventually is made a knight and demands that Le Gris show him respect.\u003c/p>\n\u003cp>Around this time, Le Gris falls madly in love with Marguerite and becomes certain that she reciprocates his feelings. That brings us to their fateful encounter, in which Le Gris convinces himself that Marguerite’s protests are merely the signs of a guilty conscience. But even though the movie is showing us his version of events, it rejects his delusion completely: What we see is unmistakably a sexual assault, in which Marguerite repeatedly says no and tries to push him away.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The third chapter, which unfolds from Marguerite’s perspective, revisits the rape scene, and for some viewers—fair warning—it may seem like one grueling replay too many, especially since Marguerite’s trauma is now even more apparent. But this is also the chapter in which the moral arc of the story snaps into focus. After so much boorish male behavior, fully embodied by Damon and Driver, the fierce intelligence and humanity of Comer’s performance is like a balm. Marguerite emerges as by far the most honest and clear-eyed of the movie’s three leads, heroic in her refusal to stay silent about what she endured.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Near the end of the film, Marguerite finds herself on trial, forced to defend her rape allegation in a court full of men trying to discredit her. The sequence plays like dark satire, suggesting how much has changed and also how much hasn’t. And then there’s the duel, which feels almost subversively anticlimactic: It delivers all the gory virtuosity you’d expect from Ridley Scott, but something about it rings deliberately hollow. It hardly matters which man wins, the movie seems to be saying, in a world where women are destined to lose.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Last+Duel%27+is+a+%27Rashomon%27-style+%23MeToo+story+%E2%80%94+and+a+messy+medieval+epic&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In SF Dance Film Festival, Turmoil Fuels Great Performances",
"headTitle": "In SF Dance Film Festival, Turmoil Fuels Great Performances | KQED",
"content": "\u003cp>Two films anchoring this fall’s \u003ca href=\"https://sfdancefilmfest.org/festival-films-2021/\">San Francisco Dance Film Festival\u003c/a> trace the growth of two trailblazing dance companies on opposite sides of the globe, led by men haunted by their ancestral pasts. \u003ci>\u003ca href=\"https://sfdancefilmfest.org/festival-films-2021/feature-length/documentary/ailey/\" rel=\"noopener noreferrer\" target=\"_blank\">Ailey\u003c/a>\u003c/i> and \u003ci>\u003ca href=\"https://sfdancefilmfest.org/festival-films-2021/feature-length/documentary/contemporary/firestarter-the-story-of-bangarra/\" rel=\"noopener noreferrer\" target=\"_blank\">Firestarter\u003c/a>\u003c/i> are gripping accounts of the social and political turmoil that fueled the creative geniuses of Alvin Ailey in America and brothers Stephen, David and Russell Page in Australia. They offer a rare window into the breadth of the \u003ca href=\"https://www.alvinailey.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Ailey\u003c/a> repertoire and \u003ca href=\"https://www.bangarra.com.au/\" target=\"_blank\" rel=\"noopener noreferrer\">Bangarra Dance Theatre\u003c/a>’s contemporary embrace of Aboriginal dance traditions.\u003c/p>\n\u003cp>“Using our art form as our weapon is the way we have to fight,” says dancemaker and Bangarra artistic director Stephen Page of the longstanding injustices against Australia’s First Nations people that \u003ca href=\"https://www.nma.gov.au/defining-moments/resources/aboriginal-land-rights-act\" target=\"_blank\" rel=\"noopener noreferrer\">robbed them of their land\u003c/a>, \u003ca href=\"https://www.reuters.com/world/asia-pacific/australia-establish-280-mln-reparations-fund-stolen-generation-2021-08-04/\" target=\"_blank\" rel=\"noopener noreferrer\">wrested children from families\u003c/a>, and forced them to assimilate in an attempt to “breed the Black out of them.” In profoundly stirring and visually spectacular works like \u003ci>Ochres\u003c/i>, an interplay of sacred Aboriginal rites and symbols with aspects of modern Aboriginal life, and \u003ci>Bennelong\u003c/i>, an epic retelling of the life of the Aboriginal leader who mediated with British colonial authorities, Bangarra has celebrated indigenous culture and resilience.\u003c/p>\n\u003cp>\u003ci>Firestarter\u003c/i> is a frank, deep dive into the lives of the Page brothers, including composer David and dancer-choreographer Russell—the arc of their lives both tragic and uplifting.\u003c/p>\n\u003cp>https://youtu.be/e3REMs9I9Tg\u003c/p>\n\u003cp>\u003ci>Ailey\u003c/i> takes a more oblique approach to its subject, who was born in Depression-era Texas to a single mother and who largely kept his personal life private. Perhaps the best clues to the man lie in his work, from his early \u003ci>Blues Suite\u003c/i>, reminiscent of the honky-tonks of his youth, “where we let it all hang out… [at] a time where people didn’t have much but they had each other,” as he noted in an interview, to his blockbuster \u003ci>Revelations\u003c/i>, \u003ci>Masakela Language\u003c/i>’s blistering portrait of apartheid, and \u003ci>Cry\u003c/i>, his gut-wrenching tribute to Black women.[aside postID='arts_11955434']\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ailey died at 58 but his company has flourished, and like Bangarra, was one of the earliest to assemble a world-class company of principally Black and Indigenous dancers and collaborative artists. Representation in dance can be transformative—and while concert dance on world stages may still be \u003ca href=\"https://amsterdamnews.com/news/2016/03/18/diversity-dance-new-hot-topic/\">afflicted\u003c/a> by \u003ca href=\"https://www.kqed.org/arts/11955434/why-are-there-so-few-opportunities-for-black-choreographers\">tokenism\u003c/a>, some of the thought-provoking films at this year’s festival foreground dance as a celebration of identity and dance as embodied activism.\u003c/p>\n\u003cp>In \u003ci>\u003ca href=\"https://sfdancefilmfest.org/festival-films-2021/short/documentary/folk-world/chishkale-the-blessing-of-the-acorn/\" rel=\"noopener noreferrer\" target=\"_blank\">Chishkale: The Blessing of the Acorn\u003c/a>\u003c/i>, a modern-day dance by young Pomo Indian women in the East Bay frames efforts to reclaim indigenous land and to conserve the Tan Oak tree, a sacred source of acorns that have fed indigenous tribes for generations.\u003c/p>\n\u003cfigure id=\"attachment_13904709\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/CHISHKALE_01.jpg\" alt=\"\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13904709\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/CHISHKALE_01.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/CHISHKALE_01-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/CHISHKALE_01-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/CHISHKALE_01-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/CHISHKALE_01-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/CHISHKALE_01-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bernadette Smith in ‘Chishkale.’ \u003ccite>(Linda Mai Green)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And in \u003ci>\u003ca href=\"https://sfdancefilmfest.org/festival-films-2021/short/long-format/live-performance-capture/black-magic/\" rel=\"noopener noreferrer\" target=\"_blank\">Black Magic\u003c/a>\u003c/i>, multimedia artist Rashaad Newsome used motion tracking software and film and editing techniques to amplify a sense of the superheroic in an electrifying live performance. The sensational sound design surrounds the performers with musicians, a choir, opera singer and MC and layers a spoken manifesto of the Black male body on top of vogue beats, the sinuous lines of flute and sax, sacred plainchant and mesmerizing vocals.\u003c/p>\n\u003cp>Digital magic of another kind revamps the 19th-century comic ballet \u003ci>\u003ca href=\"https://sfdancefilmfest.org/festival-films-2021/feature-length/narrative-feature/ballet/coppelia/\" rel=\"noopener noreferrer\" target=\"_blank\">Coppelia\u003c/a>\u003c/i>, choreographed by Ted Brandsen for Dutch National Ballet. A cutting-edge mix of live action and animation whisks this absurd yarn into the 21st century, satirizing modern beauty standards and the vapidity of the beauty industry. The villain, now a deranged plastic surgeon, faces the quick-witted Swan (Swanhilda in the original), danced by ballerina \u003ca href=\"https://www.nbcnews.com/news/nbcblk/against-all-odds-ballerina-michaela-deprince-s-remarkable-journey-n783921\">Michaela DePrince\u003c/a>.\u003c/p>\n\u003cp>DePrince, who will be present at the film’s U.S. theatrical opening on Saturday, Oct. 16, has become a real-life heroine to many young people, for her extraordinary journey from an orphanage in Sierra Leone to America and on to the world’s leading ballet stages, and for her outspokenness against racism in ballet.\u003c/p>\n\u003cfigure id=\"attachment_13904710\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Coppelia_02_1200.jpg\" alt=\"\" width=\"1200\" height=\"772\" class=\"size-full wp-image-13904710\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Coppelia_02_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Coppelia_02_1200-800x515.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Coppelia_02_1200-1020x656.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Coppelia_02_1200-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Coppelia_02_1200-768x494.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Swan (Michaela DePrince) and Franz (Daniel Camargo) in ‘Coppelia.’ \u003ccite>(Jeff Tudor, Steven De Beul and Ben Tesseu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The festival has plenty of locally focused offerings as well. In a time of heightened racial conflict and pandemic isolation, dance as a yearning to connect is depicted in a short conceived by Gary Morgan (a.k.a. Ice cold 3000) of the Oakland-based Turf Feinz dance crew. \u003ci>\u003ca href=\"https://sfdancefilmfest.org/festival-films-2021/short/screendance/ballet/what-i-see/\" rel=\"noopener noreferrer\" target=\"_blank\">What I See\u003c/a>\u003c/i> unites dancers from Oakland Ballet and Turf Feinz in a moody, spellbinding collision of dance styles.\u003c/p>\n\u003cp>Before turfing, there was boogaloo—also an Oakland phenomenon. In \u003ci>\u003ca href=\"https://sfdancefilmfest.org/festival-films-2021/short/documentary/hip-hop-street/big-dubb/\" rel=\"noopener noreferrer\" target=\"_blank\">Big Dubb\u003c/a>\u003c/i>, Darrin Hodges, one of the pioneers of boogaloo, revisits old haunts, recalling the era of the Black Panthers and James Brown’s funk innovations, when drugs flooded into Oakland and when survival, to him, hinged on the dance.\u003c/p>\n\u003cp>But what can dancers do when studios and stages are shuttered and gathering to train, battle, partner and rehearse poses a potential threat to public health? Like we did with so many activities over the past year and a half, Juliet McMains’ \u003ci>\u003ca href=\"https://sfdancefilmfest.org/festival-films-2021/short/tango/milongueando-en-sf/\" rel=\"noopener noreferrer\" target=\"_blank\">Milongueando\u003c/a>\u003c/i> takes tango milonguero outdoors. Steps meant for crowded, cigarette smoke-filled dancehalls are now traced on sidewalks, beaches, dirt paths and rooftops around San Francisco. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The San Francisco Dance Film Festival runs Oct. 15–24, with films streaming on Marquee TV alongside select in-person screenings. \u003ca href=\"https://sfdancefilmfest.org/festival-films-2021/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Two films anchoring this fall’s \u003ca href=\"https://sfdancefilmfest.org/festival-films-2021/\">San Francisco Dance Film Festival\u003c/a> trace the growth of two trailblazing dance companies on opposite sides of the globe, led by men haunted by their ancestral pasts. \u003ci>\u003ca href=\"https://sfdancefilmfest.org/festival-films-2021/feature-length/documentary/ailey/\" rel=\"noopener noreferrer\" target=\"_blank\">Ailey\u003c/a>\u003c/i> and \u003ci>\u003ca href=\"https://sfdancefilmfest.org/festival-films-2021/feature-length/documentary/contemporary/firestarter-the-story-of-bangarra/\" rel=\"noopener noreferrer\" target=\"_blank\">Firestarter\u003c/a>\u003c/i> are gripping accounts of the social and political turmoil that fueled the creative geniuses of Alvin Ailey in America and brothers Stephen, David and Russell Page in Australia. They offer a rare window into the breadth of the \u003ca href=\"https://www.alvinailey.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Ailey\u003c/a> repertoire and \u003ca href=\"https://www.bangarra.com.au/\" target=\"_blank\" rel=\"noopener noreferrer\">Bangarra Dance Theatre\u003c/a>’s contemporary embrace of Aboriginal dance traditions.\u003c/p>\n\u003cp>“Using our art form as our weapon is the way we have to fight,” says dancemaker and Bangarra artistic director Stephen Page of the longstanding injustices against Australia’s First Nations people that \u003ca href=\"https://www.nma.gov.au/defining-moments/resources/aboriginal-land-rights-act\" target=\"_blank\" rel=\"noopener noreferrer\">robbed them of their land\u003c/a>, \u003ca href=\"https://www.reuters.com/world/asia-pacific/australia-establish-280-mln-reparations-fund-stolen-generation-2021-08-04/\" target=\"_blank\" rel=\"noopener noreferrer\">wrested children from families\u003c/a>, and forced them to assimilate in an attempt to “breed the Black out of them.” In profoundly stirring and visually spectacular works like \u003ci>Ochres\u003c/i>, an interplay of sacred Aboriginal rites and symbols with aspects of modern Aboriginal life, and \u003ci>Bennelong\u003c/i>, an epic retelling of the life of the Aboriginal leader who mediated with British colonial authorities, Bangarra has celebrated indigenous culture and resilience.\u003c/p>\n\u003cp>\u003ci>Firestarter\u003c/i> is a frank, deep dive into the lives of the Page brothers, including composer David and dancer-choreographer Russell—the arc of their lives both tragic and uplifting.\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/e3REMs9I9Tg'\n title='//www.youtube.com/embed/e3REMs9I9Tg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ci>Ailey\u003c/i> takes a more oblique approach to its subject, who was born in Depression-era Texas to a single mother and who largely kept his personal life private. Perhaps the best clues to the man lie in his work, from his early \u003ci>Blues Suite\u003c/i>, reminiscent of the honky-tonks of his youth, “where we let it all hang out… [at] a time where people didn’t have much but they had each other,” as he noted in an interview, to his blockbuster \u003ci>Revelations\u003c/i>, \u003ci>Masakela Language\u003c/i>’s blistering portrait of apartheid, and \u003ci>Cry\u003c/i>, his gut-wrenching tribute to Black women.