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"content": "\u003cp>On Friday afternoon, April 4, recipients of California Humanities grants received an email announcing the sudden cancellation of their funding from the statewide nonprofit.\u003c/p>\n\u003cp>“We are currently unable to issue any outstanding grant payments,” the email read. “All grants to state humanities and jurisdictions, including California Humanities have been suspended.”\u003c/p>\n\u003cp>California Humanities receives over 90% of its funding from the National Endowment for the Humanities (NEH), which on April 3 \u003ca href=\"https://www.npr.org/2025/04/03/nx-s1-5350994/neh-grants-cut-humanities-doge-trump\">canceled millions of dollars\u003c/a> in previously awarded federal grants to arts and cultural groups across the country.\u003c/p>\n\u003cp>“I hadn’t heard of the NEH, frankly, until last week,” said Matty Lynn Barnes, executive producer of the 30-minute documentary short \u003ci>Living Harriet Tubman\u003c/i>, which received a $30,000 \u003ca href=\"https://calhum.org/2024-california-documentary-project-awards/\">California Documentary Project grant\u003c/a> from Californa Humanities in 2024. “We had zero clue where Cal Humanities money comes from.” \u003c/p>\n\u003cp>Colin Mandlin, managing director of \u003ca href=\"https://oaklandtheaterproject.org/\">Oakland Theater Project\u003c/a>, said he was similarly unaware his organization’s $25,000 grant could be in jeopardy from federal funding cuts. This was the theater’s first grant from California Humanities, which was to go towards environmental justice-focused civic debates, an exhibition, a school workshop series and a walking tour of West Oakland to accompany their 2026 season. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“If no other funding comes through, then definitely we’ll have to cut some of these activities,” Mandlin said. Like the \u003ci>Living Harriet Tubman\u003c/i> team, Oakland Theater Project had only received an initial payment of half the grant.\u003c/p>\n\u003cfigure id=\"attachment_13974253\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Proud_Stutter0385_2000.jpg\" alt=\"two Black men face each other, smiling and laughing\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13974253\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Proud_Stutter0385_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Proud_Stutter0385_2000-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Proud_Stutter0385_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Proud_Stutter0385_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Proud_Stutter0385_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Proud_Stutter0385_2000-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Proud_Stutter0385_2000-1920x1281.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An image from Maya Chupkov’s feature-length documentary, which follows Issac Bailey and Jay Jordan, two Black men who stutter and whose lives are largely shaped by their speech. The film received a $35,000 California Humanities grant in 2023. \u003ccite>(Brian Bowen Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Maya Chupkov, a recipient of a 2023 California Documentary Project grant for \u003ca href=\"https://www.proudstutter.org/documentary\">a feature-length documentary\u003c/a> based on stories from the podcast \u003ci>Proud Stutter\u003c/i>, had just received her second check from California Humanities when the email came about her canceled award. California Humanities grants are disbursed in 50%, 40% and 10% chunks over the course of supported projects. \u003c/p>\n\u003cp>“I feel grateful that I was able to get the second installment,” she said, “but we’re gonna have to figure out how to fill that hole.” Without the final $3,500 of her grant, she said, she’ll need to reassess a major shoot and do more fundraising.\u003c/p>\n\u003cp>“The independent film world is just really tough right now,” she said.\u003c/p>\n\u003cp>[aside postID='arts_13875290']Barnes and \u003ci>Living Harriet Tubman\u003c/i> director Brandon Tauszik immediately launched \u003ca href=\"https://www.gofundme.com/f/please-help-doge-defunded-our-documentary\">a GoFundMe\u003c/a> for the remaining $15,000 they expected to receive for the film, which tells the story of \u003ca href=\"https://www.kqed.org/arts/13875290/meet-the-civil-war-reenactor-upholding-harriet-tubmans-legacy\">Nancy Whittle\u003c/a>, a Fresno resident who spent 30 years portraying the abolitionist leader at Civil War reenactments across the state.\u003c/p>\n\u003cp>The goal of the film is to “reveal the power of facing painful histories.” (The National Park Service only recently restored \u003ca href=\"https://www.nps.gov/subjects/undergroundrailroad/what-is-the-underground-railroad.htm\">a web page about the Underground Railroad\u003c/a> that had been \u003ca href=\"https://apnews.com/article/harriet-tubman-park-service-trump-dei-a8dbb6fa252518d0598aad5f0ce6f1ab\">changed in February\u003c/a> to remove a large image of Tubman and quotations from her.)\u003c/p>\n\u003cp>“This is a devastating loss to our otherwise self-funded project,” the filmmakers wrote on the fundraising site. “The Trump administration’s cuts to humanities and DEI funding aren’t just budgetary — they’re ideological attempts to erase cultural memory and reshape history.”\u003c/p>\n\u003cfigure id=\"attachment_13974252\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/HarrietTubman_2000.jpg\" alt=\"two people hold cameras pointed at an older Black woman in front of home\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13974252\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/HarrietTubman_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/HarrietTubman_2000-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/HarrietTubman_2000-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/HarrietTubman_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/HarrietTubman_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/HarrietTubman_2000-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/HarrietTubman_2000-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Theo Schear and Amelia Alemayehu filming Nancy Whittle outside her home in Fresno during the making of ‘Living Harriet Tubman.’ \u003ccite>(Brandon Tauszik)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>California Humanities was established in 1975 as a nonpartisan affiliate of the NEH, and has awarded over $44 million in grants during its 50 years. In addition to the California Documentary Project, the organization currently funds the programs Humanities for All, the Library Innovation Lab, Literature & Medicine, and Emerging Journalist Fellowships. \u003c/p>\n\u003cp>In other words, as they wrote in an \u003ca href=\"https://calhum.org/save-california-humanities-doge-cuts-to-the-neh-will-damage-cultural-organizaitons-in-our-state/\">April 4 press release\u003c/a>, “We give resources to the organizations and individuals who bring you family library programs, documentary films that uncover little-known CA histories, hospital staff who focus on their patients as people, not pathologies, and stories generated by local journalists, not AI.”\u003c/p>\n\u003cp>California Humanities staff could not be reached for comment on Tuesday. But in the April 4 press release, the organization said it had joined with 56 other state and jurisdictional councils “to strategize how to work together to ensure no humanities council will shut its doors.” \u003c/p>\n\u003cp>Whether any of their grantees will receive the rest of their awards is up in the air. Mandlin notes it’s a difficult time for governmental funding at all levels. “Last year our state of California general operating grant was shrunk, our city of Oakland general operating grant was shrunk,” he said. \u003c/p>\n\u003cp>“It’s another degree of challenge with money that’s already been promised,” Mandlin said. “It can really lead leaders to think about retracting, playing it safe and cutting back in a way that doesn’t serve anyone.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://www.kqed.org/author/sfaulise\">Shannon Faulise\u003c/a> contributed reporting to this story.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Friday afternoon, April 4, recipients of California Humanities grants received an email announcing the sudden cancellation of their funding from the statewide nonprofit.\u003c/p>\n\u003cp>“We are currently unable to issue any outstanding grant payments,” the email read. “All grants to state humanities and jurisdictions, including California Humanities have been suspended.”\u003c/p>\n\u003cp>California Humanities receives over 90% of its funding from the National Endowment for the Humanities (NEH), which on April 3 \u003ca href=\"https://www.npr.org/2025/04/03/nx-s1-5350994/neh-grants-cut-humanities-doge-trump\">canceled millions of dollars\u003c/a> in previously awarded federal grants to arts and cultural groups across the country.\u003c/p>\n\u003cp>“I hadn’t heard of the NEH, frankly, until last week,” said Matty Lynn Barnes, executive producer of the 30-minute documentary short \u003ci>Living Harriet Tubman\u003c/i>, which received a $30,000 \u003ca href=\"https://calhum.org/2024-california-documentary-project-awards/\">California Documentary Project grant\u003c/a> from Californa Humanities in 2024. “We had zero clue where Cal Humanities money comes from.” \u003c/p>\n\u003cp>Colin Mandlin, managing director of \u003ca href=\"https://oaklandtheaterproject.org/\">Oakland Theater Project\u003c/a>, said he was similarly unaware his organization’s $25,000 grant could be in jeopardy from federal funding cuts. This was the theater’s first grant from California Humanities, which was to go towards environmental justice-focused civic debates, an exhibition, a school workshop series and a walking tour of West Oakland to accompany their 2026 season. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“If no other funding comes through, then definitely we’ll have to cut some of these activities,” Mandlin said. Like the \u003ci>Living Harriet Tubman\u003c/i> team, Oakland Theater Project had only received an initial payment of half the grant.\u003c/p>\n\u003cfigure id=\"attachment_13974253\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Proud_Stutter0385_2000.jpg\" alt=\"two Black men face each other, smiling and laughing\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13974253\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Proud_Stutter0385_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Proud_Stutter0385_2000-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Proud_Stutter0385_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Proud_Stutter0385_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Proud_Stutter0385_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Proud_Stutter0385_2000-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Proud_Stutter0385_2000-1920x1281.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An image from Maya Chupkov’s feature-length documentary, which follows Issac Bailey and Jay Jordan, two Black men who stutter and whose lives are largely shaped by their speech. The film received a $35,000 California Humanities grant in 2023. \u003ccite>(Brian Bowen Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Maya Chupkov, a recipient of a 2023 California Documentary Project grant for \u003ca href=\"https://www.proudstutter.org/documentary\">a feature-length documentary\u003c/a> based on stories from the podcast \u003ci>Proud Stutter\u003c/i>, had just received her second check from California Humanities when the email came about her canceled award. California Humanities grants are disbursed in 50%, 40% and 10% chunks over the course of supported projects. \u003c/p>\n\u003cp>“I feel grateful that I was able to get the second installment,” she said, “but we’re gonna have to figure out how to fill that hole.” Without the final $3,500 of her grant, she said, she’ll need to reassess a major shoot and do more fundraising.\u003c/p>\n\u003cp>“The independent film world is just really tough right now,” she said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Barnes and \u003ci>Living Harriet Tubman\u003c/i> director Brandon Tauszik immediately launched \u003ca href=\"https://www.gofundme.com/f/please-help-doge-defunded-our-documentary\">a GoFundMe\u003c/a> for the remaining $15,000 they expected to receive for the film, which tells the story of \u003ca href=\"https://www.kqed.org/arts/13875290/meet-the-civil-war-reenactor-upholding-harriet-tubmans-legacy\">Nancy Whittle\u003c/a>, a Fresno resident who spent 30 years portraying the abolitionist leader at Civil War reenactments across the state.\u003c/p>\n\u003cp>The goal of the film is to “reveal the power of facing painful histories.” (The National Park Service only recently restored \u003ca href=\"https://www.nps.gov/subjects/undergroundrailroad/what-is-the-underground-railroad.htm\">a web page about the Underground Railroad\u003c/a> that had been \u003ca href=\"https://apnews.com/article/harriet-tubman-park-service-trump-dei-a8dbb6fa252518d0598aad5f0ce6f1ab\">changed in February\u003c/a> to remove a large image of Tubman and quotations from her.)\u003c/p>\n\u003cp>“This is a devastating loss to our otherwise self-funded project,” the filmmakers wrote on the fundraising site. “The Trump administration’s cuts to humanities and DEI funding aren’t just budgetary — they’re ideological attempts to erase cultural memory and reshape history.”\u003c/p>\n\u003cfigure id=\"attachment_13974252\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/HarrietTubman_2000.jpg\" alt=\"two people hold cameras pointed at an older Black woman in front of home\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13974252\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/HarrietTubman_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/HarrietTubman_2000-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/HarrietTubman_2000-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/HarrietTubman_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/HarrietTubman_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/HarrietTubman_2000-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/HarrietTubman_2000-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Theo Schear and Amelia Alemayehu filming Nancy Whittle outside her home in Fresno during the making of ‘Living Harriet Tubman.’ \u003ccite>(Brandon Tauszik)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>California Humanities was established in 1975 as a nonpartisan affiliate of the NEH, and has awarded over $44 million in grants during its 50 years. In addition to the California Documentary Project, the organization currently funds the programs Humanities for All, the Library Innovation Lab, Literature & Medicine, and Emerging Journalist Fellowships. \u003c/p>\n\u003cp>In other words, as they wrote in an \u003ca href=\"https://calhum.org/save-california-humanities-doge-cuts-to-the-neh-will-damage-cultural-organizaitons-in-our-state/\">April 4 press release\u003c/a>, “We give resources to the organizations and individuals who bring you family library programs, documentary films that uncover little-known CA histories, hospital staff who focus on their patients as people, not pathologies, and stories generated by local journalists, not AI.”\u003c/p>\n\u003cp>California Humanities staff could not be reached for comment on Tuesday. But in the April 4 press release, the organization said it had joined with 56 other state and jurisdictional councils “to strategize how to work together to ensure no humanities council will shut its doors.” \u003c/p>\n\u003cp>Whether any of their grantees will receive the rest of their awards is up in the air. Mandlin notes it’s a difficult time for governmental funding at all levels. “Last year our state of California general operating grant was shrunk, our city of Oakland general operating grant was shrunk,” he said. \u003c/p>\n\u003cp>“It’s another degree of challenge with money that’s already been promised,” Mandlin said. “It can really lead leaders to think about retracting, playing it safe and cutting back in a way that doesn’t serve anyone.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://www.kqed.org/author/sfaulise\">Shannon Faulise\u003c/a> contributed reporting to this story.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>After flirting with a \u003ca href=\"https://www.kqed.org/arts/13954872/sffilm-2024-bay-area-filmmakers-films-guide\">five-day program in 2024\u003c/a>, the San Francisco International Film Festival returns to an 11-day run this year for its 68th iteration, April 17–27. \u003c/p>\n\u003cp>Filmgoers who thrill at having too many options to choose from can once again \u003ca href=\"https://sffilm.org/2025-festival-program/\">assiduously plot their schedules\u003c/a>, even if it involves some tight layovers. As SFFILM Executive Director Anne Lai said during the March 26 program announcement, “We like to see people running.”\u003c/p>\n\u003cp>Like last year, most programming will take place in the Marina and Presidio neighborhoods and at the Berkeley Art Museum and Pacific Archive.\u003c/p>\n\u003cp>Boasting over 150 films from over 50 countries, this year’s festival is packed with world premieres, films with local ties, feature-length debuts and special appearances. Here are five not-to-miss events to seek out when festival tickets go on sale to the general public on Friday, March 28 at 10 a.m.\u003c/p>\n\u003cfigure id=\"attachment_13973681\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OUTERLANDS_1_2000.jpg\" alt=\"Adult and young girl stand on street corner\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13973681\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OUTERLANDS_1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OUTERLANDS_1_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OUTERLANDS_1_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OUTERLANDS_1_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OUTERLANDS_1_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OUTERLANDS_1_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OUTERLANDS_1_2000-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Asia Kate Dillon and Ridley Asha Bateman in a scene from Elena Oxman’s ‘Outerlands.’ \u003ccite>(SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/closing-night-outerlands/\">Outerlands\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>April 27, 5 p.m. at Premier Theater\u003cbr>\nApril 27, 6 p.m. at Marina Theatre\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>No, this is not a documentary about the popular Outer Sunset restaurant, though the narrative feature \u003ci>was\u003c/i> filmed in San Francisco’s Outer Sunset and Richmond neighborhoods. \u003ci>Outerlands\u003c/i>, the festival’s closing-night film, follows Cass (played by Asia Kate Dillon), a recent transplant to San Francisco. Cass is cautiously patching together a life when they unexpectedly become the caretaker of a coworker’s 11-year-old daughter, Ari. As the days stretch on, the two bristle and bond, their interactions shaped by their shared experiences of childhood abandonment.\u003c/p>\n\u003cp>Bonus: Director Elena Oxman will speak at \u003ca href=\"https://sffilm.org/event/festival-talk-filming-in-san-francisco-a-case-study-with-outerlands-and-film-sf/\">a free event on April 25\u003c/a> about filming in San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13973680\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TEXAS_CHAIN_SAW_MASSACRE_1.jpg\" alt=\"silhouette of man wielding chainsaw against sunset\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13973680\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TEXAS_CHAIN_SAW_MASSACRE_1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TEXAS_CHAIN_SAW_MASSACRE_1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TEXAS_CHAIN_SAW_MASSACRE_1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TEXAS_CHAIN_SAW_MASSACRE_1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TEXAS_CHAIN_SAW_MASSACRE_1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TEXAS_CHAIN_SAW_MASSACRE_1-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘The Texas Chain Saw Massacre’ is part of a a six-film retrospective of classic horror films. \u003ccite>(SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Horror highlights\u003c/h2>\n\u003cp>SFFILM generally has a few “midnight films” on the program, but this year they’ve leaned into horror classics. Spread across the festival run, this mini-retrospective kicks off with John Carpenter’s \u003ci>\u003ca href=\"https://sffilm.org/event/they-live/\">They Live\u003c/a>\u003c/i>, followed by \u003ci>\u003ca href=\"https://sffilm.org/event/the-texas-chain-saw-massacre/\">The Texas Chainsaw Massacre\u003c/a>\u003c/i> (preceded by the documentary \u003ci>\u003ca href=\"https://sffilm.org/event/chain-reactions/\">Chain Reaction\u003c/a>\u003c/i>, charting the 1974 film’s lasting influence), Jennifer Kent’s \u003ci>\u003ca href=\"https://sffilm.org/event/the-babadook/\">The Babadook\u003c/a>\u003c/i>, a potentially foggy outdoor screening of Carpenter’s \u003ci>\u003ca href=\"https://sffilm.org/event/sundown-cinema-outdoor-screening-the-fog/\">The Fog\u003c/a>\u003c/i> and Herk Harvey’s haunting \u003ci>\u003ca href=\"https://sffilm.org/event/carnival-of-souls/\">Carnival of Souls\u003c/a>\u003c/i>. \u003c/p>\n\u003cp>For a taste of contemporary features and shorts following in these genre footsteps, check out \u003ci>\u003ca href=\"https://sffilm.org/event/40-acres/\">40 Acres\u003c/a>\u003c/i> (cannibals!), \u003ci>\u003ca href=\"https://sffilm.org/event/cloud/\">Cloud\u003c/a>\u003c/i> and the shorts block “\u003ca href=\"https://sffilm.org/event/shorts-3-dark-waves-stranger-tides/\">Dark Waves & Stranger Tides\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13973683\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/MALNI_2_2000.jpg\" alt=\"circular image of crashing waves on black background\" width=\"2000\" height=\"1056\" class=\"size-full wp-image-13973683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/MALNI_2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/MALNI_2_2000-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/MALNI_2_2000-1020x539.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/MALNI_2_2000-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/MALNI_2_2000-768x406.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/MALNI_2_2000-1536x811.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/MALNI_2_2000-1920x1014.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from Sky Hopinka’s ‘maɬni – towards the ocean, towards the shore,’ 2020. \u003ccite>(SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A celebration of Sky Hopinka\u003c/h2>\n\u003cp>\u003ci>\u003ca href=\"https://sffilm.org/event/pov-award-sky-hopinka-ma%c9%acni-towards-the-ocean-towards-the-shore/\">Persistence of Vision Award + ‘maɬni – towards the ocean, towards the shore’\u003c/a>\u003cbr>\nApril 24, 7 p.m. at BAMPFA\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://sffilm.org/event/sky-hopinka-shorts-a-proposition-of-memory/\">Sky Hopinka Shorts: a proposition of memory\u003c/a>\u003cbr>\nApril 25, 6 p.m. at Marina Theatre\u003c/i>\u003c/p>\n\u003cp>Five years ago, filmmaker Sky Hopinka was set to screen his debut feature \u003ci>maɬni – towards the ocean, towards the shore\u003c/i> at the 2020 SFFILM festival — an event completely canceled due to the pandemic. Now SFFILM is honoring Hopinka, a member of the Ho-Chunk Nation and a descendant of the Pechanga Band of Luiseño Indians, with the festival’s Persistence of Vision award, alongside a screening of his experimental documentary, at long last. \u003c/p>\n\u003cp>\u003ci>maɬni – towards the ocean, towards the shore\u003c/i> follows two people as they wander through nature and share their personal reflections on identity, language and the spirit world, promising to be “a layered art piece that challenges the positioning of Indigenous culture in American society.”\u003c/p>\n\u003cp>If that sells out, which it likely will, there are two other opportunities to engage with Hopinka’s lush, beautifully shot work. A program of Hopinka’s shorts plays on April 25, and BAMPFA is showing \u003ci>\u003ca href=\"https://bampfa.org/program/collection-focus-sky-hopinka-sunflower-siege-engine\">Sunflower Siege Engine\u003c/a>\u003c/i> through Aug. 17, a 2022 film featuring footage of Richard Oakes reading “Proclamation: To the Great White Father and All His People” at the Alcatraz occupation. \u003c/p>\n\u003cfigure id=\"attachment_13973682\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/ON_HEALING_LAND_BIRDS_PERCH_1.jpg\" alt=\"distorted illustration of birds flying\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13973682\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/ON_HEALING_LAND_BIRDS_PERCH_1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/ON_HEALING_LAND_BIRDS_PERCH_1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/ON_HEALING_LAND_BIRDS_PERCH_1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/ON_HEALING_LAND_BIRDS_PERCH_1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/ON_HEALING_LAND_BIRDS_PERCH_1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/ON_HEALING_LAND_BIRDS_PERCH_1-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from Naja Pham Lockwood’s mid-length documentary ‘On Healing Land, Birds Perch,’ 2025, part of a three-film program. \u003ccite>(SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/on-healing-land-birds-perch-roots-that-reach-toward-the-sky-we-were-the-scenery/\">On Healing Land, Birds Perch\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>April 25, 6:15 p.m. at Marina Theatre\u003c/i>\u003c/p>\n\u003cp>In another welcome programming change, 2025 also marks the return of mid-length films, which weren’t included in last year’s festival. A highlight is Naja Pham Lockwood’s 33-minute film \u003ci>On Healing Land, Birds Perch\u003c/i>, focused on what happened after Eddie Adams photographed South Vietnamese general Nguyễn Ngọc Loan killing Viet Cong captain Nguyễn Văn Lém in the Pulitzer Prize-winning image “\u003ca href=\"https://www.npr.org/2009/03/24/102112403/the-vietnam-war-through-eddie-adams-lens\">Saigon Execution\u003c/a>.” The film gathers the children of General Loan and Captain Lém, along with the son of a family Lém executed, all now living in the United States. Their complicated and conflicting views of their forebears — and the war — are depicted in candid detail. \u003c/p>\n\u003cp>Lockwood’s film screens with two others: Jess X. Snow’s \u003ci>Roots That Reach Toward the Sky\u003c/i> and Christopher Radcliff’s \u003ci>We Were the Scenery\u003c/i> (about two Vietnamese refugees in the Philippines who became extras in \u003ci>Apocalypse Now\u003c/i>).\u003c/p>\n\u003cfigure id=\"attachment_13973679\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IDIOTKA_1.jpg\" alt=\"woman with hands on face in shocked gesture\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13973679\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IDIOTKA_1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IDIOTKA_1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IDIOTKA_1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IDIOTKA_1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IDIOTKA_1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IDIOTKA_1-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Anna Baryshnikov stars in Nastasya Popov’s ‘Idiotka.’ \u003ccite>(SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/idiotka/\">Idiotka\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>April 22, 6 p.m. at Premier Theater\u003c/i>\u003c/p>\n\u003cp>So far this list has leaned toward the serious stuff (with a delightful side of gore), but the festival is not without its lighthearted fare! May I present \u003ci>Idiotka\u003c/i>, writer-director Nastasya Popov’s zany debut film. Fans of \u003ci>\u003ca href=\"https://www.kqed.org/arts/13953601/love-lies-bleeding-review-kristen-stewart-ed-harris-kate-glass\">Love Lies Bleeding\u003c/a>\u003c/i> may remember lead actress Anna Baryshnikov as the clingy, wannabe girlfriend caught on the wrong side of Kristen Stewart and Katy O’Brian’s true love. (Who could forget those teeth?) \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Here, Baryshnikov plays Margarita, an emerging fashion designer attaching high-end tags to her own work to sell pieces online. Much of the film’s comedy comes from her chaotic life with her extended Russian Jewish family in West Hollywood. When a reality fashion show called \u003ci>Slay, Serve and Survive\u003c/i> comes calling, Margarita signs on to save — and/or escape — the family home.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After flirting with a \u003ca href=\"https://www.kqed.org/arts/13954872/sffilm-2024-bay-area-filmmakers-films-guide\">five-day program in 2024\u003c/a>, the San Francisco International Film Festival returns to an 11-day run this year for its 68th iteration, April 17–27. \u003c/p>\n\u003cp>Filmgoers who thrill at having too many options to choose from can once again \u003ca href=\"https://sffilm.org/2025-festival-program/\">assiduously plot their schedules\u003c/a>, even if it involves some tight layovers. As SFFILM Executive Director Anne Lai said during the March 26 program announcement, “We like to see people running.”\u003c/p>\n\u003cp>Like last year, most programming will take place in the Marina and Presidio neighborhoods and at the Berkeley Art Museum and Pacific Archive.\u003c/p>\n\u003cp>Boasting over 150 films from over 50 countries, this year’s festival is packed with world premieres, films with local ties, feature-length debuts and special appearances. Here are five not-to-miss events to seek out when festival tickets go on sale to the general public on Friday, March 28 at 10 a.m.\u003c/p>\n\u003cfigure id=\"attachment_13973681\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OUTERLANDS_1_2000.jpg\" alt=\"Adult and young girl stand on street corner\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13973681\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OUTERLANDS_1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OUTERLANDS_1_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OUTERLANDS_1_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OUTERLANDS_1_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OUTERLANDS_1_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OUTERLANDS_1_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OUTERLANDS_1_2000-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Asia Kate Dillon and Ridley Asha Bateman in a scene from Elena Oxman’s ‘Outerlands.’ \u003ccite>(SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/closing-night-outerlands/\">Outerlands\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>April 27, 5 p.m. at Premier Theater\u003cbr>\nApril 27, 6 p.m. at Marina Theatre\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>No, this is not a documentary about the popular Outer Sunset restaurant, though the narrative feature \u003ci>was\u003c/i> filmed in San Francisco’s Outer Sunset and Richmond neighborhoods. \u003ci>Outerlands\u003c/i>, the festival’s closing-night film, follows Cass (played by Asia Kate Dillon), a recent transplant to San Francisco. Cass is cautiously patching together a life when they unexpectedly become the caretaker of a coworker’s 11-year-old daughter, Ari. As the days stretch on, the two bristle and bond, their interactions shaped by their shared experiences of childhood abandonment.\u003c/p>\n\u003cp>Bonus: Director Elena Oxman will speak at \u003ca href=\"https://sffilm.org/event/festival-talk-filming-in-san-francisco-a-case-study-with-outerlands-and-film-sf/\">a free event on April 25\u003c/a> about filming in San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13973680\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TEXAS_CHAIN_SAW_MASSACRE_1.jpg\" alt=\"silhouette of man wielding chainsaw against sunset\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13973680\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TEXAS_CHAIN_SAW_MASSACRE_1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TEXAS_CHAIN_SAW_MASSACRE_1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TEXAS_CHAIN_SAW_MASSACRE_1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TEXAS_CHAIN_SAW_MASSACRE_1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TEXAS_CHAIN_SAW_MASSACRE_1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/TEXAS_CHAIN_SAW_MASSACRE_1-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘The Texas Chain Saw Massacre’ is part of a a six-film retrospective of classic horror films. \u003ccite>(SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Horror highlights\u003c/h2>\n\u003cp>SFFILM generally has a few “midnight films” on the program, but this year they’ve leaned into horror classics. Spread across the festival run, this mini-retrospective kicks off with John Carpenter’s \u003ci>\u003ca href=\"https://sffilm.org/event/they-live/\">They Live\u003c/a>\u003c/i>, followed by \u003ci>\u003ca href=\"https://sffilm.org/event/the-texas-chain-saw-massacre/\">The Texas Chainsaw Massacre\u003c/a>\u003c/i> (preceded by the documentary \u003ci>\u003ca href=\"https://sffilm.org/event/chain-reactions/\">Chain Reaction\u003c/a>\u003c/i>, charting the 1974 film’s lasting influence), Jennifer Kent’s \u003ci>\u003ca href=\"https://sffilm.org/event/the-babadook/\">The Babadook\u003c/a>\u003c/i>, a potentially foggy outdoor screening of Carpenter’s \u003ci>\u003ca href=\"https://sffilm.org/event/sundown-cinema-outdoor-screening-the-fog/\">The Fog\u003c/a>\u003c/i> and Herk Harvey’s haunting \u003ci>\u003ca href=\"https://sffilm.org/event/carnival-of-souls/\">Carnival of Souls\u003c/a>\u003c/i>. \u003c/p>\n\u003cp>For a taste of contemporary features and shorts following in these genre footsteps, check out \u003ci>\u003ca href=\"https://sffilm.org/event/40-acres/\">40 Acres\u003c/a>\u003c/i> (cannibals!), \u003ci>\u003ca href=\"https://sffilm.org/event/cloud/\">Cloud\u003c/a>\u003c/i> and the shorts block “\u003ca href=\"https://sffilm.org/event/shorts-3-dark-waves-stranger-tides/\">Dark Waves & Stranger Tides\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13973683\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/MALNI_2_2000.jpg\" alt=\"circular image of crashing waves on black background\" width=\"2000\" height=\"1056\" class=\"size-full wp-image-13973683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/MALNI_2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/MALNI_2_2000-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/MALNI_2_2000-1020x539.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/MALNI_2_2000-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/MALNI_2_2000-768x406.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/MALNI_2_2000-1536x811.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/MALNI_2_2000-1920x1014.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from Sky Hopinka’s ‘maɬni – towards the ocean, towards the shore,’ 2020. \u003ccite>(SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A celebration of Sky Hopinka\u003c/h2>\n\u003cp>\u003ci>\u003ca href=\"https://sffilm.org/event/pov-award-sky-hopinka-ma%c9%acni-towards-the-ocean-towards-the-shore/\">Persistence of Vision Award + ‘maɬni – towards the ocean, towards the shore’\u003c/a>\u003cbr>\nApril 24, 7 p.m. at BAMPFA\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://sffilm.org/event/sky-hopinka-shorts-a-proposition-of-memory/\">Sky Hopinka Shorts: a proposition of memory\u003c/a>\u003cbr>\nApril 25, 6 p.m. at Marina Theatre\u003c/i>\u003c/p>\n\u003cp>Five years ago, filmmaker Sky Hopinka was set to screen his debut feature \u003ci>maɬni – towards the ocean, towards the shore\u003c/i> at the 2020 SFFILM festival — an event completely canceled due to the pandemic. Now SFFILM is honoring Hopinka, a member of the Ho-Chunk Nation and a descendant of the Pechanga Band of Luiseño Indians, with the festival’s Persistence of Vision award, alongside a screening of his experimental documentary, at long last. \u003c/p>\n\u003cp>\u003ci>maɬni – towards the ocean, towards the shore\u003c/i> follows two people as they wander through nature and share their personal reflections on identity, language and the spirit world, promising to be “a layered art piece that challenges the positioning of Indigenous culture in American society.”