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ailey died at 58 but his company has flourished, and like Bangarra, was one of the earliest to assemble a world-class company of principally Black and Indigenous dancers and collaborative artists. Representation in dance can be transformative—and while concert dance on world stages may still be \u003ca href=\"https://amsterdamnews.com/news/2016/03/18/diversity-dance-new-hot-topic/\">afflicted\u003c/a> by \u003ca href=\"https://www.kqed.org/arts/11955434/why-are-there-so-few-opportunities-for-black-choreographers\">tokenism\u003c/a>, some of the thought-provoking films at this year’s festival foreground dance as a celebration of identity and dance as embodied activism.\u003c/p>\n\u003cp>In \u003ci>\u003ca href=\"https://sfdancefilmfest.org/festival-films-2021/short/documentary/folk-world/chishkale-the-blessing-of-the-acorn/\" rel=\"noopener noreferrer\" target=\"_blank\">Chishkale: The Blessing of the Acorn\u003c/a>\u003c/i>, a modern-day dance by young Pomo Indian women in the East Bay frames efforts to reclaim indigenous land and to conserve the Tan Oak tree, a sacred source of acorns that have fed indigenous tribes for generations.\u003c/p>\n\u003cfigure id=\"attachment_13904709\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/CHISHKALE_01.jpg\" alt=\"\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13904709\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/CHISHKALE_01.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/CHISHKALE_01-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/CHISHKALE_01-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/CHISHKALE_01-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/CHISHKALE_01-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/CHISHKALE_01-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bernadette Smith in ‘Chishkale.’ \u003ccite>(Linda Mai Green)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And in \u003ci>\u003ca href=\"https://sfdancefilmfest.org/festival-films-2021/short/long-format/live-performance-capture/black-magic/\" rel=\"noopener noreferrer\" target=\"_blank\">Black Magic\u003c/a>\u003c/i>, multimedia artist Rashaad Newsome used motion tracking software and film and editing techniques to amplify a sense of the superheroic in an electrifying live performance. The sensational sound design surrounds the performers with musicians, a choir, opera singer and MC and layers a spoken manifesto of the Black male body on top of vogue beats, the sinuous lines of flute and sax, sacred plainchant and mesmerizing vocals.\u003c/p>\n\u003cp>Digital magic of another kind revamps the 19th-century comic ballet \u003ci>\u003ca href=\"https://sfdancefilmfest.org/festival-films-2021/feature-length/narrative-feature/ballet/coppelia/\" rel=\"noopener noreferrer\" target=\"_blank\">Coppelia\u003c/a>\u003c/i>, choreographed by Ted Brandsen for Dutch National Ballet. A cutting-edge mix of live action and animation whisks this absurd yarn into the 21st century, satirizing modern beauty standards and the vapidity of the beauty industry. The villain, now a deranged plastic surgeon, faces the quick-witted Swan (Swanhilda in the original), danced by ballerina \u003ca href=\"https://www.nbcnews.com/news/nbcblk/against-all-odds-ballerina-michaela-deprince-s-remarkable-journey-n783921\">Michaela DePrince\u003c/a>.\u003c/p>\n\u003cp>DePrince, who will be present at the film’s U.S. theatrical opening on Saturday, Oct. 16, has become a real-life heroine to many young people, for her extraordinary journey from an orphanage in Sierra Leone to America and on to the world’s leading ballet stages, and for her outspokenness against racism in ballet.\u003c/p>\n\u003cfigure id=\"attachment_13904710\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Coppelia_02_1200.jpg\" alt=\"\" width=\"1200\" height=\"772\" class=\"size-full wp-image-13904710\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Coppelia_02_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Coppelia_02_1200-800x515.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Coppelia_02_1200-1020x656.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Coppelia_02_1200-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Coppelia_02_1200-768x494.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Swan (Michaela DePrince) and Franz (Daniel Camargo) in ‘Coppelia.’ \u003ccite>(Jeff Tudor, Steven De Beul and Ben Tesseu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The festival has plenty of locally focused offerings as well. In a time of heightened racial conflict and pandemic isolation, dance as a yearning to connect is depicted in a short conceived by Gary Morgan (a.k.a. Ice cold 3000) of the Oakland-based Turf Feinz dance crew. \u003ci>\u003ca href=\"https://sfdancefilmfest.org/festival-films-2021/short/screendance/ballet/what-i-see/\" rel=\"noopener noreferrer\" target=\"_blank\">What I See\u003c/a>\u003c/i> unites dancers from Oakland Ballet and Turf Feinz in a moody, spellbinding collision of dance styles.\u003c/p>\n\u003cp>Before turfing, there was boogaloo—also an Oakland phenomenon. In \u003ci>\u003ca href=\"https://sfdancefilmfest.org/festival-films-2021/short/documentary/hip-hop-street/big-dubb/\" rel=\"noopener noreferrer\" target=\"_blank\">Big Dubb\u003c/a>\u003c/i>, Darrin Hodges, one of the pioneers of boogaloo, revisits old haunts, recalling the era of the Black Panthers and James Brown’s funk innovations, when drugs flooded into Oakland and when survival, to him, hinged on the dance.\u003c/p>\n\u003cp>But what can dancers do when studios and stages are shuttered and gathering to train, battle, partner and rehearse poses a potential threat to public health? Like we did with so many activities over the past year and a half, Juliet McMains’ \u003ci>\u003ca href=\"https://sfdancefilmfest.org/festival-films-2021/short/tango/milongueando-en-sf/\" rel=\"noopener noreferrer\" target=\"_blank\">Milongueando\u003c/a>\u003c/i> takes tango milonguero outdoors. Steps meant for crowded, cigarette smoke-filled dancehalls are now traced on sidewalks, beaches, dirt paths and rooftops around San Francisco. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The San Francisco Dance Film Festival runs Oct. 15–24, with films streaming on Marquee TV alongside select in-person screenings. \u003ca href=\"https://sfdancefilmfest.org/festival-films-2021/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Film festival trailers are bite-size enticements—morsels of marketing—that often boast big ambitions: Express the spirit of the program along with its breadth, and convey the mission of the organization as well as its exemplary curatorial taste. The trailer for the \u003ca href=\"https://sfdancefilmfest.org\" rel=\"noopener noreferrer\" target=\"_blank\">San Francisco Dance Film Festival\u003c/a> (Oct. 15–24 in theaters and online) hits all those marks and delivers a dose of joy to boot. Give your day a boost and check it out:\u003c/p>\n\u003cp>https://youtu.be/6inXwvf4Qow\u003c/p>\n\u003cp>I generally consider filmed dance (and theater, for that matter) a poor substitute for the high-wire energy of live performance, but I took a couple takeaways from the trailer. The pandemic year propelled throngs of dancers outdoors, to create and commit performances to film. Second, their need to connect—to communicate with an audience—was as powerful as their drive to make art.\u003c/p>\n\u003cp>A festival preview involves more than reviewing the trailer, even if it is particularly instructive in this case. To be sure, the long-form pieces in the program were conceived, shot and well into postproduction before the coronavirus breached anyone’s consciousness. Blending animation and ballet to delicious effect, the family-friendly fairy tale \u003cem>\u003ca href=\"https://sfdancefilmfest.org/festival-films-2021/feature-length/narrative-feature/ballet/coppelia/\" rel=\"noopener noreferrer\" target=\"_blank\">Coppelia\u003c/a>\u003c/em> receives its U.S. theatrical premiere on opening night (Oct. 16 at Fort Mason’s Cowell Theatre, with Sierra Leone-born ballerina and activist Michaela DePrince on hand).\u003c/p>\n\u003cfigure id=\"attachment_13904717\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Amit_02.jpg\" alt=\"\" width=\"1920\" height=\"1079\" class=\"size-full wp-image-13904717\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Amit_02.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Amit_02-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Amit_02-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Amit_02-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Amit_02-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Amit_02-1536x863.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Amit Patel performs in Fremont, California. \u003ccite>(Elie M. Khadra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[aside postID='arts_13889913']Closer to home, the festival’s shorts programs offer more inspiration per minute than seems possible. “\u003ca href=\"https://sfdancefilmfest.org/festival-films-2021/shorts-program/screendance/contemporary/dance-heals-at-catharine-clark-gallery/\" rel=\"noopener noreferrer\" target=\"_blank\">Dance Heals: BOXBLUR\u003c/a>” serves up eight shorts and a live performance by Amit Patel at Catharine Clark Gallery on Oct. 17. “\u003ca href=\"https://sfdancefilmfest.org/festival-films-2021/shorts-program/dancing-queens/\" rel=\"noopener noreferrer\" target=\"_blank\">Dancing Queens\u003c/a>” (Oct. 23 at Brava Theatre) is a kaleidoscope of out-and-proud works featuring Rashaad Newsome’s jaw-dropping, show-stopping \u003cem>Black Magic\u003c/em>, an extravagant marriage of free dance, free jazz, rap and spoken word (and a gospel-tinged vocal quartet!).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The thrillingly diverse (in every way) “\u003ca href=\"https://sfdancefilmfest.org/festival-films-2021/shorts-program/bay-area-shorts/\" rel=\"noopener noreferrer\" target=\"_blank\">Bay Area Shorts\u003c/a>” program (Oct. 24 at Brava) delivers revelation after revelation that dance can be the most personal, direct medium for expressing identity. Mariella Morales’ \u003cem>Forces of Nature\u003c/em>, produced and directed by Alafia Dance Ensemble’s artistic director and choreographer, is a mesmerizing series of outdoor dances celebrating the Afro-Brazilian religious and spiritual tradition of orixás. Shot on an enclosed glass porch strewn with hourglasses and surrounded by snowy vistas—evoking pandemic isolation and the yearning to be seen—Katerina Wong’s austerely beautiful \u003cem>Slipping Sand\u003c/em> employs the gracefulness of movement to push against time.\u003c/p>\n\u003cp>\u003cem>Rorschach\u003c/em>, a sharp-edged, riveting collaboration between dancer Benjamin Defaria and filmmaker Valentina Reneff-Olson, unfolds in vignettes in a freight elevator shaft and other confined spaces accompanied by a panoply of off-screen voices. “I don’t believe you can plan,” the last speaker says. “Life happens to you.” And there you have the pandemic in two sentences.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The San Francisco Dance Film Festival runs Oct. 15–24, with films streaming on Marquee TV alongside select in-person screenings. \u003ca href=\"https://sfdancefilmfest.org/festival-films-2021/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Film festival trailers are bite-size enticements—morsels of marketing—that often boast big ambitions: Express the spirit of the program along with its breadth, and convey the mission of the organization as well as its exemplary curatorial taste. The trailer for the \u003ca href=\"https://sfdancefilmfest.org\" rel=\"noopener noreferrer\" target=\"_blank\">San Francisco Dance Film Festival\u003c/a> (Oct. 15–24 in theaters and online) hits all those marks and delivers a dose of joy to boot. Give your day a boost and check it out:\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/6inXwvf4Qow'\n title='//www.youtube.com/embed/6inXwvf4Qow'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I generally consider filmed dance (and theater, for that matter) a poor substitute for the high-wire energy of live performance, but I took a couple takeaways from the trailer. The pandemic year propelled throngs of dancers outdoors, to create and commit performances to film. Second, their need to connect—to communicate with an audience—was as powerful as their drive to make art.\u003c/p>\n\u003cp>A festival preview involves more than reviewing the trailer, even if it is particularly instructive in this case. To be sure, the long-form pieces in the program were conceived, shot and well into postproduction before the coronavirus breached anyone’s consciousness. Blending animation and ballet to delicious effect, the family-friendly fairy tale \u003cem>\u003ca href=\"https://sfdancefilmfest.org/festival-films-2021/feature-length/narrative-feature/ballet/coppelia/\" rel=\"noopener noreferrer\" target=\"_blank\">Coppelia\u003c/a>\u003c/em> receives its U.S. theatrical premiere on opening night (Oct. 16 at Fort Mason’s Cowell Theatre, with Sierra Leone-born ballerina and activist Michaela DePrince on hand).\u003c/p>\n\u003cfigure id=\"attachment_13904717\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Amit_02.jpg\" alt=\"\" width=\"1920\" height=\"1079\" class=\"size-full wp-image-13904717\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Amit_02.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Amit_02-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Amit_02-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Amit_02-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Amit_02-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Amit_02-1536x863.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Amit Patel performs in Fremont, California. \u003ccite>(Elie M. Khadra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Closer to home, the festival’s shorts programs offer more inspiration per minute than seems possible. “\u003ca href=\"https://sfdancefilmfest.org/festival-films-2021/shorts-program/screendance/contemporary/dance-heals-at-catharine-clark-gallery/\" rel=\"noopener noreferrer\" target=\"_blank\">Dance Heals: BOXBLUR\u003c/a>” serves up eight shorts and a live performance by Amit Patel at Catharine Clark Gallery on Oct. 17. “\u003ca href=\"https://sfdancefilmfest.org/festival-films-2021/shorts-program/dancing-queens/\" rel=\"noopener noreferrer\" target=\"_blank\">Dancing Queens\u003c/a>” (Oct. 23 at Brava Theatre) is a kaleidoscope of out-and-proud works featuring Rashaad Newsome’s jaw-dropping, show-stopping \u003cem>Black Magic\u003c/em>, an extravagant marriage of free dance, free jazz, rap and spoken word (and a gospel-tinged vocal quartet!).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The thrillingly diverse (in every way) “\u003ca href=\"https://sfdancefilmfest.org/festival-films-2021/shorts-program/bay-area-shorts/\" rel=\"noopener noreferrer\" target=\"_blank\">Bay Area Shorts\u003c/a>” program (Oct. 24 at Brava) delivers revelation after revelation that dance can be the most personal, direct medium for expressing identity. Mariella Morales’ \u003cem>Forces of Nature\u003c/em>, produced and directed by Alafia Dance Ensemble’s artistic director and choreographer, is a mesmerizing series of outdoor dances celebrating the Afro-Brazilian religious and spiritual tradition of orixás. Shot on an enclosed glass porch strewn with hourglasses and surrounded by snowy vistas—evoking pandemic isolation and the yearning to be seen—Katerina Wong’s austerely beautiful \u003cem>Slipping Sand\u003c/em> employs the gracefulness of movement to push against time.\u003c/p>\n\u003cp>\u003cem>Rorschach\u003c/em>, a sharp-edged, riveting collaboration between dancer Benjamin Defaria and filmmaker Valentina Reneff-Olson, unfolds in vignettes in a freight elevator shaft and other confined spaces accompanied by a panoply of off-screen voices. “I don’t believe you can plan,” the last speaker says. “Life happens to you.” And there you have the pandemic in two sentences.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The San Francisco Dance Film Festival runs Oct. 15–24, with films streaming on Marquee TV alongside select in-person screenings. \u003ca href=\"https://sfdancefilmfest.org/festival-films-2021/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Hulu's 'Dopesick' Tells the Chilling Story of America's Opioid Crisis",