\u003c/p>\n\u003cp>If that sells out, which it likely will, there are two other opportunities to engage with Hopinka’s lush, beautifully shot work. A program of Hopinka’s shorts plays on April 25, and BAMPFA is showing \u003ci>\u003ca href=\"https://bampfa.org/program/collection-focus-sky-hopinka-sunflower-siege-engine\">Sunflower Siege Engine\u003c/a>\u003c/i> through Aug. 17, a 2022 film featuring footage of Richard Oakes reading “Proclamation: To the Great White Father and All His People” at the Alcatraz occupation. \u003c/p>\n\u003cfigure id=\"attachment_13973682\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/ON_HEALING_LAND_BIRDS_PERCH_1.jpg\" alt=\"distorted illustration of birds flying\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13973682\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/ON_HEALING_LAND_BIRDS_PERCH_1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/ON_HEALING_LAND_BIRDS_PERCH_1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/ON_HEALING_LAND_BIRDS_PERCH_1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/ON_HEALING_LAND_BIRDS_PERCH_1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/ON_HEALING_LAND_BIRDS_PERCH_1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/ON_HEALING_LAND_BIRDS_PERCH_1-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from Naja Pham Lockwood’s mid-length documentary ‘On Healing Land, Birds Perch,’ 2025, part of a three-film program. \u003ccite>(SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/on-healing-land-birds-perch-roots-that-reach-toward-the-sky-we-were-the-scenery/\">On Healing Land, Birds Perch\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>April 25, 6:15 p.m. at Marina Theatre\u003c/i>\u003c/p>\n\u003cp>In another welcome programming change, 2025 also marks the return of mid-length films, which weren’t included in last year’s festival. A highlight is Naja Pham Lockwood’s 33-minute film \u003ci>On Healing Land, Birds Perch\u003c/i>, focused on what happened after Eddie Adams photographed South Vietnamese general Nguyễn Ngọc Loan killing Viet Cong captain Nguyễn Văn Lém in the Pulitzer Prize-winning image “\u003ca href=\"https://www.npr.org/2009/03/24/102112403/the-vietnam-war-through-eddie-adams-lens\">Saigon Execution\u003c/a>.” The film gathers the children of General Loan and Captain Lém, along with the son of a family Lém executed, all now living in the United States. Their complicated and conflicting views of their forebears — and the war — are depicted in candid detail. \u003c/p>\n\u003cp>Lockwood’s film screens with two others: Jess X. Snow’s \u003ci>Roots That Reach Toward the Sky\u003c/i> and Christopher Radcliff’s \u003ci>We Were the Scenery\u003c/i> (about two Vietnamese refugees in the Philippines who became extras in \u003ci>Apocalypse Now\u003c/i>).\u003c/p>\n\u003cfigure id=\"attachment_13973679\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IDIOTKA_1.jpg\" alt=\"woman with hands on face in shocked gesture\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13973679\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IDIOTKA_1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IDIOTKA_1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IDIOTKA_1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IDIOTKA_1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IDIOTKA_1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IDIOTKA_1-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Anna Baryshnikov stars in Nastasya Popov’s ‘Idiotka.’ \u003ccite>(SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/idiotka/\">Idiotka\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>April 22, 6 p.m. at Premier Theater\u003c/i>\u003c/p>\n\u003cp>So far this list has leaned toward the serious stuff (with a delightful side of gore), but the festival is not without its lighthearted fare! May I present \u003ci>Idiotka\u003c/i>, writer-director Nastasya Popov’s zany debut film. Fans of \u003ci>\u003ca href=\"https://www.kqed.org/arts/13953601/love-lies-bleeding-review-kristen-stewart-ed-harris-kate-glass\">Love Lies Bleeding\u003c/a>\u003c/i> may remember lead actress Anna Baryshnikov as the clingy, wannabe girlfriend caught on the wrong side of Kristen Stewart and Katy O’Brian’s true love. (Who could forget those teeth?) \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Here, Baryshnikov plays Margarita, an emerging fashion designer attaching high-end tags to her own work to sell pieces online. Much of the film’s comedy comes from her chaotic life with her extended Russian Jewish family in West Hollywood. When a reality fashion show called \u003ci>Slay, Serve and Survive\u003c/i> comes calling, Margarita signs on to save — and/or escape — the family home.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Snow White’ Is No Poisoned Apple, But It Doesn’t Whistle",
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"content": "\u003cp>Mirror mirror on the wall, what’s the fairest Disney \u003ca href=\"https://www.kqed.org/arts/13969558/barry-jenkins-brings-fresh-energy-to-the-lion-king-prequel-mufasa\">live-action remake\u003c/a> of them all?\u003c/p>\n\u003cp>Wait, mirror. Hold on a second. Maybe choosing from the likes of \u003ci>\u003ca href=\"https://www.kqed.org/arts/28185/theres_a_method_to_tim_burtons_madness\">Alice in Wonderland\u003c/a>\u003c/i> (2010), \u003ci>Mulan\u003c/i> (2020) and \u003ci>\u003ca href=\"https://www.kqed.org/pop/112871/new-lion-king-remake-is-more-creative-dead-end-than-circle-of-life\">The Lion King\u003c/a>\u003c/i> (2019) isn’t such a good idea. Mirror, on second thought, what’s on Netflix?\u003c/p>\n\u003cp>[aside postID='arts_13969558,arts_13858171']Even the most devoted fans would have to acknowledge that these have not been the most illustrious illustrations of Disney magic. At their best (\u003ci>Pete’s Dragon\u003c/i>? \u003ci>Cinderella\u003c/i>?) they breathe life into old classics that could use a little updating. At their worst, well, \u003ca href=\"https://www.kqed.org/arts/13858171/aladdin-a-cgi-world-neither-whole-nor-new\">blue Will Smith\u003c/a>.\u003c/p>\n\u003cp>Given the rapacious rate of remakes in modern Hollywood, it’s remarkable that it’s taken nearly 90 years for Disney to return to \u003ci>Snow White\u003c/i>. It means going back to the very foundation of the Mouse House. The 1937 \u003ci>Snow White and the Seven Dwarfs\u003c/i> was Disney’s first animated feature; its grosses paid for the studio’s Burbank lot.\u003c/p>\n\u003cp>That legacy of \u003ci>Snow White\u003c/i>, by comparison, doesn’t do any favors to Marc Webb’s inevitably lesser, inert live-action retread. Good intentions, like swirling bluebirds, flutter through this \u003ci>Snow White\u003c/i>: to give its singing protagonist (Rachel Zegler) more agency; to expand that notion of “fair” beyond skin tone; to reframe that problematic prince. But all that updating adds up to a mishmash of a fable, caught in between now and once upon a time.\u003c/p>\n\u003cfigure id=\"attachment_13973410\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/snow_white_dtrl2_uhd_r709f_stills_241030_a32ec443_2000.jpg\" alt=\"woman in sunlit meadow surrounded by animals\" width=\"2000\" height=\"891\" class=\"size-full wp-image-13973410\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/snow_white_dtrl2_uhd_r709f_stills_241030_a32ec443_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/snow_white_dtrl2_uhd_r709f_stills_241030_a32ec443_2000-800x356.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/snow_white_dtrl2_uhd_r709f_stills_241030_a32ec443_2000-1020x454.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/snow_white_dtrl2_uhd_r709f_stills_241030_a32ec443_2000-160x71.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/snow_white_dtrl2_uhd_r709f_stills_241030_a32ec443_2000-768x342.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/snow_white_dtrl2_uhd_r709f_stills_241030_a32ec443_2000-1536x684.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/snow_white_dtrl2_uhd_r709f_stills_241030_a32ec443_2000-1920x855.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rachel Zegler in a scene from ‘Snow White.’ \u003ccite>(Disney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It wouldn’t be an earth-shattering observation to note that a 1930s cartoon, let alone a 19th-century German folk tale, might not be entirely in line with contemporary culture. Most of these Disney live-action remakes have carried with them more than a few notes of correction and atonement for the past — a laudable goal that means a generation of kids might not need a brief history lesson to go along with an old classic.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But it’s a tricky thing reworking a fable that’s been around two centuries, and that’s doubly true when leaping from the two-dimensional fantasy realm of animation to the more complicated land of flesh and bone. Webb’s \u003ci>Snow White\u003c/i> has been a veritable case study for the headaches that can arise when a window into the real world is cracked open. Everything from Israel’s war in Gaza (Zegler and her co-star Gal Gadot, who plays the wicked stepmother, have differing opinions), the humanity of little people (there’s a reason \u003ci>and the Seven Dwarfs\u003c/i> has been stripped from the title) and the alleged “woke”-ness of the production have been fuel for what we can gently refer to as online debate.\u003c/p>\n\u003cp>Despite some gloriously lush production design, \u003ci>Snow White\u003c/i> — innocent of most of those backlashes though not all — can’t quite thread the needle. Even the new songs (by Benj Pasek and Justin Paul) that are good (“Waiting on a Wish”) struggle to fit in alongside old standbys. Zegler does a spirited job remaking a classic Disney princess into a more modern woman; when she sings, the movie gets a lift. The last thing that’s wrong with this \u003ci>Snow White\u003c/i> is Zegler’s casting.\u003c/p>\n\u003cfigure id=\"attachment_13973411\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/snowwhite_dtlr1_4k_r709f_stills_240801_e53cfd66_2000.jpg\" alt=\"woman in severe makeup and spiky crown holds hands at sides of head\" width=\"2000\" height=\"838\" class=\"size-full wp-image-13973411\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/snowwhite_dtlr1_4k_r709f_stills_240801_e53cfd66_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/snowwhite_dtlr1_4k_r709f_stills_240801_e53cfd66_2000-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/snowwhite_dtlr1_4k_r709f_stills_240801_e53cfd66_2000-1020x427.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/snowwhite_dtlr1_4k_r709f_stills_240801_e53cfd66_2000-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/snowwhite_dtlr1_4k_r709f_stills_240801_e53cfd66_2000-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/snowwhite_dtlr1_4k_r709f_stills_240801_e53cfd66_2000-1536x644.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/snowwhite_dtlr1_4k_r709f_stills_240801_e53cfd66_2000-1920x804.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Gal Gadot in a scene from ‘Snow White.’ \u003ccite>(Disney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But like scaffolding that’s been left up too long, the strain of renovation shows in Webb’s film, particularly in its awkward handling of Dopey, Sneezy and company. The seven dwarfs, like the fawns and squirrels, are rendered in CGI. You could argue that this acknowledges the artificiality of a dated and offensive trope. But it also gives \u003ci>Snow White\u003c/i> an uncanny quality, with all human characters but the dwarfs being played by real people. As if to Band-Aid over this, one of the woodsmen is played by an actor of short stature (George Appleby) whose presence seems like yet another atonement, only one for this \u003ci>Snow White\u003c/i>, not 1937’s.\u003c/p>\n\u003cp>[aside tag='film' label='more movies']You might be thinking: But what about the movie? The problem with \u003ci>Snow White\u003c/i> is that you never stop thinking about these much-strategized and sometimes superficial efforts to recontextualize the original movie. Erin Cressida Wilson’s screenplay remakes Snow White’s story as less a princess awaiting her Prince Charming (the song “Someday My Prince Will Come” has been jettisoned) than an heir to a throne who loses her gumption. Though taught as a child to be “fair” as a leader by her father king (Hadley Fraser), Snow White has lost any ambition by the time Gadot’s Evil Queen takes over the kingdom.\u003c/p>\n\u003cp>Gadot sinks her teeth into the Evil Queen, a spikey, slinky villain who moves with a metallic rustle (the costumes are by Sandy Powell). But she feels cut off from the movie, without the lines that would elevate her flamboyant performance into something memorable. The prince has been altogether scrubbed; instead Andrew Burnap plays the blandly cocksure bandit Jonathan who encourages Snow White not to wait for her father’s rescue.\u003c/p>\n\u003cp>Presumably one of the reasons to bring actors into remakes of animated classics would be to add a warm-blooded pulse to these characters. Zegler manages that, but everyone else in \u003ci>Snow White\u003c/i> — mortal or CGI — is as stiff as could be. You’re left glumly scorekeeping the updates — one win here, a loss there — while pondering why, regardless of the final tally, recapturing the magic of long ago is so elusive.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Snow White’ opens in theaters on March 21, 2025.\u003c/i>\u003c/p>\n\n",
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"excerpt": "Despite some gloriously lush production design, the live-action ‘Snow White’ can’t quite find its own rhythm.",
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"headline": "‘Snow White’ Is No Poisoned Apple, But It Doesn’t Whistle",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mirror mirror on the wall, what’s the fairest Disney \u003ca href=\"https://www.kqed.org/arts/13969558/barry-jenkins-brings-fresh-energy-to-the-lion-king-prequel-mufasa\">live-action remake\u003c/a> of them all?\u003c/p>\n\u003cp>Wait, mirror. Hold on a second. Maybe choosing from the likes of \u003ci>\u003ca href=\"https://www.kqed.org/arts/28185/theres_a_method_to_tim_burtons_madness\">Alice in Wonderland\u003c/a>\u003c/i> (2010), \u003ci>Mulan\u003c/i> (2020) and \u003ci>\u003ca href=\"https://www.kqed.org/pop/112871/new-lion-king-remake-is-more-creative-dead-end-than-circle-of-life\">The Lion King\u003c/a>\u003c/i> (2019) isn’t such a good idea. Mirror, on second thought, what’s on Netflix?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Even the most devoted fans would have to acknowledge that these have not been the most illustrious illustrations of Disney magic. At their best (\u003ci>Pete’s Dragon\u003c/i>? \u003ci>Cinderella\u003c/i>?) they breathe life into old classics that could use a little updating. At their worst, well, \u003ca href=\"https://www.kqed.org/arts/13858171/aladdin-a-cgi-world-neither-whole-nor-new\">blue Will Smith\u003c/a>.\u003c/p>\n\u003cp>Given the rapacious rate of remakes in modern Hollywood, it’s remarkable that it’s taken nearly 90 years for Disney to return to \u003ci>Snow White\u003c/i>. It means going back to the very foundation of the Mouse House. The 1937 \u003ci>Snow White and the Seven Dwarfs\u003c/i> was Disney’s first animated feature; its grosses paid for the studio’s Burbank lot.\u003c/p>\n\u003cp>That legacy of \u003ci>Snow White\u003c/i>, by comparison, doesn’t do any favors to Marc Webb’s inevitably lesser, inert live-action retread. Good intentions, like swirling bluebirds, flutter through this \u003ci>Snow White\u003c/i>: to give its singing protagonist (Rachel Zegler) more agency; to expand that notion of “fair” beyond skin tone; to reframe that problematic prince. But all that updating adds up to a mishmash of a fable, caught in between now and once upon a time.\u003c/p>\n\u003cfigure id=\"attachment_13973410\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/snow_white_dtrl2_uhd_r709f_stills_241030_a32ec443_2000.jpg\" alt=\"woman in sunlit meadow surrounded by animals\" width=\"2000\" height=\"891\" class=\"size-full wp-image-13973410\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/snow_white_dtrl2_uhd_r709f_stills_241030_a32ec443_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/snow_white_dtrl2_uhd_r709f_stills_241030_a32ec443_2000-800x356.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/snow_white_dtrl2_uhd_r709f_stills_241030_a32ec443_2000-1020x454.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/snow_white_dtrl2_uhd_r709f_stills_241030_a32ec443_2000-160x71.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/snow_white_dtrl2_uhd_r709f_stills_241030_a32ec443_2000-768x342.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/snow_white_dtrl2_uhd_r709f_stills_241030_a32ec443_2000-1536x684.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/snow_white_dtrl2_uhd_r709f_stills_241030_a32ec443_2000-1920x855.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rachel Zegler in a scene from ‘Snow White.’ \u003ccite>(Disney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It wouldn’t be an earth-shattering observation to note that a 1930s cartoon, let alone a 19th-century German folk tale, might not be entirely in line with contemporary culture. Most of these Disney live-action remakes have carried with them more than a few notes of correction and atonement for the past — a laudable goal that means a generation of kids might not need a brief history lesson to go along with an old classic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But it’s a tricky thing reworking a fable that’s been around two centuries, and that’s doubly true when leaping from the two-dimensional fantasy realm of animation to the more complicated land of flesh and bone. Webb’s \u003ci>Snow White\u003c/i> has been a veritable case study for the headaches that can arise when a window into the real world is cracked open. Everything from Israel’s war in Gaza (Zegler and her co-star Gal Gadot, who plays the wicked stepmother, have differing opinions), the humanity of little people (there’s a reason \u003ci>and the Seven Dwarfs\u003c/i> has been stripped from the title) and the alleged “woke”-ness of the production have been fuel for what we can gently refer to as online debate.\u003c/p>\n\u003cp>Despite some gloriously lush production design, \u003ci>Snow White\u003c/i> — innocent of most of those backlashes though not all — can’t quite thread the needle. Even the new songs (by Benj Pasek and Justin Paul) that are good (“Waiting on a Wish”) struggle to fit in alongside old standbys. Zegler does a spirited job remaking a classic Disney princess into a more modern woman; when she sings, the movie gets a lift. The last thing that’s wrong with this \u003ci>Snow White\u003c/i> is Zegler’s casting.\u003c/p>\n\u003cfigure id=\"attachment_13973411\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/snowwhite_dtlr1_4k_r709f_stills_240801_e53cfd66_2000.jpg\" alt=\"woman in severe makeup and spiky crown holds hands at sides of head\" width=\"2000\" height=\"838\" class=\"size-full wp-image-13973411\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/snowwhite_dtlr1_4k_r709f_stills_240801_e53cfd66_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/snowwhite_dtlr1_4k_r709f_stills_240801_e53cfd66_2000-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/snowwhite_dtlr1_4k_r709f_stills_240801_e53cfd66_2000-1020x427.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/snowwhite_dtlr1_4k_r709f_stills_240801_e53cfd66_2000-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/snowwhite_dtlr1_4k_r709f_stills_240801_e53cfd66_2000-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/snowwhite_dtlr1_4k_r709f_stills_240801_e53cfd66_2000-1536x644.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/snowwhite_dtlr1_4k_r709f_stills_240801_e53cfd66_2000-1920x804.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Gal Gadot in a scene from ‘Snow White.’ \u003ccite>(Disney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But like scaffolding that’s been left up too long, the strain of renovation shows in Webb’s film, particularly in its awkward handling of Dopey, Sneezy and company. The seven dwarfs, like the fawns and squirrels, are rendered in CGI. You could argue that this acknowledges the artificiality of a dated and offensive trope. But it also gives \u003ci>Snow White\u003c/i> an uncanny quality, with all human characters but the dwarfs being played by real people. As if to Band-Aid over this, one of the woodsmen is played by an actor of short stature (George Appleby) whose presence seems like yet another atonement, only one for this \u003ci>Snow White\u003c/i>, not 1937’s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>You might be thinking: But what about the movie? The problem with \u003ci>Snow White\u003c/i> is that you never stop thinking about these much-strategized and sometimes superficial efforts to recontextualize the original movie. Erin Cressida Wilson’s screenplay remakes Snow White’s story as less a princess awaiting her Prince Charming (the song “Someday My Prince Will Come” has been jettisoned) than an heir to a throne who loses her gumption. Though taught as a child to be “fair” as a leader by her father king (Hadley Fraser), Snow White has lost any ambition by the time Gadot’s Evil Queen takes over the kingdom.\u003c/p>\n\u003cp>Gadot sinks her teeth into the Evil Queen, a spikey, slinky villain who moves with a metallic rustle (the costumes are by Sandy Powell). But she feels cut off from the movie, without the lines that would elevate her flamboyant performance into something memorable. The prince has been altogether scrubbed; instead Andrew Burnap plays the blandly cocksure bandit Jonathan who encourages Snow White not to wait for her father’s rescue.\u003c/p>\n\u003cp>Presumably one of the reasons to bring actors into remakes of animated classics would be to add a warm-blooded pulse to these characters. Zegler manages that, but everyone else in \u003ci>Snow White\u003c/i> — mortal or CGI — is as stiff as could be. You’re left glumly scorekeeping the updates — one win here, a loss there — while pondering why, regardless of the final tally, recapturing the magic of long ago is so elusive.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Snow White’ opens in theaters on March 21, 2025.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Steven Soderbergh’s Sleek Spy Thriller ‘Black Bag’ Crackles",
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"content": "\u003cp>If you’re hosting a dinner for half a dozen British intelligence agents with the aim of ferreting out a mole, \u003ca href=\"https://www.kqed.org/food\">what should you cook\u003c/a>?\u003c/p>\n\u003cp>[aside postID='arts_13972928,arts_13972661']For George Woodhouse (Michael Fassbender), who’s preparing for four colleagues, plus himself and his wife, Kathryn St. Jean (Cate Blanchett), who, like him, is a high-level operative, it’s chana masala with a few drops of truth serum.\u003c/p>\n\u003cp>“Will there be any mess to clean up?” Kathryn asks her husband as they’re getting ready.\u003c/p>\n\u003cp>“With any luck,” he responds.\u003c/p>\n\u003cp>So goes much of the crackling patter of \u003cem>Black Bag\u003c/em>, Steven Soderbergh’s delicious marital drama cloaked as a sleek spy thriller. Lean and taut, the 93-minute \u003cem>Black Bag\u003c/em> is more a sizzling amuse-bouche than full-course meal, but it’s simmered to perfection.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>George and Kathryn, as fellow agents at London’s National Cyber Security Centre, don’t seemingly have what you might call a traditional marriage. Each has their own secret ops, leaving large swaths of their lives off limits to the other. When George asks where Kathryn is flying off to on Wednesday, she shrugs with a smile, “Black bag.”\u003c/p>\n\u003cfigure id=\"attachment_13973053\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag3_2000.jpg\" alt=\"sleekly dressed woman in sunglasses crossed public plaza\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13973053\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag3_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag3_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag3_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag3_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag3_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag3_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag3_2000-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cate Blanchett as Kathryn St. Jean in ‘Black Bag.’ \u003ccite>(Claudette Barius/Focus Features)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the movie’s opening scene – a slinky tracking shot that trails George into and out of a nightclub – an agent named Meacham (Gustaf Skarsgard) gives him the assignment to track down the mole, with the added wrinkle that Kathryn can’t be dismissed as a possible suspect. A cyber-worm device called Severus that’s capable of hacking into nuclear facilities has gone missing. The fate of the world, as it so often is, is said to be at stake.\u003c/p>\n\u003cp>But, really, the state of George and Kathryn’s marriage is what interests us. Extreme though their situation is, their union is one that, like any couple, is built on trust and devotion, even if their professional lives demand the inverse. When George, lying on top of Kathryn tells her he’d do anything for her, she coos, “Would you kill?” It’s a fair-enough test to the bounds of wedded bliss, sure, but her second question matters even more. “Would you lie?”\u003c/p>\n\u003cp>Over that dinner – a scintillating set piece around a darkened dinner table inside their London town house – we can quickly gather just how much the truth means to George. He’s renown for his powers with a polygraph. As a youngster, he even brought down his own father, uncovering his affair. “I don’t like liars,” George says through clenched teeth.\u003c/p>\n\u003cp>They’re joined by Colonel James Stokes (Regé-Jean Page); the in-house psychologist Dr. Zoe Vaughan (Naomie Harris); the carousing spy Freddie Smalls (Tom Burke); and the newest NCSC recruit, cyber specialist Clarissa (Marisa Abela). Both are paired off in clandestine relationships that quickly emerge, among other secrets. More than state secrets, infidelity dominates the conversation.\u003c/p>\n\u003cfigure id=\"attachment_13973055\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag2_2000.jpg\" alt=\"six well-dressed people sit around candlelit dinner table\" width=\"2000\" height=\"751\" class=\"size-full wp-image-13973055\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag2_2000-800x300.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag2_2000-1020x383.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag2_2000-160x60.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag2_2000-768x288.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag2_2000-1536x577.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag2_2000-1920x721.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Regé-Jean Page as Colonel James Stokes, Naomie Harris as Dr. Zoe Vaughn, Michael Fassbender as George Woodhouse, Cate Blanchett as Kathryn St. Jean, Tom Burke as Freddie Smalls, and Marisa Abela as Clarissa Dubose in a scene from ‘Black Bag.’ \u003ccite>(Claudette Barius/Focus Features)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fassbender’s spook is an agent of precision. He wears gleaming black-framed glasses. When only a few drops of sauce land on his cuff, he immediately withdraws to change his shirt. Hard as it would seem, Fassbender has found a character almost as dispassionate and monotone as his methodical assassin in David Fincher’s \u003cem>\u003ca href=\"https://www.kqed.org/arts/13937708/the-killer-movie-review-david-fincher-trent-reznor-michael-fassbender\">The Killer\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>This time, though, he’s not a loner. Blanchett’s Kathryn is kept more at a remove from us. She’s mysterious and aloof — a femme fatale, maybe, we’re led to wonder. An “aroma of hostility” accompanies her, Zoe tells her in a psych evaluation. Is she the mole?\u003c/p>\n\u003cp>This is an insular film, taking place mainly in crisply composed interiors, aside from the lake George occasionally fishes for bass in. There, in a fitting encapsulation of a movie full of smooth surfaces with currents twisting underneath, the camera gently rests on the water’s surface.\u003c/p>\n\u003cfigure id=\"attachment_13973057\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag5_2000.jpg\" alt=\"three men in suits sit and stand at table in glass ceilinged room\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13973057\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag5_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag5_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag5_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag5_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag5_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag5_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag5_2000-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Michael Fassbender as George Woodhouse, Tom Burke as Freddie Smalls and Pierce Brosnan as Arthur Steiglitz in ‘Black Bag.’ \u003ccite>(Claudette Barius/Focus Features)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Black Bag\u003c/em> follows a run of agilely directed thrillers by Soderbergh made with screenwriter David Koepp (\u003cem>\u003ca href=\"https://www.kqed.org/arts/13970635/presence-is-an-innovative-haunted-house-drama-that-packs-a-punch\">Presence\u003c/a>\u003c/em>, \u003cem>\u003ca href=\"https://www.npr.org/2022/02/11/1079849080/kimi-review-steven-soderbergh-zoe-kravitz\">Kimi\u003c/a>\u003c/em>). They are both at the height of their almost-too-easy powers; the script, especially, is peppered with delectable dialogue. Their movie adopts the air of menace and suspicion of a John Le Carré novel, yet hinges on the sturdiness of its married couple, like a super spy version of Nick and Nora from \u003cem>The Thin Man\u003c/em> or a more cerebral \u003cem>Mr. & Mrs. Smith\u003c/em>.\u003c/p>\n\u003cp>All of the supporting players – while they make up a fine ensemble – are ultimately playthings in their game of love. In a casting coup, a former James Bond – Pierce Brosnan – drops in late in the film as Arthur Stheiglitz, the head of NCSC. In his handful of scenes, Brosnan is rageful and ferocious, chomping into both Ikizukuri (prepared live fish) and the scenery.\u003c/p>\n\u003cp>His presence both enlivens a movie already humming with the uber-cool chemistry of Blanchett and Fassbender while transforming \u003cem>Black Bag\u003c/em> into a twisty rejoinder to that notoriously skirt-chasing spy. Here, Mr. Bond, is how sexy monogamy can be.\u003c/p>\n\u003cp>While directing a satellite to peer down upon his wife on some unknown mission in Europe, George explains their mystifying dynamic to Clarissa: “I watch her, and she watches me. If she gets into trouble, I will do everything in my power to extricate her.”\u003c/p>\n\u003cp>In her response, Clarissa speaks for everyone: “That’s so hot.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Black Bag’ is out in theaters March 14, 2025.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’re hosting a dinner for half a dozen British intelligence agents with the aim of ferreting out a mole, \u003ca href=\"https://www.kqed.org/food\">what should you cook\u003c/a>?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For George Woodhouse (Michael Fassbender), who’s preparing for four colleagues, plus himself and his wife, Kathryn St. Jean (Cate Blanchett), who, like him, is a high-level operative, it’s chana masala with a few drops of truth serum.\u003c/p>\n\u003cp>“Will there be any mess to clean up?” Kathryn asks her husband as they’re getting ready.\u003c/p>\n\u003cp>“With any luck,” he responds.\u003c/p>\n\u003cp>So goes much of the crackling patter of \u003cem>Black Bag\u003c/em>, Steven Soderbergh’s delicious marital drama cloaked as a sleek spy thriller. Lean and taut, the 93-minute \u003cem>Black Bag\u003c/em> is more a sizzling amuse-bouche than full-course meal, but it’s simmered to perfection.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>George and Kathryn, as fellow agents at London’s National Cyber Security Centre, don’t seemingly have what you might call a traditional marriage. Each has their own secret ops, leaving large swaths of their lives off limits to the other. When George asks where Kathryn is flying off to on Wednesday, she shrugs with a smile, “Black bag.”\u003c/p>\n\u003cfigure id=\"attachment_13973053\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag3_2000.jpg\" alt=\"sleekly dressed woman in sunglasses crossed public plaza\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13973053\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag3_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag3_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag3_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag3_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag3_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag3_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag3_2000-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cate Blanchett as Kathryn St. Jean in ‘Black Bag.’ \u003ccite>(Claudette Barius/Focus Features)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the movie’s opening scene – a slinky tracking shot that trails George into and out of a nightclub – an agent named Meacham (Gustaf Skarsgard) gives him the assignment to track down the mole, with the added wrinkle that Kathryn can’t be dismissed as a possible suspect. A cyber-worm device called Severus that’s capable of hacking into nuclear facilities has gone missing. The fate of the world, as it so often is, is said to be at stake.\u003c/p>\n\u003cp>But, really, the state of George and Kathryn’s marriage is what interests us. Extreme though their situation is, their union is one that, like any couple, is built on trust and devotion, even if their professional lives demand the inverse. When George, lying on top of Kathryn tells her he’d do anything for her, she coos, “Would you kill?” It’s a fair-enough test to the bounds of wedded bliss, sure, but her second question matters even more. “Would you lie?”\u003c/p>\n\u003cp>Over that dinner – a scintillating set piece around a darkened dinner table inside their London town house – we can quickly gather just how much the truth means to George. He’s renown for his powers with a polygraph. As a youngster, he even brought down his own father, uncovering his affair. “I don’t like liars,” George says through clenched teeth.\u003c/p>\n\u003cp>They’re joined by Colonel James Stokes (Regé-Jean Page); the in-house psychologist Dr. Zoe Vaughan (Naomie Harris); the carousing spy Freddie Smalls (Tom Burke); and the newest NCSC recruit, cyber specialist Clarissa (Marisa Abela). Both are paired off in clandestine relationships that quickly emerge, among other secrets. More than state secrets, infidelity dominates the conversation.\u003c/p>\n\u003cfigure id=\"attachment_13973055\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag2_2000.jpg\" alt=\"six well-dressed people sit around candlelit dinner table\" width=\"2000\" height=\"751\" class=\"size-full wp-image-13973055\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag2_2000-800x300.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag2_2000-1020x383.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag2_2000-160x60.