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"content": "\u003cp>In Hulu’s \u003cem>Dopesick\u003c/em>, Michael Keaton plays Sam Finnix as the kind of family doctor anyone would want taking care of them.\u003c/p>\n\u003cp>Folksy and smart, he cares enough to stop by an elderly patient’s home after work to make sure she’s taken her medication. He’s still treating adults he delivered as babies in a small Virginia mining town.\u003c/p>\n\u003cp>But eventually, Finnix winds up in front of a grand jury, ashen and shell-shocked. When a prosecutor asks how his patients reacted to the drug OxyContin, he offers a chilling reply.\u003c/p>\n\u003cp>“I can’t believe how many of them are dead now.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EzrLrUG2QVk\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Dopesick\u003c/em> is an ambitious, emotional series tackling a sprawling story. It outlines the start of the OxyContin opioid addiction crisis from several angles: doctors and patients using the drug, prosecutors and law enforcement trying to hold OxyContin manufacturer Purdue Pharma accountable, and the drugmaker itself.\u003c/p>\n\u003cp>Character actor extraordinaire Michael Stuhlbarg plays Purdue Pharma’s onetime president Richard Sackler with the creepy intensity of a Bond villain. Disrespected by his relatives and driven to outdo the accomplishments of his uncle Arthur Sackler—who \u003ca href=\"https://www.npr.org/2021/04/08/984870694/in-the-rise-and-fall-of-the-sacklers-opioid-empire-an-american-dream-turns-toxic\" target=\"_blank\" rel=\"noopener noreferrer\">pioneered the marketing strategy for Valium\u003c/a>—Stuhlbarg’s Richard Sackler pushes the family-owned company to heavily market OxyContin.\u003c/p>\n\u003cp>[aside postid='news_11874651']As his character explains, OxyContin has a protective coating that time-releases the drug, allowing the company to claim that less than 1% of patients would become addicted to the opioid. Some of \u003cem>Dopesick\u003c/em>‘s most powerful scenes show how Sackler’s contentions become marching orders for an army of salespeople intent on getting doctors to prescribe OxyContin instead of competing painkillers—producing a level of profit that would make the Sacklers \u003ca href=\"https://www.newyorker.com/magazine/2017/10/30/the-family-that-built-an-empire-of-pain\" target=\"_blank\" rel=\"noopener noreferrer\">one of America’s richest families.\u003c/a>\u003c/p>\n\u003cp>But the series reveals how those who began to abuse the drug learned to crush the tablets into a powder that could be inhaled and was highly addictive. Eventually, prosecutors noticed that small towns where people hadn’t locked their doors for decades were drowning in crime and desperation.\u003c/p>\n\u003cp>Peter Sarsgaard and John Hoogenakker are appealing as a pair of assistant U.S. attorneys trying to gather enough evidence to prosecute Purdue Pharma executives, sorting through mountains of paperwork and lobbying efforts.\u003c/p>\n\u003cp>“A few months ago, we caught a doctor selling pills out of his car to an 11-year-old girl … and when we arrested him, he thanked us,” Hoogenakker’s prosecutor tells an agent at the Drug Enforcement Administration, played by Rosario Dawson. “At that moment, we knew that what we got going on in coal country is similar to San Francisco at the start of the AIDS crisis … Our community is ground zero for a growing national catastrophe.”\u003c/p>\n\u003cfigure id=\"attachment_13904642\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13904642 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/dopesick-dawson-2-eb01df58dd9b5d78a429f48ce0b67df22f706144-2-800x600.jpe\" alt=\"A woman wearing a SWAT uniform and helmet, as well as a vest marked DEA, frowns as she examines a plastic bag containing pills.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Rosario Dawson plays DEA agent Bridget Meyer.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Dopesick\u003c/em> also offers an authentic portrayal of the small, working class, predominantly white communities ravaged by the opioid crisis. Lots of TV shows and films have been set in such towns recently, including Netflix’s \u003cem>Maid\u003c/em> and \u003cem>Hillbilly Elegy\u003c/em>, HBO’s \u003cem>Mare of Easttown\u003c/em> and Showtime’s \u003cem>American Rust\u003c/em>.\u003c/p>\n\u003cp>[aside postid='pop_107245']But often areas depicted in such shows can feel relentlessly depressing and deprived. \u003cem>Dopesick\u003c/em> excels in outlining a community that is struggling, yet filled with proud and hardworking people who love their town—showing the reality of their circumstance without pandering or stereotypes.\u003c/p>\n\u003cp>Kaitlyn Dever, in particular, shines as Betsy—a young, closeted gay woman who loves working in the mines alongside her father, though she also yearns to live in a place where she can be herself without fear of being ostracized.\u003c/p>\n\u003cp>But when a back injury at the mine leads Betsy to take OxyContin prescribed by Dr. Finnix, her fortunes change dramatically.\u003c/p>\n\u003cp>Adapted by Danny Strong (co-creator of Fox’s hit drama \u003cem>Empire\u003c/em>) from a \u003ca href=\"https://www.npr.org/sections/health-shots/2018/08/21/640530842/dispatches-from-a-dopesick-america\" target=\"_blank\" rel=\"noopener noreferrer\">nonfiction book by Beth Macy\u003c/a>, \u003cem>Dopesick\u003c/em> leapfrogs across storylines and time periods in a way that can be a little confusing, despite onscreen graphics showing what year scenes are set in.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Still, \u003cem>Dopesick\u003c/em> distills a complicated story into a compelling, heartbreaking series—tallying the human cost of a crisis that started in company boardrooms, earned billions and turned the country upside down in the process.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Hulu%27s+%27Dopesick%27+tells+the+chilling+story+of+America%27s+opioid+crisis&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In Hulu’s \u003cem>Dopesick\u003c/em>, Michael Keaton plays Sam Finnix as the kind of family doctor anyone would want taking care of them.\u003c/p>\n\u003cp>Folksy and smart, he cares enough to stop by an elderly patient’s home after work to make sure she’s taken her medication. He’s still treating adults he delivered as babies in a small Virginia mining town.\u003c/p>\n\u003cp>But eventually, Finnix winds up in front of a grand jury, ashen and shell-shocked. When a prosecutor asks how his patients reacted to the drug OxyContin, he offers a chilling reply.\u003c/p>\n\u003cp>“I can’t believe how many of them are dead now.”\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/EzrLrUG2QVk'\n title='//www.youtube.com/embed/EzrLrUG2QVk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Dopesick\u003c/em> is an ambitious, emotional series tackling a sprawling story. It outlines the start of the OxyContin opioid addiction crisis from several angles: doctors and patients using the drug, prosecutors and law enforcement trying to hold OxyContin manufacturer Purdue Pharma accountable, and the drugmaker itself.\u003c/p>\n\u003cp>Character actor extraordinaire Michael Stuhlbarg plays Purdue Pharma’s onetime president Richard Sackler with the creepy intensity of a Bond villain. Disrespected by his relatives and driven to outdo the accomplishments of his uncle Arthur Sackler—who \u003ca href=\"https://www.npr.org/2021/04/08/984870694/in-the-rise-and-fall-of-the-sacklers-opioid-empire-an-american-dream-turns-toxic\" target=\"_blank\" rel=\"noopener noreferrer\">pioneered the marketing strategy for Valium\u003c/a>—Stuhlbarg’s Richard Sackler pushes the family-owned company to heavily market OxyContin.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As his character explains, OxyContin has a protective coating that time-releases the drug, allowing the company to claim that less than 1% of patients would become addicted to the opioid. Some of \u003cem>Dopesick\u003c/em>‘s most powerful scenes show how Sackler’s contentions become marching orders for an army of salespeople intent on getting doctors to prescribe OxyContin instead of competing painkillers—producing a level of profit that would make the Sacklers \u003ca href=\"https://www.newyorker.com/magazine/2017/10/30/the-family-that-built-an-empire-of-pain\" target=\"_blank\" rel=\"noopener noreferrer\">one of America’s richest families.\u003c/a>\u003c/p>\n\u003cp>But the series reveals how those who began to abuse the drug learned to crush the tablets into a powder that could be inhaled and was highly addictive. Eventually, prosecutors noticed that small towns where people hadn’t locked their doors for decades were drowning in crime and desperation.\u003c/p>\n\u003cp>Peter Sarsgaard and John Hoogenakker are appealing as a pair of assistant U.S. attorneys trying to gather enough evidence to prosecute Purdue Pharma executives, sorting through mountains of paperwork and lobbying efforts.\u003c/p>\n\u003cp>“A few months ago, we caught a doctor selling pills out of his car to an 11-year-old girl … and when we arrested him, he thanked us,” Hoogenakker’s prosecutor tells an agent at the Drug Enforcement Administration, played by Rosario Dawson. “At that moment, we knew that what we got going on in coal country is similar to San Francisco at the start of the AIDS crisis … Our community is ground zero for a growing national catastrophe.”\u003c/p>\n\u003cfigure id=\"attachment_13904642\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13904642 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/dopesick-dawson-2-eb01df58dd9b5d78a429f48ce0b67df22f706144-2-800x600.jpe\" alt=\"A woman wearing a SWAT uniform and helmet, as well as a vest marked DEA, frowns as she examines a plastic bag containing pills.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Rosario Dawson plays DEA agent Bridget Meyer.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Dopesick\u003c/em> also offers an authentic portrayal of the small, working class, predominantly white communities ravaged by the opioid crisis. Lots of TV shows and films have been set in such towns recently, including Netflix’s \u003cem>Maid\u003c/em> and \u003cem>Hillbilly Elegy\u003c/em>, HBO’s \u003cem>Mare of Easttown\u003c/em> and Showtime’s \u003cem>American Rust\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But often areas depicted in such shows can feel relentlessly depressing and deprived. \u003cem>Dopesick\u003c/em> excels in outlining a community that is struggling, yet filled with proud and hardworking people who love their town—showing the reality of their circumstance without pandering or stereotypes.\u003c/p>\n\u003cp>Kaitlyn Dever, in particular, shines as Betsy—a young, closeted gay woman who loves working in the mines alongside her father, though she also yearns to live in a place where she can be herself without fear of being ostracized.\u003c/p>\n\u003cp>But when a back injury at the mine leads Betsy to take OxyContin prescribed by Dr. Finnix, her fortunes change dramatically.\u003c/p>\n\u003cp>Adapted by Danny Strong (co-creator of Fox’s hit drama \u003cem>Empire\u003c/em>) from a \u003ca href=\"https://www.npr.org/sections/health-shots/2018/08/21/640530842/dispatches-from-a-dopesick-america\" target=\"_blank\" rel=\"noopener noreferrer\">nonfiction book by Beth Macy\u003c/a>, \u003cem>Dopesick\u003c/em> leapfrogs across storylines and time periods in a way that can be a little confusing, despite onscreen graphics showing what year scenes are set in.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Still, \u003cem>Dopesick\u003c/em> distills a complicated story into a compelling, heartbreaking series—tallying the human cost of a crisis that started in company boardrooms, earned billions and turned the country upside down in the process.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Hulu%27s+%27Dopesick%27+tells+the+chilling+story+of+America%27s+opioid+crisis&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Jim Melchert’s Gallery 16 Retrospective Cements His Enduring Influence",
"headTitle": "Jim Melchert’s Gallery 16 Retrospective Cements His Enduring Influence | KQED",
"content": "\u003cp>In the billboard-sized photograph that greets visitors at Gallery 16’s entryway, a young Jim Melchert sits astride a large wooden sculpture, leaning forward, his shirt pulled over the top as if impregnated by it. The sculpture is of the lowercase letter “a”; a smaller version of the same letter “a” can be seen on a pedestal in the gallery. Both works were included in Melchert’s 1970 exhibition, \u003cem>a show\u003c/em>, at the San Francisco Art Institute (SFAI); the photograph, taken by fellow artist Bruce Nauman, was used for the announcement poster. \u003c/p>\n\u003cp>In lieu of any introductory wall text, this photograph marks the onset of the artist’s enduring interest in exploring the variations on a theme, the reacquaintance and rediscovery that, as Melchert notes in the essay by writer Maria Porges for the accompanying exhibition catalog, “I think that’s how our minds work—we keep circling the same issues, but with increasing clarity and depth.”\u003c/p>\n\u003cfigure id=\"attachment_13904172\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Melchert_A_Show_Flier_photo_1970_By_Bruce_Nauman_1200.jpg\" alt=\"\" width=\"1200\" height=\"1213\" class=\"size-full wp-image-13904172\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Melchert_A_Show_Flier_photo_1970_By_Bruce_Nauman_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Melchert_A_Show_Flier_photo_1970_By_Bruce_Nauman_1200-800x809.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Melchert_A_Show_Flier_photo_1970_By_Bruce_Nauman_1200-1020x1031.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Melchert_A_Show_Flier_photo_1970_By_Bruce_Nauman_1200-160x162.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Melchert_A_Show_Flier_photo_1970_By_Bruce_Nauman_1200-768x776.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jim Melchert in ‘a show’ flier, 1970; photo by Bruce Nauman. \u003ccite>(Courtesy the artist and Gallery 16)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibition \u003ci>\u003ca href=\"https://gallery16.com/exhibitions/jim-melchert-rethink-revisit-reassess-reenter\" rel=\"noopener noreferrer\" target=\"_blank\">Rethink, Revisit, Reassess, Reenter\u003c/a>\u003c/i>, on view through Oct. 31, is in essence a mini-retrospective spanning 50 years of the 91-year-old artist’s career. It makes an argument for Melchert’s place in contemporary art history, highlighting the conceptual rigor of his long practice. If we are at this moment in time understandably reluctant to admit one more white male to the canon, the testament for Melchert’s inclusion might be found in the roster of former students’ signatures at the gallery desk, evidence of his highly consequential career spanning decades as a professor at SFAI and UC Berkeley. His tenure at these institutions was interspersed with roles as the director of the Visual Art Program for the National Endowment for the Arts and at the American Academy of Rome. In sum, Melchert’s practice as an artist is inextricable from the agency that he created for other artists.\u003c/p>\n\u003cp>The earliest works on view date to 1970; the most recent were made a month ago. Included are two early filmed performances, \u003cem>Changes, Amsterdam\u003c/em> (1972) and \u003cem>Untitled (The Water Film)\u003c/em> (1973). Installed opposite each other, they are variations on themes of fluidity and slowness. In \u003cem>Changes\u003c/em>, participants submerge their heads in a large container of slip (clay in liquid form), their discomfort increasingly apparent as caricature-like vessels harden around their features. The stillness of drips arrested mid-flow around hair and beards and noses is punctuated by the fidgety hands resisting the urge to break free from the entombment. \u003c/p>\n\u003cp>In \u003cem>The Water Film\u003c/em>, by contrast, two drenched, nude figures pirouette in a looping slow-motion pas de deux, hurling buckets of water at each other. They leap, combative and ebuillant, as the arcs of water form a visible circumference around them. In both works, the sensual beauty of liquid flowing across bodies conflicts with the violence that erupts or solidifies as it meets them. \u003c/p>\n\u003cfigure id=\"attachment_13904173\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Melchert_Untitled_The_Water_Film_Still_1973_2Mins_19Sec_1200.jpg\" alt=\"\" width=\"1200\" height=\"899\" class=\"size-full wp-image-13904173\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Melchert_Untitled_The_Water_Film_Still_1973_2Mins_19Sec_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Melchert_Untitled_The_Water_Film_Still_1973_2Mins_19Sec_1200-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Melchert_Untitled_The_Water_Film_Still_1973_2Mins_19Sec_1200-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Melchert_Untitled_The_Water_Film_Still_1973_2Mins_19Sec_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Melchert_Untitled_The_Water_Film_Still_1973_2Mins_19Sec_1200-768x575.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jim Melchert, Still from ‘Untitled (The Water Film),” 1973; 2:19 minutes. \u003ccite>(Courtesy the artist and Gallery 16)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This conceptual framework, in which there is a juncture where things break instead of bend and the rupture is irrevocable, extends to the ceramic works that dominate the exhibition. For decades, Melchert has used commercial tiles that he has broken, glazed, and re-assembled into reliefs and grids. The cracks and fissures flow across the linear compositions, the glazed striations or dots pulling attention to where the fractures have occurred. The breaks reveal the invisible, individual weaknesses in the bonds of the apparent uniformity of these fabricated tiles. It is a drawing practice in clay. In the same way that a mark alters the surface on which it is made, these cracks speak to their own making irreducible from their material. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The results from these gestures of fracture and reassembly are stunning. One of the earliest examples, \u003cem>Drawing With Red Extensions\u003c/em> (1994), is equal parts understated and profound. On the unglazed surface of the terracotta tiles, Melchert drew lines in red crayon where he had assumed the cracks might occur but didn’t. After composing the tiles into a grid, he then drew lines in red paint that connected the cracks together, completing a circuit of energy that vibrates through the whole. \u003c/p>\n\u003cp>In the more recent \u003cem>Singapore\u003c/em> (2007), blue lines undulate until they hit the cracks and then change direction. The resulting folds and waves suggest fabric worn and folded at the points where the body meets itself. Sensuousness alternates with structure, a studied contrast that Melchert evokes again and again: light against dark, fluidity against rupture; chance against composition; a coming apart and restitution that is riotous and harmonious all at once. \u003c/p>\n\u003cfigure id=\"attachment_13904178\" class=\"wp-caption aligncenter\" style=\"max-width: 1188px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Melchert_A_Letter_From_England_1977_Graphite_on_paper_24x19_web.jpg\" alt=\"\" width=\"1188\" height=\"1500\" class=\"size-full wp-image-13904178\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Melchert_A_Letter_From_England_1977_Graphite_on_paper_24x19_web.jpg 1188w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Melchert_A_Letter_From_England_1977_Graphite_on_paper_24x19_web-800x1010.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Melchert_A_Letter_From_England_1977_Graphite_on_paper_24x19_web-1020x1288.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Melchert_A_Letter_From_England_1977_Graphite_on_paper_24x19_web-160x202.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Melchert_A_Letter_From_England_1977_Graphite_on_paper_24x19_web-768x970.jpg 768w\" sizes=\"(max-width: 1188px) 100vw, 1188px\">\u003cfigcaption class=\"wp-caption-text\">Jim Melchert, ‘A Letter From England,’ 1977; Graphite on paper, 24 x 19 inches. \u003ccite>(Courtesy the artist and Gallery 16)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The most notable contrast lies between his artistic work and institutional positions, where one sees an investment in creating deep, durable bonds. Art history, however, has largely been a narrative almost exclusively of object makers and not of administrators. Melchert himself acknowledges this, noting in Porges’s essay the difficulty of “getting back a seat on the bus” when one steps away from the strict parameters defining an artist. This sentiment echoes in one of the koan-like handwritten notes in the 1977 rubbed drawing, \u003cem>A Letter From England\u003c/em>: “An empty envelope from China that was never mailed.” It is a poignant statement of unrealized possibility, a question of what potential story might have once been written. \u003c/p>\n\u003cp>We, however, can envision a trajectory in which a widespread acknowledgment of Melchert’s contributions to contemporary art not only gives him his due, it shatters the dominant framework about whom art history is told. His inclusion would enable an altered narrative that makes visible the collective, cooperative work necessary for art’s production. That would be a different story, hardly linear, yet far more harmonious and beautiful.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Jim Melchert: Rethink, Revisit, Reassess, Reenter’ is on view at Gallery 16, in San Francisco, through Oct. 31. There will be a talk with the artist at the gallery on Saturday, Oct. 9, at 2pm. \u003ca href=\"https://gallery16.com/exhibitions/jim-melchert-rethink-revisit-reassess-reenter\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the billboard-sized photograph that greets visitors at Gallery 16’s entryway, a young Jim Melchert sits astride a large wooden sculpture, leaning forward, his shirt pulled over the top as if impregnated by it. The sculpture is of the lowercase letter “a”; a smaller version of the same letter “a” can be seen on a pedestal in the gallery. Both works were included in Melchert’s 1970 exhibition, \u003cem>a show\u003c/em>, at the San Francisco Art Institute (SFAI); the photograph, taken by fellow artist Bruce Nauman, was used for the announcement poster. \u003c/p>\n\u003cp>In lieu of any introductory wall text, this photograph marks the onset of the artist’s enduring interest in exploring the variations on a theme, the reacquaintance and rediscovery that, as Melchert notes in the essay by writer Maria Porges for the accompanying exhibition catalog, “I think that’s how our minds work—we keep circling the same issues, but with increasing clarity and depth.”\u003c/p>\n\u003cfigure id=\"attachment_13904172\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Melchert_A_Show_Flier_photo_1970_By_Bruce_Nauman_1200.jpg\" alt=\"\" width=\"1200\" height=\"1213\" class=\"size-full wp-image-13904172\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Melchert_A_Show_Flier_photo_1970_By_Bruce_Nauman_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Melchert_A_Show_Flier_photo_1970_By_Bruce_Nauman_1200-800x809.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Melchert_A_Show_Flier_photo_1970_By_Bruce_Nauman_1200-1020x1031.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Melchert_A_Show_Flier_photo_1970_By_Bruce_Nauman_1200-160x162.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Melchert_A_Show_Flier_photo_1970_By_Bruce_Nauman_1200-768x776.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jim Melchert in ‘a show’ flier, 1970; photo by Bruce Nauman. \u003ccite>(Courtesy the artist and Gallery 16)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibition \u003ci>\u003ca href=\"https://gallery16.com/exhibitions/jim-melchert-rethink-revisit-reassess-reenter\" rel=\"noopener noreferrer\" target=\"_blank\">Rethink, Revisit, Reassess, Reenter\u003c/a>\u003c/i>, on view through Oct. 31, is in essence a mini-retrospective spanning 50 years of the 91-year-old artist’s career. It makes an argument for Melchert’s place in contemporary art history, highlighting the conceptual rigor of his long practice. If we are at this moment in time understandably reluctant to admit one more white male to the canon, the testament for Melchert’s inclusion might be found in the roster of former students’ signatures at the gallery desk, evidence of his highly consequential career spanning decades as a professor at SFAI and UC Berkeley. His tenure at these institutions was interspersed with roles as the director of the Visual Art Program for the National Endowment for the Arts and at the American Academy of Rome. In sum, Melchert’s practice as an artist is inextricable from the agency that he created for other artists.\u003c/p>\n\u003cp>The earliest works on view date to 1970; the most recent were made a month ago. Included are two early filmed performances, \u003cem>Changes, Amsterdam\u003c/em> (1972) and \u003cem>Untitled (The Water Film)\u003c/em> (1973). Installed opposite each other, they are variations on themes of fluidity and slowness. In \u003cem>Changes\u003c/em>, participants submerge their heads in a large container of slip (clay in liquid form), their discomfort increasingly apparent as caricature-like vessels harden around their features. The stillness of drips arrested mid-flow around hair and beards and noses is punctuated by the fidgety hands resisting the urge to break free from the entombment. \u003c/p>\n\u003cp>In \u003cem>The Water Film\u003c/em>, by contrast, two drenched, nude figures pirouette in a looping slow-motion pas de deux, hurling buckets of water at each other. They leap, combative and ebuillant, as the arcs of water form a visible circumference around them. In both works, the sensual beauty of liquid flowing across bodies conflicts with the violence that erupts or solidifies as it meets them. \u003c/p>\n\u003cfigure id=\"attachment_13904173\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Melchert_Untitled_The_Water_Film_Still_1973_2Mins_19Sec_1200.jpg\" alt=\"\" width=\"1200\" height=\"899\" class=\"size-full wp-image-13904173\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Melchert_Untitled_The_Water_Film_Still_1973_2Mins_19Sec_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Melchert_Untitled_The_Water_Film_Still_1973_2Mins_19Sec_1200-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Melchert_Untitled_The_Water_Film_Still_1973_2Mins_19Sec_1200-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Melchert_Untitled_The_Water_Film_Still_1973_2Mins_19Sec_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Melchert_Untitled_The_Water_Film_Still_1973_2Mins_19Sec_1200-768x575.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jim Melchert, Still from ‘Untitled (The Water Film),” 1973; 2:19 minutes. \u003ccite>(Courtesy the artist and Gallery 16)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This conceptual framework, in which there is a juncture where things break instead of bend and the rupture is irrevocable, extends to the ceramic works that dominate the exhibition. For decades, Melchert has used commercial tiles that he has broken, glazed, and re-assembled into reliefs and grids. The cracks and fissures flow across the linear compositions, the glazed striations or dots pulling attention to where the fractures have occurred. The breaks reveal the invisible, individual weaknesses in the bonds of the apparent uniformity of these fabricated tiles. It is a drawing practice in clay. In the same way that a mark alters the surface on which it is made, these cracks speak to their own making irreducible from their material. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The results from these gestures of fracture and reassembly are stunning. One of the earliest examples, \u003cem>Drawing With Red Extensions\u003c/em> (1994), is equal parts understated and profound. On the unglazed surface of the terracotta tiles, Melchert drew lines in red crayon where he had assumed the cracks might occur but didn’t. After composing the tiles into a grid, he then drew lines in red paint that connected the cracks together, completing a circuit of energy that vibrates through the whole. \u003c/p>\n\u003cp>In the more recent \u003cem>Singapore\u003c/em> (2007), blue lines undulate until they hit the cracks and then change direction. The resulting folds and waves suggest fabric worn and folded at the points where the body meets itself. Sensuousness alternates with structure, a studied contrast that Melchert evokes again and again: light against dark, fluidity against rupture; chance against composition; a coming apart and restitution that is riotous and harmonious all at once. \u003c/p>\n\u003cfigure id=\"attachment_13904178\" class=\"wp-caption aligncenter\" style=\"max-width: 1188px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Melchert_A_Letter_From_England_1977_Graphite_on_paper_24x19_web.jpg\" alt=\"\" width=\"1188\" height=\"1500\" class=\"size-full wp-image-13904178\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Melchert_A_Letter_From_England_1977_Graphite_on_paper_24x19_web.jpg 1188w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Melchert_A_Letter_From_England_1977_Graphite_on_paper_24x19_web-800x1010.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Melchert_A_Letter_From_England_1977_Graphite_on_paper_24x19_web-1020x1288.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Melchert_A_Letter_From_England_1977_Graphite_on_paper_24x19_web-160x202.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Melchert_A_Letter_From_England_1977_Graphite_on_paper_24x19_web-768x970.jpg 768w\" sizes=\"(max-width: 1188px) 100vw, 1188px\">\u003cfigcaption class=\"wp-caption-text\">Jim Melchert, ‘A Letter From England,’ 1977; Graphite on paper, 24 x 19 inches. \u003ccite>(Courtesy the artist and Gallery 16)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The most notable contrast lies between his artistic work and institutional positions, where one sees an investment in creating deep, durable bonds. Art history, however, has largely been a narrative almost exclusively of object makers and not of administrators. Melchert himself acknowledges this, noting in Porges’s essay the difficulty of “getting back a seat on the bus” when one steps away from the strict parameters defining an artist. This sentiment echoes in one of the koan-like handwritten notes in the 1977 rubbed drawing, \u003cem>A Letter From England\u003c/em>: “An empty envelope from China that was never mailed.” It is a poignant statement of unrealized possibility, a question of what potential story might have once been written. \u003c/p>\n\u003cp>We, however, can envision a trajectory in which a widespread acknowledgment of Melchert’s contributions to contemporary art not only gives him his due, it shatters the dominant framework about whom art history is told. His inclusion would enable an altered narrative that makes visible the collective, cooperative work necessary for art’s production. That would be a different story, hardly linear, yet far more harmonious and beautiful.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Jim Melchert: Rethink, Revisit, Reassess, Reenter’ is on view at Gallery 16, in San Francisco, through Oct. 31. There will be a talk with the artist at the gallery on Saturday, Oct. 9, at 2pm. \u003ca href=\"https://gallery16.com/exhibitions/jim-melchert-rethink-revisit-reassess-reenter\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! Stories of Liberation at SF Latino Film Festival",
"headTitle": "Now Playing! Stories of Liberation at SF Latino Film Festival | KQED",
"content": "\u003cp>It takes a certain amount of boldness, along with the requisite talent, to create a musical about Puerto Rico in the grieving, furious wake of Hurricane Maria. There are so many ways it can go wrong, from stolid earnestness to sticky sentimentality to (worst of all) trivialization of the victims and survivors. \u003cem>Calle de la Resistance\u003c/em> (Oct. 1 at the Roxie), the rousing opening night film of the 13th \u003ca href=\"https://cinemas2021.eventive.org/welcome\" rel=\"noopener noreferrer\" target=\"_blank\">Cine+Mas San Francisco Latino Film Festival\u003c/a> (online through Oct. 17 with additional in-person screenings at the Roxie), proves to be an impressive and poignant work despite a few moments where it trips from drama to dogma (i.e., sloganeering).\u003c/p>\n\u003cp>Milton Carrero’s book and music, directed for the screen by Denise Blasor and performed on an L.A. theater stage by an emotionally invested and gifted ensemble, casts the devastating storm as the catalyst for protests against longstanding local corruption and U.S. colonialism. Most of the characters are in their 20s, which gives the story a charged sense of the future being created before our eyes.\u003c/p>\n\u003cfigure id=\"attachment_13904076\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/Charlotte_WidePic_Pair_1200.jpg\" alt=\"\" width=\"1200\" height=\"503\" class=\"size-full wp-image-13904076\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Charlotte_WidePic_Pair_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Charlotte_WidePic_Pair_1200-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Charlotte_WidePic_Pair_1200-1020x428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Charlotte_WidePic_Pair_1200-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Charlotte_WidePic_Pair_1200-768x322.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Charlotte.’ \u003ccite>(Courtesy SF Latino Film Fest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Opening night films are usually chosen for their innocuousness, but \u003cem>Calle de la Resistencia\u003c/em> embodies the pithy themes and urgent spirit—the pursuit of liberation and self-determination—of the remarkably expansive SF Latino Film Festival program, which encompasses some 100 films of varying lengths.\u003c/p>\n\u003cp>The 60-something actress at the center of Simon Franco’s quirky \u003cem>Charlotte\u003c/em> hits the Argentine highway in an RV with her repressed assistant, cruising to Paraguay to ambush the director with whom she found fame and fortune many years ago. Played by the fearless grande dame and Buñuel bombshell Ángela Molina with abundant self-awareness and ample wit, Charlotte is a jaded prisoner of the past who comes to realize she needs to embrace a new path. But that’s what road movies are always about, right?\u003c/p>\n\u003cp>\u003cem>Charlotte\u003c/em> is a pastel mashup of a droll indie, a star vehicle anchored by a late-career powerhouse and a satire of advertising. It works in fits and starts, trafficking in weird digressions for weirdness’ sake, but Molina is a show by herself in this U.S. premiere.\u003c/p>\n\u003cfigure id=\"attachment_13904077\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/MaidensTower_Cover_DILMA_1200.jpg\" alt=\"\" width=\"1200\" height=\"720\" class=\"size-full wp-image-13904077\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/MaidensTower_Cover_DILMA_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/MaidensTower_Cover_DILMA_1200-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/MaidensTower_Cover_DILMA_1200-1020x612.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/MaidensTower_Cover_DILMA_1200-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/MaidensTower_Cover_DILMA_1200-768x461.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Dilma Rousseff in ‘Maiden’s Tower.’ \u003ccite>(Courtesy SF Latino Film Fest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A very different group of women of Charlotte’s generation, imprisoned Brazilian political activists of the late ’60s and early ’70s, command the screen in the experiential documentary \u003cem>Maiden’s Tower\u003c/em>. Director Susanna Lira isn’t focused on educating us about the military dictatorship that came to power in 1964 and ran Brazil for two decades, or the specific goals of the young female revolutionaries (most of them students) who risked everything for their idealistic beliefs. Nor, oddly enough, is the filmmaker interested in the scars these women carry.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lira orchestrates a reunion of several women who were tortured, interrogated and jailed for indeterminate periods in Maiden’s Tower, the female wing of Tiradentes Prison. The picture that emerges isn’t a gallery of individual snapshots of women of extraordinary strength, intelligence and commitment—even if one of them, Dilma Rousseff, went on to become president—so much as a group portrait of sisterhood under fire.\u003c/p>\n\u003cp>\u003cem>Maiden’s Tower\u003c/em> is a film of quietly harrowing inspiration that, refreshingly, doesn’t strive for contemporary parallels or resonance. And if you’re drawn more to today’s injustices and current struggles, the SF Latino Film Festival has a solid selection of those stories as well. Dive right in.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The SF Latino Film Festival streams online Oct. 1–17 with several in-person screenings at the Roxie Theater. \u003ca href=\"https://cinemas2021.eventive.org/welcome\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It takes a certain amount of boldness, along with the requisite talent, to create a musical about Puerto Rico in the grieving, furious wake of Hurricane Maria. There are so many ways it can go wrong, from stolid earnestness to sticky sentimentality to (worst of all) trivialization of the victims and survivors. \u003cem>Calle de la Resistance\u003c/em> (Oct. 1 at the Roxie), the rousing opening night film of the 13th \u003ca href=\"https://cinemas2021.eventive.org/welcome\" rel=\"noopener noreferrer\" target=\"_blank\">Cine+Mas San Francisco Latino Film Festival\u003c/a> (online through Oct. 17 with additional in-person screenings at the Roxie), proves to be an impressive and poignant work despite a few moments where it trips from drama to dogma (i.e., sloganeering).\u003c/p>\n\u003cp>Milton Carrero’s book and music, directed for the screen by Denise Blasor and performed on an L.A. theater stage by an emotionally invested and gifted ensemble, casts the devastating storm as the catalyst for protests against longstanding local corruption and U.S. colonialism. Most of the characters are in their 20s, which gives the story a charged sense of the future being created before our eyes.\u003c/p>\n\u003cfigure id=\"attachment_13904076\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/Charlotte_WidePic_Pair_1200.jpg\" alt=\"\" width=\"1200\" height=\"503\" class=\"size-full wp-image-13904076\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Charlotte_WidePic_Pair_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Charlotte_WidePic_Pair_1200-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Charlotte_WidePic_Pair_1200-1020x428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Charlotte_WidePic_Pair_1200-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Charlotte_WidePic_Pair_1200-768x322.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Charlotte.’ \u003ccite>(Courtesy SF Latino Film Fest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Opening night films are usually chosen for their innocuousness, but \u003cem>Calle de la Resistencia\u003c/em> embodies the pithy themes and urgent spirit—the pursuit of liberation and self-determination—of the remarkably expansive SF Latino Film Festival program, which encompasses some 100 films of varying lengths.\u003c/p>\n\u003cp>The 60-something actress at the center of Simon Franco’s quirky \u003cem>Charlotte\u003c/em> hits the Argentine highway in an RV with her repressed assistant, cruising to Paraguay to ambush the director with whom she found fame and fortune many years ago. 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It works in fits and starts, trafficking in weird digressions for weirdness’ sake, but Molina is a show by herself in this U.S. premiere.\u003c/p>\n\u003cfigure id=\"attachment_13904077\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/MaidensTower_Cover_DILMA_1200.jpg\" alt=\"\" width=\"1200\" height=\"720\" class=\"size-full wp-image-13904077\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/MaidensTower_Cover_DILMA_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/MaidensTower_Cover_DILMA_1200-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/MaidensTower_Cover_DILMA_1200-1020x612.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/MaidensTower_Cover_DILMA_1200-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/MaidensTower_Cover_DILMA_1200-768x461.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Dilma Rousseff in ‘Maiden’s Tower.’ \u003ccite>(Courtesy SF Latino Film Fest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A very different group of women of Charlotte’s generation, imprisoned Brazilian political activists of the late ’60s and early ’70s, command the screen in the experiential documentary \u003cem>Maiden’s Tower\u003c/em>. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lira orchestrates a reunion of several women who were tortured, interrogated and jailed for indeterminate periods in Maiden’s Tower, the female wing of Tiradentes Prison. The picture that emerges isn’t a gallery of individual snapshots of women of extraordinary strength, intelligence and commitment—even if one of them, Dilma Rousseff, went on to become president—so much as a group portrait of sisterhood under fire.\u003c/p>\n\u003cp>\u003cem>Maiden’s Tower\u003c/em> is a film of quietly harrowing inspiration that, refreshingly, doesn’t strive for contemporary parallels or resonance. And if you’re drawn more to today’s injustices and current struggles, the SF Latino Film Festival has a solid selection of those stories as well. Dive right in.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The SF Latino Film Festival streams online Oct. 1–17 with several in-person screenings at the Roxie Theater. \u003ca href=\"https://cinemas2021.eventive.org/welcome\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Moulin Rouge! The Musical' Sashays Home With 10 Tony Awards",
"headTitle": "‘Moulin Rouge! The Musical’ Sashays Home With 10 Tony Awards | KQED",