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag2_2000-768x288.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag2_2000-1536x577.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag2_2000-1920x721.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Regé-Jean Page as Colonel James Stokes, Naomie Harris as Dr. Zoe Vaughn, Michael Fassbender as George Woodhouse, Cate Blanchett as Kathryn St. Jean, Tom Burke as Freddie Smalls, and Marisa Abela as Clarissa Dubose in a scene from ‘Black Bag.’ \u003ccite>(Claudette Barius/Focus Features)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fassbender’s spook is an agent of precision. He wears gleaming black-framed glasses. When only a few drops of sauce land on his cuff, he immediately withdraws to change his shirt. Hard as it would seem, Fassbender has found a character almost as dispassionate and monotone as his methodical assassin in David Fincher’s \u003cem>\u003ca href=\"https://www.kqed.org/arts/13937708/the-killer-movie-review-david-fincher-trent-reznor-michael-fassbender\">The Killer\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>This time, though, he’s not a loner. Blanchett’s Kathryn is kept more at a remove from us. She’s mysterious and aloof — a femme fatale, maybe, we’re led to wonder. An “aroma of hostility” accompanies her, Zoe tells her in a psych evaluation. Is she the mole?\u003c/p>\n\u003cp>This is an insular film, taking place mainly in crisply composed interiors, aside from the lake George occasionally fishes for bass in. There, in a fitting encapsulation of a movie full of smooth surfaces with currents twisting underneath, the camera gently rests on the water’s surface.\u003c/p>\n\u003cfigure id=\"attachment_13973057\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag5_2000.jpg\" alt=\"three men in suits sit and stand at table in glass ceilinged room\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13973057\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag5_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag5_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag5_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag5_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag5_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag5_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag5_2000-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Michael Fassbender as George Woodhouse, Tom Burke as Freddie Smalls and Pierce Brosnan as Arthur Steiglitz in ‘Black Bag.’ \u003ccite>(Claudette Barius/Focus Features)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Black Bag\u003c/em> follows a run of agilely directed thrillers by Soderbergh made with screenwriter David Koepp (\u003cem>\u003ca href=\"https://www.kqed.org/arts/13970635/presence-is-an-innovative-haunted-house-drama-that-packs-a-punch\">Presence\u003c/a>\u003c/em>, \u003cem>\u003ca href=\"https://www.npr.org/2022/02/11/1079849080/kimi-review-steven-soderbergh-zoe-kravitz\">Kimi\u003c/a>\u003c/em>). They are both at the height of their almost-too-easy powers; the script, especially, is peppered with delectable dialogue. Their movie adopts the air of menace and suspicion of a John Le Carré novel, yet hinges on the sturdiness of its married couple, like a super spy version of Nick and Nora from \u003cem>The Thin Man\u003c/em> or a more cerebral \u003cem>Mr. & Mrs. Smith\u003c/em>.\u003c/p>\n\u003cp>All of the supporting players – while they make up a fine ensemble – are ultimately playthings in their game of love. In a casting coup, a former James Bond – Pierce Brosnan – drops in late in the film as Arthur Stheiglitz, the head of NCSC. In his handful of scenes, Brosnan is rageful and ferocious, chomping into both Ikizukuri (prepared live fish) and the scenery.\u003c/p>\n\u003cp>His presence both enlivens a movie already humming with the uber-cool chemistry of Blanchett and Fassbender while transforming \u003cem>Black Bag\u003c/em> into a twisty rejoinder to that notoriously skirt-chasing spy. Here, Mr. Bond, is how sexy monogamy can be.\u003c/p>\n\u003cp>While directing a satellite to peer down upon his wife on some unknown mission in Europe, George explains their mystifying dynamic to Clarissa: “I watch her, and she watches me. If she gets into trouble, I will do everything in my power to extricate her.”\u003c/p>\n\u003cp>In her response, Clarissa speaks for everyone: “That’s so hot.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Black Bag’ is out in theaters March 14, 2025.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Eclectic, Newly Unearthed Films to Be Screened for the First Time in Decades",
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"content": "\u003cp>Three years ago, with a grant from the \u003ca href=\"https://ffdweb.org/blog/ffdw-works-with-prelinger-archives-to-make-rare-historic-films-more-accessible-using-the-decentralized-web/\">Filecoin Foundation for the Decentralized Web\u003c/a>, a small team of archivists sped up their work of digitizing films in the Prelinger Archives, \u003ca href=\"https://www.kqed.org/news/11980380/this-san-francisco-library-collects-print-materials-you-were-never-meant-to-see\">Megan and Rick Prelinger\u003c/a>’s massive collection of home movies and advertising, educational and industrial films.\u003c/p>\n\u003cp>[aside postID='news_11980380,arts_13969527,arts_13958735']So far, Prelinger Archives staff have scanned over 3 million feet of film, equal to approximately 10,000 rare and one-of-a-kind films — still just a percentage of the archives’ total holdings. “We would need like a 10-year project” to scan it all, laughs Project Manager Adrianne Finelli. The collection holds over 40,000 home movies alone. \u003c/p>\n\u003cp>After these years of immersion, Finelli and her coworkers are presenting, in very personal ways, some of their findings. “Staff Picks from the Prelinger Archives” will be shown at two public events: a Zoom screening courtesy of the \u003ca href=\"https://filmpreserve.org/event/staff-picks-from-the-prelinger-archives/\">San Francisco Film Preserve\u003c/a> on Friday, March 21 and a live screening at the \u003ca href=\"https://blog.archive.org/event/film-screening-staff-picks-from-the-prelinger-archives/\">Internet Archive\u003c/a> on Monday, March 24.\u003c/p>\n\u003cp>Founded in 1983, the Prelinger Archives is full of weird and wonderful arcana, like the 1947 social guidance short \u003ci>\u003ca href=\"https://archive.org/details/ShyGuy1947\">Shy Guy\u003c/a>\u003c/i>, in which a high schooler takes cues from the popular kids and finds his way “in.” The Library of Congress purchased over 48,000 items from the archives in 2002; since then, the collection has prioritized home movies and amateur films. Attendees of Rick Prelinger’s \u003ci>\u003ca href=\"https://www.kqed.org/forum/2010101895114/lost-landscapes-spotlights-bay-area-history-with-found-footage\">Lost Landscapes\u003c/a>\u003c/i> screenings know how home movies can provide magical and relatable glimpses into everyday history.\u003c/p>\n\u003cp>Getting these 8mm, 16mm and 35mm reels online involves a very physical process, starting with identifying which films are even sturdy enough to scan. Film preparers take stock of the reels in their various storage sites, making note of any labels or identifying materials that can help pinpoint the more mysterious holdings.\u003c/p>\n\u003cfigure id=\"attachment_13972935\" class=\"wp-caption aligncenter\" style=\"max-width: 1846px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Miko_AMIA_2.png\" alt=\"human silhouette outlined in green, floating in space\" width=\"1846\" height=\"1452\" class=\"size-full wp-image-13972935\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Miko_AMIA_2.png 1846w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Miko_AMIA_2-800x629.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Miko_AMIA_2-1020x802.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Miko_AMIA_2-160x126.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Miko_AMIA_2-768x604.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Miko_AMIA_2-1536x1208.png 1536w\" sizes=\"auto, (max-width: 1846px) 100vw, 1846px\">\u003cfigcaption class=\"wp-caption-text\">A still from Jen Miko’s presentation for ‘Staff Picks.’ \u003ccite>(Courtesy of the Prelinger Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Emily Chao’s portion of “Staff Picks” is an homage to the many styles of handwriting encountered in this process. “Sometimes we’ll just try to help each other read something,” Finelli says. Chao will show clips from corresponding home movies while focusing on the poetry of these bits of ephemera.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Digital Asset Manager Kristin Lipska, whose own work on the project is very behind the scenes, presents what Finelli calls “a celebration of invisible labor,” a series of outtakes from industrial and sponsored films. (Lipska is also the person behind the delightful Instagram account \u003ca href=\"https://www.instagram.com/clapperboardcuties/\">@clapperboardcuties\u003c/a>.)\u003c/p>\n\u003cp>The fact that we even get to see a casually dressed young man with a clapperboard on the set of a railroad safety film is rare enough. “Most archives don’t collect outtakes. They don’t prioritize it, they don’t have room for it,” Finelli says. Alongside the awkward staginess of educational and industrial films, outtakes provide precious moments of reality that speak to the time and place of their making (and the people doing that work). \u003c/p>\n\u003cfigure id=\"attachment_13972932\" class=\"wp-caption aligncenter\" style=\"max-width: 816px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Needles_AMIA_1.png\" alt=\"film still of a woman batting in softball game, 50s-era cars behind\" width=\"816\" height=\"591\" class=\"size-full wp-image-13972932\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Needles_AMIA_1.png 816w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Needles_AMIA_1-800x579.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Needles_AMIA_1-160x116.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Needles_AMIA_1-768x556.png 768w\" sizes=\"auto, (max-width: 816px) 100vw, 816px\">\u003cfigcaption class=\"wp-caption-text\">A still from Megan Needels’ presentation at the Prelinger Archives ‘Staff Picks’ program. \u003ccite>(Courtesy of Prelinger Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other presentations touch on the surprising beauty of warped and damaged celluloid (from Jen Miko); landscapes marked by colonialism, climate change and gentrification (from Kate Dollenmayer); and a deep dive into one 1950s Midwestern home movie (from Megan Needels).\u003c/p>\n\u003cp>[aside postID='arts_13970787']Needels uses that home movie of women playing softball, drinking beer and having a slumber party to illustrate the tricky task of categorizing historical material. To a contemporary eye, this footage reads as queer. Is it possible to retroactively flag that reading in an ethical way? Needels and Dollenmayer landed on the tag “possible LGBTQ+ research interest.”\u003c/p>\n\u003cp>“A big part of this project, bigger than we anticipated, is thinking about language — how to describe what we’re scanning and how to do that in a sensitive way,” Finelli says. “We’re even more dedicated to that because of what’s happening in the country.” \u003c/p>\n\u003cp>An Indigenous advisory group, which includes filmmaker and professor \u003ca href=\"https://drownedland.com/\">Colleen Thurston\u003c/a>, consults the Prelinger Archives on how to address issues like cultural appropriation and filming of sacred sites. Certain pieces of footage will likely be held back from public access.\u003c/p>\n\u003cfigure id=\"attachment_13972937\" class=\"wp-caption aligncenter\" style=\"max-width: 962px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Finelli_AMIA_2.png\" alt=\"Asian people walking in front of vibrant tile pattern in 40s or 50s clothing\" width=\"962\" height=\"855\" class=\"size-full wp-image-13972937\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Finelli_AMIA_2.png 962w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Finelli_AMIA_2-800x711.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Finelli_AMIA_2-160x142.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Finelli_AMIA_2-768x683.png 768w\" sizes=\"auto, (max-width: 962px) 100vw, 962px\">\u003cfigcaption class=\"wp-caption-text\">A still from Adrianne Finelli’s presentation for ‘Staff Picks.’ \u003ccite>(Courtesy of the Prelinger Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Finelli’s own contribution to “Staff Picks” draws from the work of Henry Charles Fleischer, an Edison, New Jersey commercial filmmaker with an artist’s eye. “Mine’s really a tribute to his filmmaking, a compilation of his footage and a call for makers to use his films,” Finelli says. “They’re beautiful, and there are thousands of possible new works that live within them.”\u003c/p>\n\u003cp>Ultimately, the goal of the entire project is “mass digitizing for mass access,” Finelli says. The “Staff Picks” presentations are just six avenues into the archives’ vast amount of material. And by the end of summer 2026, researchers, artists and filmmakers will get to make use of all these staffers’ labor, bringing new life to strange, illuminating and forgotten slices of celluloid history.\u003c/p>\n\u003chr>\n\u003cp>\u003ci>‘Staff Picks from the Prelinger Archives’ is hosted by the \u003ca href=\"https://filmpreserve.org/event/staff-picks-from-the-prelinger-archives/\">San Francisco Film Preserve\u003c/a> on March 21, 12–1 p.m. via Zoom. \u003ca href=\"https://us02web.zoom.us/webinar/register/WN_w4ohB6-aRoy6-bp2EZRuIA#/registration\">Registration is here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>An in-person screening will take place at the \u003ca href=\"https://blog.archive.org/event/film-screening-staff-picks-from-the-prelinger-archives/\">Internet Archive\u003c/a> on March 24, 7–9 p.m. featuring additional presentations by Megan Shaw Prelinger and Brian Eggert. \u003ca href=\"https://www.eventbrite.com/e/staff-picks-from-the-prelinger-archives-tickets-1261633011299?aff=oddtdtcreator\">RSVP here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Three years ago, with a grant from the \u003ca href=\"https://ffdweb.org/blog/ffdw-works-with-prelinger-archives-to-make-rare-historic-films-more-accessible-using-the-decentralized-web/\">Filecoin Foundation for the Decentralized Web\u003c/a>, a small team of archivists sped up their work of digitizing films in the Prelinger Archives, \u003ca href=\"https://www.kqed.org/news/11980380/this-san-francisco-library-collects-print-materials-you-were-never-meant-to-see\">Megan and Rick Prelinger\u003c/a>’s massive collection of home movies and advertising, educational and industrial films.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>So far, Prelinger Archives staff have scanned over 3 million feet of film, equal to approximately 10,000 rare and one-of-a-kind films — still just a percentage of the archives’ total holdings. “We would need like a 10-year project” to scan it all, laughs Project Manager Adrianne Finelli. The collection holds over 40,000 home movies alone. \u003c/p>\n\u003cp>After these years of immersion, Finelli and her coworkers are presenting, in very personal ways, some of their findings. “Staff Picks from the Prelinger Archives” will be shown at two public events: a Zoom screening courtesy of the \u003ca href=\"https://filmpreserve.org/event/staff-picks-from-the-prelinger-archives/\">San Francisco Film Preserve\u003c/a> on Friday, March 21 and a live screening at the \u003ca href=\"https://blog.archive.org/event/film-screening-staff-picks-from-the-prelinger-archives/\">Internet Archive\u003c/a> on Monday, March 24.\u003c/p>\n\u003cp>Founded in 1983, the Prelinger Archives is full of weird and wonderful arcana, like the 1947 social guidance short \u003ci>\u003ca href=\"https://archive.org/details/ShyGuy1947\">Shy Guy\u003c/a>\u003c/i>, in which a high schooler takes cues from the popular kids and finds his way “in.” The Library of Congress purchased over 48,000 items from the archives in 2002; since then, the collection has prioritized home movies and amateur films. Attendees of Rick Prelinger’s \u003ci>\u003ca href=\"https://www.kqed.org/forum/2010101895114/lost-landscapes-spotlights-bay-area-history-with-found-footage\">Lost Landscapes\u003c/a>\u003c/i> screenings know how home movies can provide magical and relatable glimpses into everyday history.\u003c/p>\n\u003cp>Getting these 8mm, 16mm and 35mm reels online involves a very physical process, starting with identifying which films are even sturdy enough to scan. Film preparers take stock of the reels in their various storage sites, making note of any labels or identifying materials that can help pinpoint the more mysterious holdings.\u003c/p>\n\u003cfigure id=\"attachment_13972935\" class=\"wp-caption aligncenter\" style=\"max-width: 1846px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Miko_AMIA_2.png\" alt=\"human silhouette outlined in green, floating in space\" width=\"1846\" height=\"1452\" class=\"size-full wp-image-13972935\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Miko_AMIA_2.png 1846w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Miko_AMIA_2-800x629.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Miko_AMIA_2-1020x802.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Miko_AMIA_2-160x126.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Miko_AMIA_2-768x604.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Miko_AMIA_2-1536x1208.png 1536w\" sizes=\"auto, (max-width: 1846px) 100vw, 1846px\">\u003cfigcaption class=\"wp-caption-text\">A still from Jen Miko’s presentation for ‘Staff Picks.’ \u003ccite>(Courtesy of the Prelinger Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Emily Chao’s portion of “Staff Picks” is an homage to the many styles of handwriting encountered in this process. “Sometimes we’ll just try to help each other read something,” Finelli says. Chao will show clips from corresponding home movies while focusing on the poetry of these bits of ephemera.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Digital Asset Manager Kristin Lipska, whose own work on the project is very behind the scenes, presents what Finelli calls “a celebration of invisible labor,” a series of outtakes from industrial and sponsored films. (Lipska is also the person behind the delightful Instagram account \u003ca href=\"https://www.instagram.com/clapperboardcuties/\">@clapperboardcuties\u003c/a>.)\u003c/p>\n\u003cp>The fact that we even get to see a casually dressed young man with a clapperboard on the set of a railroad safety film is rare enough. “Most archives don’t collect outtakes. They don’t prioritize it, they don’t have room for it,” Finelli says. Alongside the awkward staginess of educational and industrial films, outtakes provide precious moments of reality that speak to the time and place of their making (and the people doing that work). \u003c/p>\n\u003cfigure id=\"attachment_13972932\" class=\"wp-caption aligncenter\" style=\"max-width: 816px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Needles_AMIA_1.png\" alt=\"film still of a woman batting in softball game, 50s-era cars behind\" width=\"816\" height=\"591\" class=\"size-full wp-image-13972932\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Needles_AMIA_1.png 816w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Needles_AMIA_1-800x579.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Needles_AMIA_1-160x116.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Needles_AMIA_1-768x556.png 768w\" sizes=\"auto, (max-width: 816px) 100vw, 816px\">\u003cfigcaption class=\"wp-caption-text\">A still from Megan Needels’ presentation at the Prelinger Archives ‘Staff Picks’ program. \u003ccite>(Courtesy of Prelinger Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other presentations touch on the surprising beauty of warped and damaged celluloid (from Jen Miko); landscapes marked by colonialism, climate change and gentrification (from Kate Dollenmayer); and a deep dive into one 1950s Midwestern home movie (from Megan Needels).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Needels uses that home movie of women playing softball, drinking beer and having a slumber party to illustrate the tricky task of categorizing historical material. To a contemporary eye, this footage reads as queer. Is it possible to retroactively flag that reading in an ethical way? Needels and Dollenmayer landed on the tag “possible LGBTQ+ research interest.”\u003c/p>\n\u003cp>“A big part of this project, bigger than we anticipated, is thinking about language — how to describe what we’re scanning and how to do that in a sensitive way,” Finelli says. “We’re even more dedicated to that because of what’s happening in the country.” \u003c/p>\n\u003cp>An Indigenous advisory group, which includes filmmaker and professor \u003ca href=\"https://drownedland.com/\">Colleen Thurston\u003c/a>, consults the Prelinger Archives on how to address issues like cultural appropriation and filming of sacred sites. Certain pieces of footage will likely be held back from public access.\u003c/p>\n\u003cfigure id=\"attachment_13972937\" class=\"wp-caption aligncenter\" style=\"max-width: 962px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Finelli_AMIA_2.png\" alt=\"Asian people walking in front of vibrant tile pattern in 40s or 50s clothing\" width=\"962\" height=\"855\" class=\"size-full wp-image-13972937\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Finelli_AMIA_2.png 962w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Finelli_AMIA_2-800x711.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Finelli_AMIA_2-160x142.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Finelli_AMIA_2-768x683.png 768w\" sizes=\"auto, (max-width: 962px) 100vw, 962px\">\u003cfigcaption class=\"wp-caption-text\">A still from Adrianne Finelli’s presentation for ‘Staff Picks.’ \u003ccite>(Courtesy of the Prelinger Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Finelli’s own contribution to “Staff Picks” draws from the work of Henry Charles Fleischer, an Edison, New Jersey commercial filmmaker with an artist’s eye. “Mine’s really a tribute to his filmmaking, a compilation of his footage and a call for makers to use his films,” Finelli says. “They’re beautiful, and there are thousands of possible new works that live within them.”\u003c/p>\n\u003cp>Ultimately, the goal of the entire project is “mass digitizing for mass access,” Finelli says. The “Staff Picks” presentations are just six avenues into the archives’ vast amount of material. And by the end of summer 2026, researchers, artists and filmmakers will get to make use of all these staffers’ labor, bringing new life to strange, illuminating and forgotten slices of celluloid history.\u003c/p>\n\u003chr>\n\u003cp>\u003ci>‘Staff Picks from the Prelinger Archives’ is hosted by the \u003ca href=\"https://filmpreserve.org/event/staff-picks-from-the-prelinger-archives/\">San Francisco Film Preserve\u003c/a> on March 21, 12–1 p.m. via Zoom. \u003ca href=\"https://us02web.zoom.us/webinar/register/WN_w4ohB6-aRoy6-bp2EZRuIA#/registration\">Registration is here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>An in-person screening will take place at the \u003ca href=\"https://blog.archive.org/event/film-screening-staff-picks-from-the-prelinger-archives/\">Internet Archive\u003c/a> on March 24, 7–9 p.m. featuring additional presentations by Megan Shaw Prelinger and Brian Eggert. \u003ca href=\"https://www.eventbrite.com/e/staff-picks-from-the-prelinger-archives-tickets-1261633011299?aff=oddtdtcreator\">RSVP here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Democracy Noir’ Depicts Hungary’s Dark Slide — and Foretells Ours",
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"content": "\u003cp>An “evergreen” \u003ca href=\"https://www.kqed.org/arts/tag/documentary\">documentary\u003c/a>, such as Connie Field and Marilyn Mulford’s \u003cem>Freedom On My Mind\u003c/em> (1994), is a film whose information and themes are timeless. The Bay Area filmmakers’ Oscar-nominated oral history of the Civil Rights campaign to register Mississippi voters in the early 1960s (currently available to stream on \u003ca href=\"https://www.tcm.com/watchtcm/titles/75637\">TCM\u003c/a> and \u003ca href=\"https://www.max.com/movies/freedom-on-my-mind/48cb71f2-13f7-4d03-ab67-d13153248859\">Max\u003c/a>) will be relevant forever.\u003c/p>\n\u003cp>[aside postID='arts_13972877']Field’s latest doc, \u003cem>\u003ca href=\"https://roxie.com/film/democracy-noir/\">Democracy Noir\u003c/a>\u003c/em> (screening March 12, 16 and 17 at the Roxie), about Prime Minister Viktor Orbán’s systemic 15-year (and counting) destruction of Hungary’s democracy, derives from the opposite impulse. Although its historical account and snapshot of individual resistance will resonate years down the road, Field’s goal was to have the maximum impact right now, right here.\u003c/p>\n\u003cp>After she premiered \u003cem>Democracy Noir\u003c/em> at the prominent CPH:DOX festival in Copenhagen a year ago, Field intended the film to play U.S. theaters, alerting uninformed, misinformed and apathetic voters of the stakes of the 2024 election. It didn’t work out that way; the doc screened at festivals in the liberal enclaves of Mill Valley and Boston (and throughout Europe), but didn’t get a wider release.\u003c/p>\n\u003cp>If there is a silver lining — I’m trying very hard to accentuate the positive — to the vast damage done to the nation’s institutions by Donald Trump and his inside circle of billionaires since his second inauguration, it is that a whole lot more Americans are presumably interested in the autocratic Hungarian precedent on display in \u003cem>Democracy Noir\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13972960\" class=\"wp-caption aligncenter\" style=\"max-width: 816px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Democracy-Noir-direct-Connie-Field-nurse-Nikoletta-Niko-Natal-in-Budapest.-Photo-by-Judit-Kalmar.jpg\" alt=\"two women smile in crowd, one holds camera and mic\" width=\"816\" height=\"612\" class=\"size-full wp-image-13972960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Democracy-Noir-direct-Connie-Field-nurse-Nikoletta-Niko-Natal-in-Budapest.-Photo-by-Judit-Kalmar.jpg 816w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Democracy-Noir-direct-Connie-Field-nurse-Nikoletta-Niko-Natal-in-Budapest.-Photo-by-Judit-Kalmar-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Democracy-Noir-direct-Connie-Field-nurse-Nikoletta-Niko-Natal-in-Budapest.-Photo-by-Judit-Kalmar-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Democracy-Noir-direct-Connie-Field-nurse-Nikoletta-Niko-Natal-in-Budapest.-Photo-by-Judit-Kalmar-768x576.jpg 768w\" sizes=\"auto, (max-width: 816px) 100vw, 816px\">\u003cfigcaption class=\"wp-caption-text\">Nurse Niko Antal and ‘Democracy Noir’ director Connie Field in Budapest. \u003ccite>(Judit Kalmar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Blending and finessing the past and the present since Orbán took office for the second time in 2010, Field traces the chronology of events and the opposition to Orbán through a trio of remarkable Hungarian women. Niko Antal, a nurse and the most emotionally vulnerable of the three, is perpetually protesting on the streets while working 18-hour days at minimum wage and paying for patients’ medicine out of her own pocket. You can imagine Antal’s facial expression when her mother, representative of the older generation, says Orbán has made her feel more secure.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Babette Oroszi, a respected and rising television journalist when she was in her 20s, was compelled to keep finding new venues as the right wing acquired roughly 400 media outlets in the years since Orbán came to power. The quiet, lovely home near a scenic waterway that she shares with her wife is a refuge from her stressful job.\u003c/p>\n\u003cp>Oroszi investigates and uncovers the regime’s malfeasance, pushing back against a tsunami of misinformation. “They’ve ruined education, they’ve ruined the health care system, they’ve screwed the . . . pensioners,” she laments.\u003c/p>\n\u003cp>By way of explaining the media environment, \u003cem>Democracy Noir\u003c/em> depicts the shocking morning when the staff of the country’s largest newspaper, \u003ci>Népszabadság\u003c/i>, which reported corruption scandals on a near-daily basis, found the building locked when they arrived for work and were fired almost immediately. Through the concerted flow of propaganda, the government has effectively brainwashed most of the population, mitigating the need for the most palpable sign of repression: calling out the military onto the streets.\u003c/p>\n\u003cp>One of Orbán’s strategies is funneling Hungary’s share of European Union funds to rural areas — new buildings, improvements in infrastructure and even sacks of potatoes — while claiming all the credit for his party, Fidesz. The result, unsurprisingly, solidifies Orbán’s base of support outside of Budapest.\u003c/p>\n\u003cfigure id=\"attachment_13972961\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Democracy-Noir-Timea-Orban-whistle.jpg\" alt=\"woman blows whistle in face of man in formal setting, everyone in suits\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13972961\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Democracy-Noir-Timea-Orban-whistle.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Democracy-Noir-Timea-Orban-whistle-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Democracy-Noir-Timea-Orban-whistle-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Democracy-Noir-Timea-Orban-whistle-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Democracy-Noir-Timea-Orban-whistle-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Democracy-Noir-Timea-Orban-whistle-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tímea Szabó blows a whistle in the face of Viktor Orbán in the Hungarian Parliament in a scene from ‘Democracy Noir.’ \u003ccite>(Roxie Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Appealing opposition politician Tímea Szabó, \u003cem>Democracy Noir\u003c/em>’s third protagonist, recounts recent history to Field’s camera. Her more compelling appearances, though, are on the floor of Parliament delivering impassioned, articulate and clear arguments against Fidesz’s policies. Szabó is a beacon of hope, that is, until one notices how empty the chamber is when she speaks. \u003c/p>\n\u003cp>\u003cem>Democracy Noir\u003c/em> plays to U.S. viewers as a template for what has come to pass in the U.S., and is rolling out before our eyes. Television and radio networks peddling the state’s version of events, of course, but also the leader (whose power is never in doubt) relentlessly presenting himself and his followers as the victims, surrounded by enemies. And, ominously, the selective targeting of minorities — refugees, LGBTQ+ people — as the object of people’s blame, suspicion and hatred.\u003c/p>\n\u003cp>“If the government hates me so openly,” Oroszi asks, “then what am I doing here?” The nurse Antal, exhausted by the struggle, says, “I was raised to always fight for my dreams. I don’t have them anymore. Now I’m really just caught on a hamster wheel that I can’t get out of.”\u003c/p>\n\u003cp>https://youtu.be/5GPGHqABpQ8\u003c/p>\n\u003cp>Their despair runs into hard choices, such as moving abroad. Antal is reluctant to leave because her mother is ill. Ceasing to protest or tuning out aren’t options for people like her, Oroszi and Szabó. It is their country, after all, always and forever.\u003c/p>\n\u003cp>There is never any doubt which side \u003cem>Democracy Noir\u003c/em> is on, but Field is careful not to slip into sloganeering and preaching to the choir. The film is most effective as a foreshadowing of the future we are heading toward in our own country, with shocking parallels between Trump’s statements and actions and Orbán’s.\u003c/p>\n\u003cp>At the same time, \u003cem>Democracy Noir\u003c/em> provides, for our inspiration, three varyingly effective facets of resistance that involve — and transcend — keeping hope alive. As Bob Dylan sang, “It’s not dark yet, but it’s getting there.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://roxie.com/film/democracy-noir/\">Democracy Noir\u003c/a>’ screens March 12 (a benefit for Indivisible SF, with director Connie Field in conversation after the film), March 16 and March 17 at the Roxie.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>An “evergreen” \u003ca href=\"https://www.kqed.org/arts/tag/documentary\">documentary\u003c/a>, such as Connie Field and Marilyn Mulford’s \u003cem>Freedom On My Mind\u003c/em> (1994), is a film whose information and themes are timeless. The Bay Area filmmakers’ Oscar-nominated oral history of the Civil Rights campaign to register Mississippi voters in the early 1960s (currently available to stream on \u003ca href=\"https://www.tcm.com/watchtcm/titles/75637\">TCM\u003c/a> and \u003ca href=\"https://www.max.com/movies/freedom-on-my-mind/48cb71f2-13f7-4d03-ab67-d13153248859\">Max\u003c/a>) will be relevant forever.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Field’s latest doc, \u003cem>\u003ca href=\"https://roxie.com/film/democracy-noir/\">Democracy Noir\u003c/a>\u003c/em> (screening March 12, 16 and 17 at the Roxie), about Prime Minister Viktor Orbán’s systemic 15-year (and counting) destruction of Hungary’s democracy, derives from the opposite impulse. Although its historical account and snapshot of individual resistance will resonate years down the road, Field’s goal was to have the maximum impact right now, right here.\u003c/p>\n\u003cp>After she premiered \u003cem>Democracy Noir\u003c/em> at the prominent CPH:DOX festival in Copenhagen a year ago, Field intended the film to play U.S. theaters, alerting uninformed, misinformed and apathetic voters of the stakes of the 2024 election. It didn’t work out that way; the doc screened at festivals in the liberal enclaves of Mill Valley and Boston (and throughout Europe), but didn’t get a wider release.\u003c/p>\n\u003cp>If there is a silver lining — I’m trying very hard to accentuate the positive — to the vast damage done to the nation’s institutions by Donald Trump and his inside circle of billionaires since his second inauguration, it is that a whole lot more Americans are presumably interested in the autocratic Hungarian precedent on display in \u003cem>Democracy Noir\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13972960\" class=\"wp-caption aligncenter\" style=\"max-width: 816px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Democracy-Noir-direct-Connie-Field-nurse-Nikoletta-Niko-Natal-in-Budapest.-Photo-by-Judit-Kalmar.jpg\" alt=\"two women smile in crowd, one holds camera and mic\" width=\"816\" height=\"612\" class=\"size-full wp-image-13972960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Democracy-Noir-direct-Connie-Field-nurse-Nikoletta-Niko-Natal-in-Budapest.-Photo-by-Judit-Kalmar.jpg 816w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Democracy-Noir-direct-Connie-Field-nurse-Nikoletta-Niko-Natal-in-Budapest.-Photo-by-Judit-Kalmar-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Democracy-Noir-direct-Connie-Field-nurse-Nikoletta-Niko-Natal-in-Budapest.-Photo-by-Judit-Kalmar-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Democracy-Noir-direct-Connie-Field-nurse-Nikoletta-Niko-Natal-in-Budapest.-Photo-by-Judit-Kalmar-768x576.jpg 768w\" sizes=\"auto, (max-width: 816px) 100vw, 816px\">\u003cfigcaption class=\"wp-caption-text\">Nurse Niko Antal and ‘Democracy Noir’ director Connie Field in Budapest. \u003ccite>(Judit Kalmar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Blending and finessing the past and the present since Orbán took office for the second time in 2010, Field traces the chronology of events and the opposition to Orbán through a trio of remarkable Hungarian women. Niko Antal, a nurse and the most emotionally vulnerable of the three, is perpetually protesting on the streets while working 18-hour days at minimum wage and paying for patients’ medicine out of her own pocket. You can imagine Antal’s facial expression when her mother, representative of the older generation, says Orbán has made her feel more secure.