"content": "\u003cp>\u003cem>Moulin Rouge! The Musical\u003c/em>, a jukebox adaptation of Baz Luhrmann’s hyperactive 2001 movie, won the best new musical crown at the Tony Awards on a Sunday night when Broadway looked back to honor shows shuttered by COVID-19, mourn its fallen and also look forward to welcoming audiences again.\u003c/p>\n\u003cp>The show about the goings-on in a turn-of-the-century Parisian nightclub, updated with tunes like “Single Ladies” and “Firework” alongside the big hit “Lady Marmalade,” won 10 Tonys. The record is 12, won by “The Producers.”\u003c/p>\n\u003cp>Producer Carmen Pavlovic said after what Broadway has been through the last 18 months it felt strange to be considered the best. She dedicated the award to every show that closed, opened, nearly opened or was fortunate to be reborn.\u003c/p>\n\u003cp>\u003cem>[aside postid='pop_13021']The Inheritance\u003c/em> by Matthew Lopez was named the best new play, and Charles Fuller’s \u003cem>A Soldier’s Play\u003c/em> won best play revival.\u003c/p>\n\u003cp>Lopez’s two-part, seven-hour epic uses \u003cem>Howards End\u003c/em> as a starting point for a play that looks at gay life in the early 21st century. It also yielded wins for Andrew Burnap as best actor in a play, Stephen Daldry as best director, and Lois Smith as best performance by an actress in a featured role in a play.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Thomas Kirdahy, a producer, dedicated the award to his late husband, the playwright Terrence McNally. Lopez, the first Latin writer to win in the category, urged more plays to be produced from the Latin community. “We have so many stories inside us aching to come out. Let us tell you our stories,” he said.\u003c/p>\n\u003cp>The pandemic-delayed telecast kicked off with an energetic performance of “You Can’t Stop the Beat” from original Broadway cast members of \u003cem>Hairspray!\u003c/em> Jennifer Holliday also took the stage to deliver an unforgettable rendition of “And I’m Telling You I’m Not Going” from the musical \u003cem>Dreamgirls\u003c/em>.\u003c/p>\n\u003cp>The singers performed for a masked and appreciative audience at a packed Winter Garden Theatre. Host Audra McDonald got a standing ovation when she took the stage. “You can’t stop the beat. The heart of New York City!” she said.\u003c/p>\n\u003cp>\u003cem>Moulin Rouge! The Musical\u003c/em> won for scenic design, costume, lighting, sound design, orchestrations and a featured acting Tony for Broadway favorite Danny Burstein. Sonya Tayeh won for choreography on her Broadway debut, and Alex Timbers won the trophy for best direction of a musical.\u003c/p>\n\u003cp>[aside postid='pop_110904']In a surprise to no one, Aaron Tveit won the award for best leading actor in a musical for \u003cem>Moulin Rouge! The Musical\u003c/em>. That’s because he was the only person nominated in the category. He thanked a long list of people, including his parents, brother, agents, manager and the cast and crew. “We are so privileged to get to do this,” he said, tearing up. “Because what we do changes peoples’ lives.”\u003c/p>\n\u003cp>Burstein, who won for featured actor in a musical and had not won six previous times, thanked the Broadway community for supporting him after the death last year of his wife, \u003ca href=\"https://apnews.com/article/rebecca-luker-danny-burstein-laura-benanti-a29cc8a28beea8eaf46b08850853b8b6\" target=\"_blank\" rel=\"noopener noreferrer\">Rebecca Luker.\u003c/a> “You were there for us, whether you just sent a note or sent your love, sent your prayers—sent bagels—it meant the world to us, and it’s something I’ll never forget.”\u003c/p>\n\u003cp>David Alan Grier won featured actor in a play for his role in \u003cem>A Soldier’s Play\u003c/em>, which dissects entrenched Black-white racism as well as internal divisions in the Black military community during World War II. “To my other nominees: Tough bananas, I won,” he said. On stage, the director Kenny Leon recited the names Breonna Taylor and George Floyd, killed by police. “We will never, ever forget you.”\u003c/p>\n\u003cp>Adrienne Warren won the Tony for best leading actress in a musical for her electric turn as Tina Turner in \u003cem>Tina—The Tina Turner Musical\u003c/em>. Warren was considered the front-runner for the award thanks to becoming a one-woman fireball of energy and exhilaration. She dedicated the win to three family members she lost while playing Turner—and thanked Turner herself.\u003c/p>\n\u003cp>Mary-Louise Parker won her second best lead actress Tony Award, winning for playing a Yale professor who treasures great literature but has made no room in her life for someone to share that love with in \u003cem>The Sound Inside\u003c/em>. She thanked her dog, whom she was walking in the rain when she bumped into Mandy Greenfield from the Williamstown Theatre Festival, who told her about the play.\u003c/p>\n\u003cp>Burnap made his Broadway debut in \u003cem>The Inheritance\u003c/em>. He thanked his mom, and the University of Rhode Island and joked that he felt grateful because “I got to act for seven hours.”\u003c/p>\n\u003cp>[aside postid='arts_11682765']The sobering musical \u003cem>Jagged Little Pill\u003c/em>, which plumbs Alanis Morissette’s 1995 breakthrough album to tell a story of an American family spiraling out of control, came into the night with a leading 15 Tony nominations. It won for best book, and Lauren Patten won the award for best featured actress in a musical.\u003c/p>\n\u003cp>\u003cem>A Christmas Carol\u003c/em> cleaned up with five technical awards: scenic design of a play, costumes, lighting, sound design and score. No one from the production was on hand to accept any of the awards.\u003c/p>\n\u003cp>Members of Broadway’s royalty—Norm Lewis, Kelli O’Hara and Brian Stokes Mitchell—mourned the list of those who have died, which included icons like McNally, Harold Prince and Larry Kramer.\u003c/p>\n\u003cp>\u003cem>Slave Play\u003c/em>, Jeremy O. Harris’ ground-breaking, bracing work that mixes race, sex, taboo desires and class, earned a dozen nominations, making it the most nominated play in Tony history. But it won nothing.\u003c/p>\n\u003cp>Sunday’s show was expanded from its typical three hours to four, with McDonald handing out Tonys for the first two hours and Leslie Odom Jr. hosting a \u003cem>Broadway’s Back!\u003c/em> celebration for the second half with performances from the three top musicals.\u003c/p>\n\u003cp>The live special also included David Byrne and the cast of \u003cem>American Utopia\u003c/em> playing “Burning Down the House” to a standing and clapping crowd. Byrne told them they might not remember how to dance after so long but they were welcome to try.\u003c/p>\n\u003cp>[aside postid='arts_13903496']John Legend and the cast of \u003cem>Ain’t Too Proud\u003c/em> performed “My Girl” and “Ain’t Too Proud to Beg” and Josh Groban and Odom Jr. sang “Beautiful City” from \u003cem>Godspell\u003c/em>, dedicating it to educators. And Ben Platt and Anika Noni Rose sang “Move On” from \u003cem>Sunday in the Park with George.\u003c/em>\u003c/p>\n\u003cp>This season’s nominations were pulled from just 18 eligible plays and musicals from the 2019-2020 season, a fraction of the 34 shows the previous season. During most years, there are 26 competitive categories. This year there are 25 with several depleted ones.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The last Tony Awards ceremony was held in 2019. The virus forced Broadway theaters to abruptly close on March 12, 2020, knocking out all shows and scrambling the spring season. Several have restarted, including the so-called big three of \u003cem>Wicked\u003c/em>, \u003cem>Hamilton\u003c/em> and \u003cem>The Lion King\u003c/em>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit\u003c/em> \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>NPR\u003c/em>\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Moulin+Rouge%21+The+Musical%27+Sashays+Home+With+10+Tony+Awards&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Moulin Rouge! The Musical\u003c/em>, a jukebox adaptation of Baz Luhrmann’s hyperactive 2001 movie, won the best new musical crown at the Tony Awards on a Sunday night when Broadway looked back to honor shows shuttered by COVID-19, mourn its fallen and also look forward to welcoming audiences again.\u003c/p>\n\u003cp>The show about the goings-on in a turn-of-the-century Parisian nightclub, updated with tunes like “Single Ladies” and “Firework” alongside the big hit “Lady Marmalade,” won 10 Tonys. The record is 12, won by “The Producers.”\u003c/p>\n\u003cp>Producer Carmen Pavlovic said after what Broadway has been through the last 18 months it felt strange to be considered the best. She dedicated the award to every show that closed, opened, nearly opened or was fortunate to be reborn.\u003c/p>\n\u003cp>\u003cem>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The Inheritance\u003c/em> by Matthew Lopez was named the best new play, and Charles Fuller’s \u003cem>A Soldier’s Play\u003c/em> won best play revival.\u003c/p>\n\u003cp>Lopez’s two-part, seven-hour epic uses \u003cem>Howards End\u003c/em> as a starting point for a play that looks at gay life in the early 21st century. It also yielded wins for Andrew Burnap as best actor in a play, Stephen Daldry as best director, and Lois Smith as best performance by an actress in a featured role in a play.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Thomas Kirdahy, a producer, dedicated the award to his late husband, the playwright Terrence McNally. Lopez, the first Latin writer to win in the category, urged more plays to be produced from the Latin community. “We have so many stories inside us aching to come out. Let us tell you our stories,” he said.\u003c/p>\n\u003cp>The pandemic-delayed telecast kicked off with an energetic performance of “You Can’t Stop the Beat” from original Broadway cast members of \u003cem>Hairspray!\u003c/em> Jennifer Holliday also took the stage to deliver an unforgettable rendition of “And I’m Telling You I’m Not Going” from the musical \u003cem>Dreamgirls\u003c/em>.\u003c/p>\n\u003cp>The singers performed for a masked and appreciative audience at a packed Winter Garden Theatre. Host Audra McDonald got a standing ovation when she took the stage. “You can’t stop the beat. The heart of New York City!” she said.\u003c/p>\n\u003cp>\u003cem>Moulin Rouge! The Musical\u003c/em> won for scenic design, costume, lighting, sound design, orchestrations and a featured acting Tony for Broadway favorite Danny Burstein. Sonya Tayeh won for choreography on her Broadway debut, and Alex Timbers won the trophy for best direction of a musical.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In a surprise to no one, Aaron Tveit won the award for best leading actor in a musical for \u003cem>Moulin Rouge! The Musical\u003c/em>. That’s because he was the only person nominated in the category. He thanked a long list of people, including his parents, brother, agents, manager and the cast and crew. “We are so privileged to get to do this,” he said, tearing up. “Because what we do changes peoples’ lives.”\u003c/p>\n\u003cp>Burstein, who won for featured actor in a musical and had not won six previous times, thanked the Broadway community for supporting him after the death last year of his wife, \u003ca href=\"https://apnews.com/article/rebecca-luker-danny-burstein-laura-benanti-a29cc8a28beea8eaf46b08850853b8b6\" target=\"_blank\" rel=\"noopener noreferrer\">Rebecca Luker.\u003c/a> “You were there for us, whether you just sent a note or sent your love, sent your prayers—sent bagels—it meant the world to us, and it’s something I’ll never forget.”\u003c/p>\n\u003cp>David Alan Grier won featured actor in a play for his role in \u003cem>A Soldier’s Play\u003c/em>, which dissects entrenched Black-white racism as well as internal divisions in the Black military community during World War II. “To my other nominees: Tough bananas, I won,” he said. On stage, the director Kenny Leon recited the names Breonna Taylor and George Floyd, killed by police. “We will never, ever forget you.”\u003c/p>\n\u003cp>Adrienne Warren won the Tony for best leading actress in a musical for her electric turn as Tina Turner in \u003cem>Tina—The Tina Turner Musical\u003c/em>. Warren was considered the front-runner for the award thanks to becoming a one-woman fireball of energy and exhilaration. She dedicated the win to three family members she lost while playing Turner—and thanked Turner herself.\u003c/p>\n\u003cp>Mary-Louise Parker won her second best lead actress Tony Award, winning for playing a Yale professor who treasures great literature but has made no room in her life for someone to share that love with in \u003cem>The Sound Inside\u003c/em>. She thanked her dog, whom she was walking in the rain when she bumped into Mandy Greenfield from the Williamstown Theatre Festival, who told her about the play.\u003c/p>\n\u003cp>Burnap made his Broadway debut in \u003cem>The Inheritance\u003c/em>. He thanked his mom, and the University of Rhode Island and joked that he felt grateful because “I got to act for seven hours.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The sobering musical \u003cem>Jagged Little Pill\u003c/em>, which plumbs Alanis Morissette’s 1995 breakthrough album to tell a story of an American family spiraling out of control, came into the night with a leading 15 Tony nominations. It won for best book, and Lauren Patten won the award for best featured actress in a musical.\u003c/p>\n\u003cp>\u003cem>A Christmas Carol\u003c/em> cleaned up with five technical awards: scenic design of a play, costumes, lighting, sound design and score. No one from the production was on hand to accept any of the awards.\u003c/p>\n\u003cp>Members of Broadway’s royalty—Norm Lewis, Kelli O’Hara and Brian Stokes Mitchell—mourned the list of those who have died, which included icons like McNally, Harold Prince and Larry Kramer.\u003c/p>\n\u003cp>\u003cem>Slave Play\u003c/em>, Jeremy O. Harris’ ground-breaking, bracing work that mixes race, sex, taboo desires and class, earned a dozen nominations, making it the most nominated play in Tony history. But it won nothing.\u003c/p>\n\u003cp>Sunday’s show was expanded from its typical three hours to four, with McDonald handing out Tonys for the first two hours and Leslie Odom Jr. hosting a \u003cem>Broadway’s Back!\u003c/em> celebration for the second half with performances from the three top musicals.\u003c/p>\n\u003cp>The live special also included David Byrne and the cast of \u003cem>American Utopia\u003c/em> playing “Burning Down the House” to a standing and clapping crowd. Byrne told them they might not remember how to dance after so long but they were welcome to try.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>John Legend and the cast of \u003cem>Ain’t Too Proud\u003c/em> performed “My Girl” and “Ain’t Too Proud to Beg” and Josh Groban and Odom Jr. sang “Beautiful City” from \u003cem>Godspell\u003c/em>, dedicating it to educators. And Ben Platt and Anika Noni Rose sang “Move On” from \u003cem>Sunday in the Park with George.\u003c/em>\u003c/p>\n\u003cp>This season’s nominations were pulled from just 18 eligible plays and musicals from the 2019-2020 season, a fraction of the 34 shows the previous season. During most years, there are 26 competitive categories. This year there are 25 with several depleted ones.