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Babette Oroszi, a respected and rising television journalist when she was in her 20s, was compelled to keep finding new venues as the right wing acquired roughly 400 media outlets in the years since Orbán came to power. The quiet, lovely home near a scenic waterway that she shares with her wife is a refuge from her stressful job.\u003c/p>\n\u003cp>Oroszi investigates and uncovers the regime’s malfeasance, pushing back against a tsunami of misinformation. “They’ve ruined education, they’ve ruined the health care system, they’ve screwed the . . . pensioners,” she laments.\u003c/p>\n\u003cp>By way of explaining the media environment, \u003cem>Democracy Noir\u003c/em> depicts the shocking morning when the staff of the country’s largest newspaper, \u003ci>Népszabadság\u003c/i>, which reported corruption scandals on a near-daily basis, found the building locked when they arrived for work and were fired almost immediately. Through the concerted flow of propaganda, the government has effectively brainwashed most of the population, mitigating the need for the most palpable sign of repression: calling out the military onto the streets.\u003c/p>\n\u003cp>One of Orbán’s strategies is funneling Hungary’s share of European Union funds to rural areas — new buildings, improvements in infrastructure and even sacks of potatoes — while claiming all the credit for his party, Fidesz. The result, unsurprisingly, solidifies Orbán’s base of support outside of Budapest.\u003c/p>\n\u003cfigure id=\"attachment_13972961\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Democracy-Noir-Timea-Orban-whistle.jpg\" alt=\"woman blows whistle in face of man in formal setting, everyone in suits\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13972961\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Democracy-Noir-Timea-Orban-whistle.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Democracy-Noir-Timea-Orban-whistle-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Democracy-Noir-Timea-Orban-whistle-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Democracy-Noir-Timea-Orban-whistle-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Democracy-Noir-Timea-Orban-whistle-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Democracy-Noir-Timea-Orban-whistle-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tímea Szabó blows a whistle in the face of Viktor Orbán in the Hungarian Parliament in a scene from ‘Democracy Noir.’ \u003ccite>(Roxie Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Appealing opposition politician Tímea Szabó, \u003cem>Democracy Noir\u003c/em>’s third protagonist, recounts recent history to Field’s camera. Her more compelling appearances, though, are on the floor of Parliament delivering impassioned, articulate and clear arguments against Fidesz’s policies. Szabó is a beacon of hope, that is, until one notices how empty the chamber is when she speaks. \u003c/p>\n\u003cp>\u003cem>Democracy Noir\u003c/em> plays to U.S. viewers as a template for what has come to pass in the U.S., and is rolling out before our eyes. Television and radio networks peddling the state’s version of events, of course, but also the leader (whose power is never in doubt) relentlessly presenting himself and his followers as the victims, surrounded by enemies. And, ominously, the selective targeting of minorities — refugees, LGBTQ+ people — as the object of people’s blame, suspicion and hatred.\u003c/p>\n\u003cp>“If the government hates me so openly,” Oroszi asks, “then what am I doing here?” The nurse Antal, exhausted by the struggle, says, “I was raised to always fight for my dreams. I don’t have them anymore. Now I’m really just caught on a hamster wheel that I can’t get out of.”\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/5GPGHqABpQ8'\n title='//www.youtube.com/embed/5GPGHqABpQ8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Their despair runs into hard choices, such as moving abroad. Antal is reluctant to leave because her mother is ill. Ceasing to protest or tuning out aren’t options for people like her, Oroszi and Szabó. It is their country, after all, always and forever.\u003c/p>\n\u003cp>There is never any doubt which side \u003cem>Democracy Noir\u003c/em> is on, but Field is careful not to slip into sloganeering and preaching to the choir. The film is most effective as a foreshadowing of the future we are heading toward in our own country, with shocking parallels between Trump’s statements and actions and Orbán’s.\u003c/p>\n\u003cp>At the same time, \u003cem>Democracy Noir\u003c/em> provides, for our inspiration, three varyingly effective facets of resistance that involve — and transcend — keeping hope alive. As Bob Dylan sang, “It’s not dark yet, but it’s getting there.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://roxie.com/film/democracy-noir/\">Democracy Noir\u003c/a>’ screens March 12 (a benefit for Indivisible SF, with director Connie Field in conversation after the film), March 16 and March 17 at the Roxie.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Shula is driving home from a fancy dress party one night when she encounters an unusual sight in the middle of a country road: her Uncle Fred’s dead body.\u003c/p>\n\u003cp>But Shula, portrayed by Susan Chardy, does not behave in a way that we would expect. She doesn’t cry out in horror or appear the least bit upset or shocked by the sight. Instead, we sit there with her in silence, her in sunglasses and a silver helmeted mask adorned with sparkling rhinestones. Shula looks straight out of a music video as she stares off into the distance. This, we realize quickly, is going to be a thing. At the very least, it’s an inconvenience, ripping her out of her independent life and back into the throes of her traditional family, their patriarchal ways and all their crippling secrets.\u003c/p>\n\u003cp>This is the opening scene of \u003ci>\u003ca href=\"https://roxie.com/film/on-becoming-a-guinea-fowl/\">On Becoming a Guinea Fowl\u003c/a>\u003c/i>, Rungano Nyoni’s darkly comedic, stylish and hauntingly bizarre portrait of a Zambian family funeral. It is perhaps the first great film of 2025 — though it’s technically been awaiting its moment in the United States since 2024. It premiered last year at the Cannes Film Festival and has already had a run in the U.K.\u003c/p>\n\u003cp>And it’s a post-Oscars treat to have something this great in the cinemas to shake audiences out of their end-of-the-road awards contender boredom. What better way to do it than with something so different, so vibrant and so unforgettable as \u003ci>On Becoming a Guinea Fowl\u003c/i>, only \u003ca href=\"https://www.kqed.org/arts/13847814/now-playing-oscars-foreign-language-submissions-at-the-rafael\">the second feature\u003c/a> from the self-taught filmmaker.\u003c/p>\n\u003cfigure id=\"attachment_13972764\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OBAGF_01.jpg\" alt=\"Black woman in sunglasses and bejeweled helmet behind car steering wheel\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13972764\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OBAGF_01.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OBAGF_01-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OBAGF_01-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OBAGF_01-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OBAGF_01-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OBAGF_01-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OBAGF_01-1920x1281.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Susan Chardy in ‘On Becoming a Guinea Fowl.’ \u003ccite>(Chibesa Mulumba; Courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nyoni centers this story around a dayslong funeral for this predominately Bemba family. Shula is in the middle of the generations involved, a reluctant but obedient participant in the rituals of the elders. The women organize all the things, make all the food, and then serve all the men who are sitting around doing nothing. Eventually, they’ll all gather for a climactic, distressing scene in which they divide up Fred’s assets and place blame for his death. It is, like everything else, deeply unfair and misogynistic, coming down to whomever shouts loudest.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The elder women cry and wail and are cruel to Uncle Fred’s widow for not taking care of him. But there is an open secret that’s bubbling up to the surface now that Fred is dead: He was a predator and a pedophile whose abuse of the young women in his family stretches back decades. This is, most of the elders agree, something that should just be forgotten and buried along with Fred.\u003c/p>\n\u003cp>“Do you want me to dig up the corpse and ask it what happened?” Shula’s dad asks when she confronts him with the truth.\u003c/p>\n\u003cp>This is a society that remains bound to protecting the reputation and memory of a man whose actions continue to affect the women he violated: His wife; his young niece; Shula’s grown, often drunk cousin (Elizabeth Chisela). The women are just supposed to compartmentalize and move on — something the matriarchs seem largely on board with.\u003c/p>\n\u003cfigure id=\"attachment_13972765\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OBAGF_02_2000.jpg\" alt=\"two women stand looking out window, tense\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13972765\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OBAGF_02_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OBAGF_02_2000-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OBAGF_02_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OBAGF_02_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OBAGF_02_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OBAGF_02_2000-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OBAGF_02_2000-1920x1281.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Susan Chardy and Elizabeth Chisela as cousins in ‘On Becoming a Guinea Fowl.’ \u003ccite>(Chibesa Mulumba; Courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shula reads one of her auntie’s words, presumably for an obituary: “You were not just a brother, but also a father figure. … Ever jovial and joyous. A person who was fair.” Done in quick succession with her young cousin Bupe’s confession that she too was a victim of the deceased, words like “father figure” and “jovial” echo with malice.\u003c/p>\n\u003cp>\u003ci>On Becoming a Guinea Fowl\u003c/i> shares some spiritual DNA with \u003ci>\u003ca href=\"https://www.kqed.org/arts/13923296/women-talking-sarah-polley-review-mennonite-miriam-toews\">Women Talking\u003c/a>\u003c/i>, in which mothers pass on traumas and secrets and the cycle goes on, despite even the best of intentions. Nyoni and her cinematographer David Gallego make this a transportive, stylish and unforgettable experience that powerfully transcends the specifics of its setting, while also taking audiences into an culture that’s likely unfamiliar.\u003c/p>\n\u003cp>The ending is not what one might call conclusive, but perhaps a litmus test for the individual viewer as to whether or not they’ll exit with hope or dread for what’s to come. And regardless, when you take a step back, “Guinea Fowl” cements the exciting arrival of a true filmmaker.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://roxie.com/film/on-becoming-a-guinea-fowl/\">On Becoming a Guinea Fowl\u003c/a>’ plays at San Francisco’s Roxie Theater March 28 and 29, 2025.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Shula is driving home from a fancy dress party one night when she encounters an unusual sight in the middle of a country road: her Uncle Fred’s dead body.\u003c/p>\n\u003cp>But Shula, portrayed by Susan Chardy, does not behave in a way that we would expect. She doesn’t cry out in horror or appear the least bit upset or shocked by the sight. Instead, we sit there with her in silence, her in sunglasses and a silver helmeted mask adorned with sparkling rhinestones. Shula looks straight out of a music video as she stares off into the distance. This, we realize quickly, is going to be a thing. At the very least, it’s an inconvenience, ripping her out of her independent life and back into the throes of her traditional family, their patriarchal ways and all their crippling secrets.\u003c/p>\n\u003cp>This is the opening scene of \u003ci>\u003ca href=\"https://roxie.com/film/on-becoming-a-guinea-fowl/\">On Becoming a Guinea Fowl\u003c/a>\u003c/i>, Rungano Nyoni’s darkly comedic, stylish and hauntingly bizarre portrait of a Zambian family funeral. It is perhaps the first great film of 2025 — though it’s technically been awaiting its moment in the United States since 2024. It premiered last year at the Cannes Film Festival and has already had a run in the U.K.\u003c/p>\n\u003cp>And it’s a post-Oscars treat to have something this great in the cinemas to shake audiences out of their end-of-the-road awards contender boredom. What better way to do it than with something so different, so vibrant and so unforgettable as \u003ci>On Becoming a Guinea Fowl\u003c/i>, only \u003ca href=\"https://www.kqed.org/arts/13847814/now-playing-oscars-foreign-language-submissions-at-the-rafael\">the second feature\u003c/a> from the self-taught filmmaker.\u003c/p>\n\u003cfigure id=\"attachment_13972764\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OBAGF_01.jpg\" alt=\"Black woman in sunglasses and bejeweled helmet behind car steering wheel\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13972764\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OBAGF_01.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OBAGF_01-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OBAGF_01-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OBAGF_01-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OBAGF_01-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OBAGF_01-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OBAGF_01-1920x1281.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Susan Chardy in ‘On Becoming a Guinea Fowl.’ \u003ccite>(Chibesa Mulumba; Courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nyoni centers this story around a dayslong funeral for this predominately Bemba family. Shula is in the middle of the generations involved, a reluctant but obedient participant in the rituals of the elders. The women organize all the things, make all the food, and then serve all the men who are sitting around doing nothing. Eventually, they’ll all gather for a climactic, distressing scene in which they divide up Fred’s assets and place blame for his death. It is, like everything else, deeply unfair and misogynistic, coming down to whomever shouts loudest.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The elder women cry and wail and are cruel to Uncle Fred’s widow for not taking care of him. But there is an open secret that’s bubbling up to the surface now that Fred is dead: He was a predator and a pedophile whose abuse of the young women in his family stretches back decades. This is, most of the elders agree, something that should just be forgotten and buried along with Fred.\u003c/p>\n\u003cp>“Do you want me to dig up the corpse and ask it what happened?” Shula’s dad asks when she confronts him with the truth.\u003c/p>\n\u003cp>This is a society that remains bound to protecting the reputation and memory of a man whose actions continue to affect the women he violated: His wife; his young niece; Shula’s grown, often drunk cousin (Elizabeth Chisela). The women are just supposed to compartmentalize and move on — something the matriarchs seem largely on board with.\u003c/p>\n\u003cfigure id=\"attachment_13972765\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OBAGF_02_2000.jpg\" alt=\"two women stand looking out window, tense\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13972765\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OBAGF_02_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OBAGF_02_2000-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OBAGF_02_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OBAGF_02_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OBAGF_02_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OBAGF_02_2000-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OBAGF_02_2000-1920x1281.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Susan Chardy and Elizabeth Chisela as cousins in ‘On Becoming a Guinea Fowl.’ \u003ccite>(Chibesa Mulumba; Courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shula reads one of her auntie’s words, presumably for an obituary: “You were not just a brother, but also a father figure. … Ever jovial and joyous. A person who was fair.” Done in quick succession with her young cousin Bupe’s confession that she too was a victim of the deceased, words like “father figure” and “jovial” echo with malice.\u003c/p>\n\u003cp>\u003ci>On Becoming a Guinea Fowl\u003c/i> shares some spiritual DNA with \u003ci>\u003ca href=\"https://www.kqed.org/arts/13923296/women-talking-sarah-polley-review-mennonite-miriam-toews\">Women Talking\u003c/a>\u003c/i>, in which mothers pass on traumas and secrets and the cycle goes on, despite even the best of intentions. Nyoni and her cinematographer David Gallego make this a transportive, stylish and unforgettable experience that powerfully transcends the specifics of its setting, while also taking audiences into an culture that’s likely unfamiliar.\u003c/p>\n\u003cp>The ending is not what one might call conclusive, but perhaps a litmus test for the individual viewer as to whether or not they’ll exit with hope or dread for what’s to come. And regardless, when you take a step back, “Guinea Fowl” cements the exciting arrival of a true filmmaker.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://roxie.com/film/on-becoming-a-guinea-fowl/\">On Becoming a Guinea Fowl\u003c/a>’ plays at San Francisco’s Roxie Theater March 28 and 29, 2025.