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The last Tony Awards ceremony was held in 2019. The virus forced Broadway theaters to abruptly close on March 12, 2020, knocking out all shows and scrambling the spring season. Several have restarted, including the so-called big three of \u003cem>Wicked\u003c/em>, \u003cem>Hamilton\u003c/em> and \u003cem>The Lion King\u003c/em>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit\u003c/em> \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>NPR\u003c/em>\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Moulin+Rouge%21+The+Musical%27+Sashays+Home+With+10+Tony+Awards&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Let’s get this out of the way: It’s uneven.\u003c/p>\n\u003cp>There.\u003c/p>\n\u003cp>Any anthology series has episodes that work better than others. \u003cem>Star Wars: Visions\u003c/em> is an anthology series; some of its episodes work better than others.\u003c/p>\n\u003cp>Which episodes work better for you will depend entirely on what you come to the \u003cem>Star Wars\u003c/em> franchise for.\u003c/p>\n\u003cp>Is it the epic space battles? You won’t find those here. These episodes tend to tell smaller stories set on various planets—including a few that will be all-too-familiar to fans of the franchise—so if you’re a devotee of space-dogfights in space-trenches, look elsewhere.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Similarly, if you’re a fan of \u003cem>Star Wars\u003c/em>‘ penchant for charming rogues and daring rescues and narrow escapes—the swashbuckling derring-do that has its genesis in George Lucas’ avowed love for movie serials—keep walking.\u003c/p>\n\u003cp>[aside postid='pop_50308']But if you’re here for characters gravely intoning the hokiest of dialogue about “The Force” and “The Dark Side” and “Stretch Out With Your Feeeeeeelings”—aka, the Jedi Stuff—pull up a space-chair. This series is for you. (I count myself among this cohort, so it’s ostensibly for me, too.)\u003c/p>\n\u003cp>There’s a full-circle nature to the series: George Lucas has often talked about the \u003cem>Star Wars\u003c/em> saga’s debt to Akira Kurosowa films like \u003cem>The Seven Samurai \u003c/em>and \u003cem>The Hidden Fortress\u003c/em>.\u003c/p>\n\u003cp>Disney invited leading Japanese anime studios to tell \u003cem>Star Wars\u003c/em> stories, and largely let them go to work without forcing them to adhere to the franchise’s strict canonical timeline. This fact is responsible for the series’ best aspects—its striking visuals, and its lack of references to specific characters and events in the established \u003cem>Star Wars\u003c/em> saga.\u003c/p>\n\u003cp>First the visuals: It’s bracing to see the familiar trappings of the \u003cem>Star Wars \u003c/em>universe inflected through a different cultural aesthetic; each episode feels, appealingly, like it’s merely riffing on Ralph McQuarrie’s original \u003cem>Star Wars \u003c/em>conceptual designs that have for so long been dutifully, endlessly reiterated through films, tv shows and comics.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jtAsl-0o3O0\u003c/p>\n\u003cp>It’s more than turning lightsabers into lightkatanas and calling it a day. Each episode of \u003cem>Star Wars: Visions\u003c/em> represents a fundamental and sweeping visual reimagining through an anime lens, whether that features painstakingly rendered landscapes, grim Ronin-esque Jedis, or a cute, \u003cem>Astro Boy-\u003c/em>like droid who longs to learn the ways of the Force. From the architecture of isolated hamlets and forbidding palaces to the elastic expressiveness of characters’ facial expressions, the series represents a fusion of influences with the potential to take the franchise in new directions …\u003c/p>\n\u003cp>[aside postid='pop_103268']… visually, at least.\u003c/p>\n\u003cp>But even though the creators were given free rein, they remain saddled by \u003cem>Star Wars\u003c/em>‘ strict and limited narrative conventions. Jedis are good, Sith are evil. They fight. Rather a lot. Lather, rinse, repeat.\u003c/p>\n\u003cp>One can be turned from one side to the other, sure—a couple episodes deal with this—but mostly, the vast \u003cem>Star Wars\u003c/em> galaxy is black and white (or if we’re talking lightsabers, red and blue), and if you come to it looking for anything more than tidy morality plays, you’ll spend it wandering the Tatooine deserts until you get eaten by a krayt.\u003c/p>\n\u003cp>There’s an argument to be made that by establishing characters outside the established timeline, yet having them enact very familiar, nay, \u003cem>achingly \u003c/em>familiar conflicts, the series is gesturing towards some kind of universal cycle of Sith-Jedi clashes—a kind of Ragnarok or Yuga Cycle, only with robes and rat-tails. Maybe. The simpler answer, of course, is that the franchise’s simplistic moral worldview is impossible to get out from under.\u003c/p>\n\u003cp>To be fair, animated \u003cem>Star Wars \u003c/em>series like \u003cem>Rebels \u003c/em>and \u003cem>The Clone Wars\u003c/em> managed to find some shades of space-gray in the reductively Manichean \u003cem>Star Wars \u003c/em>universe, but then, they each had several seasons to do so. Most episodes of\u003cem> Star Wars: Visions\u003c/em>, on the other hand, clock in somewhere around the 20-minute mark.\u003c/p>\n\u003cp>Which points up another limitation of the series: Though marketed as a succession of discrete “animated short films,” no episode feels dramatically complete. Instead, they resolve their immediate storylines and conclude by gesturing towards larger, unresolved conflicts—the villain escapes, a war begins, a mystery whose answer awaits our heroes somewhere out among the stars beckons.\u003c/p>\n\u003cp>The inevitable result, of course, is for each episode to feel like a carefully wrought and promising pitch for an ongoing series—just so many pilot episodes, elbowing each other for pickup.\u003c/p>\n\u003cp>Whether or not that’s how it’s intended, that’s how it plays out. For the record, I’d be on board for series based on episodes 5 (“The Ninth Jedi”), 7 (“The Elder”) or 9 (“Akakiri”).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[aside postid='pop_83529']If you’re prepared to approach the series as a testament to this venerable franchise’s limitless visual potential but limited narrative potential (seriously, take a drink every time someone mentions kyber crystals), you’ll set yourself up for getting out of it exactly what it’s prepared to offer you, and nothing more.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Anime+Anthology+%27Star+Wars%3A+Visions%27+Expands+The+Galaxy+Far%2C+Far+Away&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>… visually, at least.\u003c/p>\n\u003cp>But even though the creators were given free rein, they remain saddled by \u003cem>Star Wars\u003c/em>‘ strict and limited narrative conventions. Jedis are good, Sith are evil. They fight. Rather a lot. Lather, rinse, repeat.\u003c/p>\n\u003cp>One can be turned from one side to the other, sure—a couple episodes deal with this—but mostly, the vast \u003cem>Star Wars\u003c/em> galaxy is black and white (or if we’re talking lightsabers, red and blue), and if you come to it looking for anything more than tidy morality plays, you’ll spend it wandering the Tatooine deserts until you get eaten by a krayt.\u003c/p>\n\u003cp>There’s an argument to be made that by establishing characters outside the established timeline, yet having them enact very familiar, nay, \u003cem>achingly \u003c/em>familiar conflicts, the series is gesturing towards some kind of universal cycle of Sith-Jedi clashes—a kind of Ragnarok or Yuga Cycle, only with robes and rat-tails. Maybe. The simpler answer, of course, is that the franchise’s simplistic moral worldview is impossible to get out from under.\u003c/p>\n\u003cp>To be fair, animated \u003cem>Star Wars \u003c/em>series like \u003cem>Rebels \u003c/em>and \u003cem>The Clone Wars\u003c/em> managed to find some shades of space-gray in the reductively Manichean \u003cem>Star Wars \u003c/em>universe, but then, they each had several seasons to do so. Most episodes of\u003cem> Star Wars: Visions\u003c/em>, on the other hand, clock in somewhere around the 20-minute mark.\u003c/p>\n\u003cp>Which points up another limitation of the series: Though marketed as a succession of discrete “animated short films,” no episode feels dramatically complete. Instead, they resolve their immediate storylines and conclude by gesturing towards larger, unresolved conflicts—the villain escapes, a war begins, a mystery whose answer awaits our heroes somewhere out among the stars beckons.\u003c/p>\n\u003cp>The inevitable result, of course, is for each episode to feel like a carefully wrought and promising pitch for an ongoing series—just so many pilot episodes, elbowing each other for pickup.\u003c/p>\n\u003cp>Whether or not that’s how it’s intended, that’s how it plays out. For the record, I’d be on board for series based on episodes 5 (“The Ninth Jedi”), 7 (“The Elder”) or 9 (“Akakiri”).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>If you’re prepared to approach the series as a testament to this venerable franchise’s limitless visual potential but limited narrative potential (seriously, take a drink every time someone mentions kyber crystals), you’ll set yourself up for getting out of it exactly what it’s prepared to offer you, and nothing more.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Anime+Anthology+%27Star+Wars%3A+Visions%27+Expands+The+Galaxy+Far%2C+Far+Away&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "5 Takeaways From a Big Emmy Night For a Short List of Shows",
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"content": "\u003cp>The Primetime Emmy Awards on Sunday night arrived at a moment when both the medium of television and the concept of awards shows are fighting the sense that they might be … you know, old-fashioned.\u003c/p>\n\u003cp>Innovative shows are pushing narrative structures in interesting directions and tackling social issues in new ways with highly personal stories being told about characters often ignored in the past. But the awards show, despite some COVID-related tweaks, remains strictly traditional.\u003c/p>\n\u003cp>Here are five things to know about how it went.\u003c/p>\n\u003ch3>1. The wealth was not shared widely.\u003c/h3>\n\u003cp>Voters responded to the desperate need for new material that can reach new audiences by giving every drama series award they handed out Sunday night to \u003cem>The Crown\u003c/em>, the Netflix drama about the British royal family. Drama series, actor, actress, supporting actor, supporting actress, writing, directing … only one drama series was deemed worthy of recognition.\u003c/p>\n\u003cp>In fact, very few shows were recognized overall.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Comedy awards were divided between \u003cem>Hacks \u003c/em>and \u003cem>Ted Lasso\u003c/em>, and limited series awards—perhaps now the most prestigious ones of all—divided among \u003cem>Mare of Easttown\u003c/em>, \u003cem>The Queen’s Gambit, Halston\u003c/em>, and, fortunately, Michaela Coel’s \u003cem>I May Destroy You\u003c/em>. It’s not clear what all the factors are that are leading to this concentration of nominees and winners, but it doesn’t feel particularly auspicious. Last year, \u003cem>Schitt’s Creek \u003c/em>won all the comedy awards too, but it was that show’s last season and it had never won anything, which made it a little less stifling than what happened this year with \u003cem>The Crown \u003c/em>in particular. This looked early on like it might be a year of entirely sweeps, and at this rate we’ll eventually get that. And that will not be good.\u003c/p>\n\u003cfigure id=\"attachment_13903477\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903477\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1341375850-800x533.jpg\" alt=\"Kate Winslet smiles while holding onto her Emmy Award.\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Kate Winslet, winner of the Outstanding Lead Actress in a Limited or Anthology Series for ‘Mare of Easttown,’ hits the Emmy Awards press room. \u003ccite>(Rich Fury/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>2. The Emmys have an acute representation problem.\u003c/h3>\n\u003cp>[aside postid='arts_13903332']The Emmys have a representation problem just as the great majority of awards do, and probably to an even greater degree than most. This was glaringly obvious as regards on-camera talent: Not one actor of color won an award Sunday night. There were \u003cem>12 \u003c/em>actors honored: Brett Goldstein, Hannah Waddingham and Jason Sudeikis of \u003cem>Ted Lasso\u003c/em>; Kate Winslet, Julianne Nicholson and Evan Peters of \u003cem>Mare of Easttown;\u003c/em> Jean Smart of \u003cem>Hacks; \u003c/em>Ewan McGregor of \u003cem>Halston\u003c/em>; and Olivia Colman, Josh O’Connor, Tobias Menzies and Gillian Anderson of \u003cem>The Crown\u003c/em>. Behind the camera, Coel won for her writing, but the rest of the scripted programming that was honored was mostly by and about white people.\u003c/p>\n\u003cp>You could make an argument for the people who won, that they are talented and deserving. These are good shows, mostly. The issue is that in many categories, \u003cem>everyone \u003c/em>is talented and deserving, and in many more, at least multiple people are. Even if you believe \u003cem>The Crown \u003c/em>is a worthy and good show, that doesn’t mean \u003cem>Pose \u003c/em>isn’t, or \u003cem>Lovecraft Country \u003c/em>isn’t, or any of the many things that weren’t even nominated aren’t. It’s not a matter of undeserving nominees being honored, necessarily; it’s often that out of a whole world of deserving artists, the recognition over and over again leaves out artists of color, Indigenous artists, trans artists, disabled artists, and on and on. To continue to press the narrative that this is a coincidence requires more and more closing of one’s eyes to reality.\u003c/p>\n\u003cp>The entire idea that there exists a correct single deserving winner is always deeply silly, so there are other factors at work. Who gets the benefit of an Emmy campaign, who knows a lot of people, who’s well-liked, who’s been in other things that have won awards, whether voters actually watched the show at hand—and, always, what story the industry is currently telling about itself. And the story that television told about itself this year at the Emmys was discouraging, narrow, and dated, even as they honored a lot of good work. That’s the paradox of more good television making less-satisfying celebrations: The more good stuff you could choose to reward, the more striking your peculiar fixations and omissions become.\u003c/p>\n\u003ch3>3. They have to figure out the orchestra.\u003c/h3>\n\u003cp>Bless Debbie Allen, recipient of the Governor’s Award, for getting up there like the legend she is and telling the person with the clock running on her speech that they might as well turn the clock off because she wasn’t going to pay attention to it. She deserves it. She is special. She is different. She is Debbie Allen.\u003c/p>\n\u003cfigure id=\"attachment_13903485\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903485\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1341373968-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1341373968-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1341373968-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1341373968-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1341373968-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1341373968-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1341373968-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1341373968-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Debbie Allen, recipient of the Governors Award, poses with her trophy. \u003ccite>(Rich Fury/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Just after she spoke, Scott Frank, the director of \u003cem>The Queen’s Gambit\u003c/em>, won for that show and came up onstage and began to talk. He just kind of waxed poetic in tributes to various people and when the music came to play him off, he stated that he wasn’t going to listen. So he just talked for as long as he wanted, through multiple attempts to coax him into abiding by time constraints that were respected by people like, oh, Olivia Colman. He, to clarify, is not Debbie Allen.\u003c/p>\n\u003cp>Look, it can’t work this way. You can decide people can talk as long as they want—if they’d cut the regrettable comedy “bits” with host Cedric the Entertainer, who was great in the monologue and not so much thereafter, they’d have had more time—but if you do that, it has to apply to everybody. It can’t just be that if a person gets up there and refuses to politely do as they’ve been asked to do, they can talk as long as they want. That’s just rewarding people who are rude. (Obviously, I’m not talking about recipients of special honors, or people who are in the middle of discussing a deeply personal tragedy, or even people racing through a list of names. For that, give them a minute. But if they’re just reading the long address they wrote, they can go ahead and wrap it up when the music comes on.)\u003c/p>\n\u003ch3>4. Seriously, enough with the bits.\u003c/h3>\n\u003cp>It was a good monologue! Cedric the Entertainer is an actual working comic; it helps. But the bits. My friends, the bits were regrettable. One, in particular, involved the fly that landed on Mike Pence’s head during a debate leading up to an election that’s been over for almost a year—a fly that was pretty well used up as a meme about eight hours after it was first spotted. How that fly bit made it all the way to air, I’m not sure, but I would gladly have taken a few minutes of showbiz stories from Debbie Allen (or, heck, Scott Frank) over the fly.\u003c/p>\n\u003ch3>5. As always, some good wins helped.\u003c/h3>\n\u003cp>[aside postid='arts_13884214']To say it was exciting to see Michaela Coel honored for writing \u003cem>I May Destroy You \u003c/em>would be understating it; I startled my dog, I was so pleased. She is a great talent, and for her to go home with nothing would have been deeply disappointing. The wonderful Jean Smart gave a terrific speech when she won for \u003cem>Hacks\u003c/em>, sad and funny and wise, and that’s a lady who’s been good in a lot of things for a very long time. Hannah Waddingham gave a stirring salute to theater actors, and Olivia Colman congratulated Coel with a burst of bleeped profanity. Julianne Nicholson is one of those actors who’s been around forever being good in all kinds of things, and recognition for her was great. If you love \u003cem>Ted Lasso\u003c/em>—some do, some don’t, I do—then it was heartening to see such a strong showing for a show that was originally pitched as “a spin-off of some commercials” and didn’t sound particularly promising.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It’s not that the people who won Sunday night aren’t good at their jobs. It’s just that a lot of people are good at their jobs, and some are great at their jobs, and they got no encouragement, no congratulations, no recognition. Awards shouldn’t matter to people in theory, perhaps, precisely \u003cem>because \u003c/em>they’re meaningless, but it would be better if they weren’t meaningless. And if they’re going to be meaningless, at least bring them in on time.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=5+Takeaways+From+A+Big+Emmy+Night+For+A+Short+List+Of+Shows&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Primetime Emmy Awards on Sunday night arrived at a moment when both the medium of television and the concept of awards shows are fighting the sense that they might be … you know, old-fashioned.\u003c/p>\n\u003cp>Innovative shows are pushing narrative structures in interesting directions and tackling social issues in new ways with highly personal stories being told about characters often ignored in the past. But the awards show, despite some COVID-related tweaks, remains strictly traditional.\u003c/p>\n\u003cp>Here are five things to know about how it went.\u003c/p>\n\u003ch3>1. The wealth was not shared widely.\u003c/h3>\n\u003cp>Voters responded to the desperate need for new material that can reach new audiences by giving every drama series award they handed out Sunday night to \u003cem>The Crown\u003c/em>, the Netflix drama about the British royal family. Drama series, actor, actress, supporting actor, supporting actress, writing, directing … only one drama series was deemed worthy of recognition.\u003c/p>\n\u003cp>In fact, very few shows were recognized overall.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Comedy awards were divided between \u003cem>Hacks \u003c/em>and \u003cem>Ted Lasso\u003c/em>, and limited series awards—perhaps now the most prestigious ones of all—divided among \u003cem>Mare of Easttown\u003c/em>, \u003cem>The Queen’s Gambit, Halston\u003c/em>, and, fortunately, Michaela Coel’s \u003cem>I May Destroy You\u003c/em>. It’s not clear what all the factors are that are leading to this concentration of nominees and winners, but it doesn’t feel particularly auspicious. Last year, \u003cem>Schitt’s Creek \u003c/em>won all the comedy awards too, but it was that show’s last season and it had never won anything, which made it a little less stifling than what happened this year with \u003cem>The Crown \u003c/em>in particular. This looked early on like it might be a year of entirely sweeps, and at this rate we’ll eventually get that. And that will not be good.\u003c/p>\n\u003cfigure id=\"attachment_13903477\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903477\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1341375850-800x533.jpg\" alt=\"Kate Winslet smiles while holding onto her Emmy Award.\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Kate Winslet, winner of the Outstanding Lead Actress in a Limited or Anthology Series for ‘Mare of Easttown,’ hits the Emmy Awards press room. \u003ccite>(Rich Fury/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>2. The Emmys have an acute representation problem.\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The Emmys have a representation problem just as the great majority of awards do, and probably to an even greater degree than most. This was glaringly obvious as regards on-camera talent: Not one actor of color won an award Sunday night. There were \u003cem>12 \u003c/em>actors honored: Brett Goldstein, Hannah Waddingham and Jason Sudeikis of \u003cem>Ted Lasso\u003c/em>; Kate Winslet, Julianne Nicholson and Evan Peters of \u003cem>Mare of Easttown;\u003c/em> Jean Smart of \u003cem>Hacks; \u003c/em>Ewan McGregor of \u003cem>Halston\u003c/em>; and Olivia Colman, Josh O’Connor, Tobias Menzies and Gillian Anderson of \u003cem>The Crown\u003c/em>. Behind the camera, Coel won for her writing, but the rest of the scripted programming that was honored was mostly by and about white people.\u003c/p>\n\u003cp>You could make an argument for the people who won, that they are talented and deserving. These are good shows, mostly. The issue is that in many categories, \u003cem>everyone \u003c/em>is talented and deserving, and in many more, at least multiple people are. Even if you believe \u003cem>The Crown \u003c/em>is a worthy and good show, that doesn’t mean \u003cem>Pose \u003c/em>isn’t, or \u003cem>Lovecraft Country \u003c/em>isn’t, or any of the many things that weren’t even nominated aren’t. It’s not a matter of undeserving nominees being honored, necessarily; it’s often that out of a whole world of deserving artists, the recognition over and over again leaves out artists of color, Indigenous artists, trans artists, disabled artists, and on and on. To continue to press the narrative that this is a coincidence requires more and more closing of one’s eyes to reality.\u003c/p>\n\u003cp>The entire idea that there exists a correct single deserving winner is always deeply silly, so there are other factors at work. Who gets the benefit of an Emmy campaign, who knows a lot of people, who’s well-liked, who’s been in other things that have won awards, whether voters actually watched the show at hand—and, always, what story the industry is currently telling about itself. And the story that television told about itself this year at the Emmys was discouraging, narrow, and dated, even as they honored a lot of good work. That’s the paradox of more good television making less-satisfying celebrations: The more good stuff you could choose to reward, the more striking your peculiar fixations and omissions become.\u003c/p>\n\u003ch3>3. They have to figure out the orchestra.\u003c/h3>\n\u003cp>Bless Debbie Allen, recipient of the Governor’s Award, for getting up there like the legend she is and telling the person with the clock running on her speech that they might as well turn the clock off because she wasn’t going to pay attention to it. She deserves it. She is special. She is different. She is Debbie Allen.\u003c/p>\n\u003cfigure id=\"attachment_13903485\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903485\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1341373968-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1341373968-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1341373968-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1341373968-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1341373968-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1341373968-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1341373968-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1341373968-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Debbie Allen, recipient of the Governors Award, poses with her trophy. \u003ccite>(Rich Fury/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Just after she spoke, Scott Frank, the director of \u003cem>The Queen’s Gambit\u003c/em>, won for that show and came up onstage and began to talk. He just kind of waxed poetic in tributes to various people and when the music came to play him off, he stated that he wasn’t going to listen. So he just talked for as long as he wanted, through multiple attempts to coax him into abiding by time constraints that were respected by people like, oh, Olivia Colman. He, to clarify, is not Debbie Allen.\u003c/p>\n\u003cp>Look, it can’t work this way. You can decide people can talk as long as they want—if they’d cut the regrettable comedy “bits” with host Cedric the Entertainer, who was great in the monologue and not so much thereafter, they’d have had more time—but if you do that, it has to apply to everybody. It can’t just be that if a person gets up there and refuses to politely do as they’ve been asked to do, they can talk as long as they want. That’s just rewarding people who are rude. (Obviously, I’m not talking about recipients of special honors, or people who are in the middle of discussing a deeply personal tragedy, or even people racing through a list of names. For that, give them a minute. But if they’re just reading the long address they wrote, they can go ahead and wrap it up when the music comes on.)\u003c/p>\n\u003ch3>4. Seriously, enough with the bits.\u003c/h3>\n\u003cp>It was a good monologue! Cedric the Entertainer is an actual working comic; it helps. But the bits. My friends, the bits were regrettable. One, in particular, involved the fly that landed on Mike Pence’s head during a debate leading up to an election that’s been over for almost a year—a fly that was pretty well used up as a meme about eight hours after it was first spotted. How that fly bit made it all the way to air, I’m not sure, but I would gladly have taken a few minutes of showbiz stories from Debbie Allen (or, heck, Scott Frank) over the fly.\u003c/p>\n\u003ch3>5. As always, some good wins helped.\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>To say it was exciting to see Michaela Coel honored for writing \u003cem>I May Destroy You \u003c/em>would be understating it; I startled my dog, I was so pleased. She is a great talent, and for her to go home with nothing would have been deeply disappointing. The wonderful Jean Smart gave a terrific speech when she won for \u003cem>Hacks\u003c/em>, sad and funny and wise, and that’s a lady who’s been good in a lot of things for a very long time. Hannah Waddingham gave a stirring salute to theater actors, and Olivia Colman congratulated Coel with a burst of bleeped profanity. Julianne Nicholson is one of those actors who’s been around forever being good in all kinds of things, and recognition for her was great. If you love \u003cem>Ted Lasso\u003c/em>—some do, some don’t, I do—then it was heartening to see such a strong showing for a show that was originally pitched as “a spin-off of some commercials” and didn’t sound particularly promising.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s not that the people who won Sunday night aren’t good at their jobs. It’s just that a lot of people are good at their jobs, and some are great at their jobs, and they got no encouragement, no congratulations, no recognition. Awards shouldn’t matter to people in theory, perhaps, precisely \u003cem>because \u003c/em>they’re meaningless, but it would be better if they weren’t meaningless. And if they’re going to be meaningless, at least bring them in on time.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=5+Takeaways+From+A+Big+Emmy+Night+For+A+Short+List+Of+Shows&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"politicalbreakdown": {
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
"science-friday": {
"id": "science-friday",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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