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Through no fault of his own, Bong Joon Ho is a man out of time. What claim can even the most unrestrained cinema satirist have on our attention when the world’s foremost provocateur, stream-of-consciousness back-flipper and fomenter of chaos occupies the White House?\u003c/p>\n\u003cp>[aside postID='arts_13972512']\u003cem>Mickey 17\u003c/em> (opening Friday, March 7), Bong’s drolly amusing social critique wrapped, burrito-style, in the genre accoutrements of a science-fiction movie, is far from the South Korean writer-director’s peak of outrageousness. That would be \u003cem>\u003ca href=\"https://www.kqed.org/arts/13869623/the-hit-movie-parasite-puts-basement-structures-in-structural-inequality\">Parasite\u003c/a>\u003c/em>, his out-of-nowhere Oscar-winning 2019 hit that probed the gap between the have-nots and the haves with savage and shocking fury.\u003c/p>\n\u003cp>Five years on, Bong isn’t as focused on the working (under)class plunging knives into the superrich. (Timing is everything — Luigi Mangione single-handedly moved that conversation from the entertainment section to the front page last December.) The proletariat’s goal in the English-language \u003cem>Mickey 17\u003c/em> is simply surviving the unceasing exploitation of labor, a mission impossible paradoxically embodied by a character whose job description is to die, and die, and die another day.\u003c/p>\n\u003cp>To escape the homicidal intentions of a loan shark, sad sack Mickey Barnes (Robert Pattinson) and devious business partner Timo (Steven Yeun) get hired onto a spaceship that bigwig Kenneth Marshall (Mark Ruffalo) and his wife Yifa (Toni Collette) are steering to a faraway planet. On the four-and-a-half-year journey, Mickey and cop Nasha (a righteously angry and expansively cursing Naomi Ackie) fall in love.\u003c/p>\n\u003cfigure id=\"attachment_13972866\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-TRL2-004r_High_Res_JPEG_200-.jpg\" alt=\"\" width=\"2000\" height=\"1081\" class=\"size-full wp-image-13972866\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-TRL2-004r_High_Res_JPEG_200-.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-TRL2-004r_High_Res_JPEG_200--800x432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-TRL2-004r_High_Res_JPEG_200--1020x551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-TRL2-004r_High_Res_JPEG_200--160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-TRL2-004r_High_Res_JPEG_200--768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-TRL2-004r_High_Res_JPEG_200--1536x830.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-TRL2-004r_High_Res_JPEG_200--1920x1038.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Naomi Ackie as Nasha in ‘Mickey 17.’ \u003ccite>(Courtesy of Warner Bros. Pictures )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We learn all this via flashback; \u003cem>Mickey 17\u003c/em> opens with the titular character dazed and injured on the snow-covered planet Nilfheim. The year is 2054 and the poor guy is an “expendable” who, because he can be “reprinted” and regenerated endlessly (ain’t digital technology grand?), is given potentially fatal tasks like breathing and testing Nilfheim’s atmosphere for viruses that could wipe out the human passengers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In what amounts to a running existential gag, Mickey is repeatedly asked by fellow travelers, “What’s it feel like to die?” I was less engaged by the philosophical implications than by the cinematic ones: How do Bong and Pattinson make us emotionally invested in the journey of a character (in his 17th iteration as the movie begins) who is not a human but a copy, a duplicate, a facsimile?\u003c/p>\n\u003cp>Bong’s canny plot device of Nasha and Mickey’s love affair is instrumental in getting the audience to identify with him. Pattinson’s endearing performance does the rest; the actor doesn’t carry the film so much as humanize it with his self-deprecating affect and sacrificial pratfalls that borrow ever so slightly from silent screen comedian Harold Lloyd.\u003c/p>\n\u003cp>The expedition’s devious-but-dumb leaders, Marshall and Yifa, are revealed not as civic-minded entrepreneurs but as eugenics-huffing supremacists with autocratic aspirations. When one of Marshall’s TV studio rallies culminates with the audience copying his raised-arm gesture — index finger pointed at the sky — I marveled at Boon’s prescience. Elon Musk’s Mars ambitions are known, but how could Boon foresee his Nazi salute?\u003c/p>\n\u003cfigure id=\"attachment_13972867\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-11572_High_Res_JPEG_2000.jpg\" alt=\"group of people clap adoringly at man in center with hands out\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13972867\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-11572_High_Res_JPEG_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-11572_High_Res_JPEG_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-11572_High_Res_JPEG_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-11572_High_Res_JPEG_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-11572_High_Res_JPEG_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-11572_High_Res_JPEG_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-11572_High_Res_JPEG_2000-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mark Ruffalo as Kenneth Marshall and Toni Collette as Ylfa in ‘Mickey 17.’ \u003ccite>(Jonathan Olley; Courtesy of Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Mickey 17\u003c/em>’s cartoon power couple aren’t particularly menacing, however; imagine Jim and Tammy Faye Bakker playing the leads in \u003cem>Macbeth\u003c/em>. The good news is that Boon doesn’t take his political metaphor all that seriously, but that brings us to the bad news: The satire has no bite.\u003c/p>\n\u003cp>We’ve all seen too many futuristic epics about idealistic ventures brought to ruin by ego and greed. We’ve fully assimilated the lesson: Scientific and technological advances can never overcome the flaws in human nature.\u003c/p>\n\u003cp>At the same time, as I alluded earlier, over-the-top fictional villains can’t compare with today’s real-world megalomaniacs. Auric Goldfinger planned a caper at Fort Knox that James Bond foiled; Trump and Musk are planning a field trip to the Kentucky bouillon depository. How do you deflate that delusion? Yes, \u003cem>The Great Dictator\u003c/em> brilliantly mocked Hitler, but there’s only one Charlie Chaplin.\u003c/p>\n\u003cfigure id=\"attachment_13972868\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-TRL1-008_High_Res_JPEG_2000.jpg\" alt=\"large futuristic vehicles on a snowy landscape with alien species around them\" width=\"2000\" height=\"1081\" class=\"size-full wp-image-13972868\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-TRL1-008_High_Res_JPEG_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-TRL1-008_High_Res_JPEG_2000-800x432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-TRL1-008_High_Res_JPEG_2000-1020x551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-TRL1-008_High_Res_JPEG_2000-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-TRL1-008_High_Res_JPEG_2000-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-TRL1-008_High_Res_JPEG_2000-1536x830.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-TRL1-008_High_Res_JPEG_2000-1920x1038.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Mickey 17.’ \u003ccite>(Courtesy of Warner Bros. Pictures )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What sticks with the viewer more than the direct and indirect allusions to our current leaders are \u003cem>Mickey 17\u003c/em>’s ecological and environmental themes. Much of Boon’s work (\u003cem>The Host\u003c/em>, notably) questions human beings’ alleged higher intelligence (compared to other life forms) along with our propensity for wanton destruction. His approach is uniquely surreal in that he literally gives voice to other species.\u003c/p>\n\u003cp>The indigenous natives of Nilfheim, whom \u003cem>Mickey 17\u003c/em> encounters just a few minutes after we are introduced to him, are headless mammals that the people christen “creepers.” They serve numerous functions in the movie — at one point resembling a vast herd of buffalo that briefly turns \u003cem>Mickey 17\u003c/em> into a Western, and then a war movie — that the director skillfully exploits (in a good way!) for emotional and visceral effect. \u003c/p>\n\u003cp>By the time Nasha emerges as the heroine of the story and Pattinson as its soul, \u003cem>Mickey 17\u003c/em> has delivered ample entertainment for the buck. While I was disappointed by the lack of eye-popping compositions, a hallmark of Boon’s work, I learned one thing from this romantic comedy of the future: Whatever happens with tariffs, the United States will always enjoy a trade surplus in F-words.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Mickey 17’ opens in Bay Area theaters on Friday, March 7, 2025.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Mickey 17\u003c/em> (opening Friday, March 7), Bong’s drolly amusing social critique wrapped, burrito-style, in the genre accoutrements of a science-fiction movie, is far from the South Korean writer-director’s peak of outrageousness. That would be \u003cem>\u003ca href=\"https://www.kqed.org/arts/13869623/the-hit-movie-parasite-puts-basement-structures-in-structural-inequality\">Parasite\u003c/a>\u003c/em>, his out-of-nowhere Oscar-winning 2019 hit that probed the gap between the have-nots and the haves with savage and shocking fury.\u003c/p>\n\u003cp>Five years on, Bong isn’t as focused on the working (under)class plunging knives into the superrich. (Timing is everything — Luigi Mangione single-handedly moved that conversation from the entertainment section to the front page last December.) The proletariat’s goal in the English-language \u003cem>Mickey 17\u003c/em> is simply surviving the unceasing exploitation of labor, a mission impossible paradoxically embodied by a character whose job description is to die, and die, and die another day.\u003c/p>\n\u003cp>To escape the homicidal intentions of a loan shark, sad sack Mickey Barnes (Robert Pattinson) and devious business partner Timo (Steven Yeun) get hired onto a spaceship that bigwig Kenneth Marshall (Mark Ruffalo) and his wife Yifa (Toni Collette) are steering to a faraway planet. On the four-and-a-half-year journey, Mickey and cop Nasha (a righteously angry and expansively cursing Naomi Ackie) fall in love.\u003c/p>\n\u003cfigure id=\"attachment_13972866\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-TRL2-004r_High_Res_JPEG_200-.jpg\" alt=\"\" width=\"2000\" height=\"1081\" class=\"size-full wp-image-13972866\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-TRL2-004r_High_Res_JPEG_200-.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-TRL2-004r_High_Res_JPEG_200--800x432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-TRL2-004r_High_Res_JPEG_200--1020x551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-TRL2-004r_High_Res_JPEG_200--160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-TRL2-004r_High_Res_JPEG_200--768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-TRL2-004r_High_Res_JPEG_200--1536x830.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-TRL2-004r_High_Res_JPEG_200--1920x1038.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Naomi Ackie as Nasha in ‘Mickey 17.’ \u003ccite>(Courtesy of Warner Bros. Pictures )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We learn all this via flashback; \u003cem>Mickey 17\u003c/em> opens with the titular character dazed and injured on the snow-covered planet Nilfheim. The year is 2054 and the poor guy is an “expendable” who, because he can be “reprinted” and regenerated endlessly (ain’t digital technology grand?), is given potentially fatal tasks like breathing and testing Nilfheim’s atmosphere for viruses that could wipe out the human passengers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In what amounts to a running existential gag, Mickey is repeatedly asked by fellow travelers, “What’s it feel like to die?” I was less engaged by the philosophical implications than by the cinematic ones: How do Bong and Pattinson make us emotionally invested in the journey of a character (in his 17th iteration as the movie begins) who is not a human but a copy, a duplicate, a facsimile?\u003c/p>\n\u003cp>Bong’s canny plot device of Nasha and Mickey’s love affair is instrumental in getting the audience to identify with him. Pattinson’s endearing performance does the rest; the actor doesn’t carry the film so much as humanize it with his self-deprecating affect and sacrificial pratfalls that borrow ever so slightly from silent screen comedian Harold Lloyd.\u003c/p>\n\u003cp>The expedition’s devious-but-dumb leaders, Marshall and Yifa, are revealed not as civic-minded entrepreneurs but as eugenics-huffing supremacists with autocratic aspirations. When one of Marshall’s TV studio rallies culminates with the audience copying his raised-arm gesture — index finger pointed at the sky — I marveled at Boon’s prescience. Elon Musk’s Mars ambitions are known, but how could Boon foresee his Nazi salute?\u003c/p>\n\u003cfigure id=\"attachment_13972867\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-11572_High_Res_JPEG_2000.jpg\" alt=\"group of people clap adoringly at man in center with hands out\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13972867\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-11572_High_Res_JPEG_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-11572_High_Res_JPEG_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-11572_High_Res_JPEG_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-11572_High_Res_JPEG_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-11572_High_Res_JPEG_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-11572_High_Res_JPEG_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-11572_High_Res_JPEG_2000-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mark Ruffalo as Kenneth Marshall and Toni Collette as Ylfa in ‘Mickey 17.’ \u003ccite>(Jonathan Olley; Courtesy of Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Mickey 17\u003c/em>’s cartoon power couple aren’t particularly menacing, however; imagine Jim and Tammy Faye Bakker playing the leads in \u003cem>Macbeth\u003c/em>. The good news is that Boon doesn’t take his political metaphor all that seriously, but that brings us to the bad news: The satire has no bite.\u003c/p>\n\u003cp>We’ve all seen too many futuristic epics about idealistic ventures brought to ruin by ego and greed. We’ve fully assimilated the lesson: Scientific and technological advances can never overcome the flaws in human nature.\u003c/p>\n\u003cp>At the same time, as I alluded earlier, over-the-top fictional villains can’t compare with today’s real-world megalomaniacs. Auric Goldfinger planned a caper at Fort Knox that James Bond foiled; Trump and Musk are planning a field trip to the Kentucky bouillon depository. How do you deflate that delusion? Yes, \u003cem>The Great Dictator\u003c/em> brilliantly mocked Hitler, but there’s only one Charlie Chaplin.\u003c/p>\n\u003cfigure id=\"attachment_13972868\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-TRL1-008_High_Res_JPEG_2000.jpg\" alt=\"large futuristic vehicles on a snowy landscape with alien species around them\" width=\"2000\" height=\"1081\" class=\"size-full wp-image-13972868\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-TRL1-008_High_Res_JPEG_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-TRL1-008_High_Res_JPEG_2000-800x432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-TRL1-008_High_Res_JPEG_2000-1020x551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-TRL1-008_High_Res_JPEG_2000-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-TRL1-008_High_Res_JPEG_2000-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-TRL1-008_High_Res_JPEG_2000-1536x830.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-TRL1-008_High_Res_JPEG_2000-1920x1038.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Mickey 17.’ \u003ccite>(Courtesy of Warner Bros. Pictures )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What sticks with the viewer more than the direct and indirect allusions to our current leaders are \u003cem>Mickey 17\u003c/em>’s ecological and environmental themes. Much of Boon’s work (\u003cem>The Host\u003c/em>, notably) questions human beings’ alleged higher intelligence (compared to other life forms) along with our propensity for wanton destruction. His approach is uniquely surreal in that he literally gives voice to other species.\u003c/p>\n\u003cp>The indigenous natives of Nilfheim, whom \u003cem>Mickey 17\u003c/em> encounters just a few minutes after we are introduced to him, are headless mammals that the people christen “creepers.” They serve numerous functions in the movie — at one point resembling a vast herd of buffalo that briefly turns \u003cem>Mickey 17\u003c/em> into a Western, and then a war movie — that the director skillfully exploits (in a good way!) for emotional and visceral effect. \u003c/p>\n\u003cp>By the time Nasha emerges as the heroine of the story and Pattinson as its soul, \u003cem>Mickey 17\u003c/em> has delivered ample entertainment for the buck. While I was disappointed by the lack of eye-popping compositions, a hallmark of Boon’s work, I learned one thing from this romantic comedy of the future: Whatever happens with tariffs, the United States will always enjoy a trade surplus in F-words.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Mickey 17’ opens in Bay Area theaters on Friday, March 7, 2025.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Gene Hackman, the prolific Oscar-winning actor whose studied portraits ranged from reluctant heroes to conniving villains and made him one of the industry’s most respected and honored performers, has been found dead along with his wife at their home. He was 95.\u003c/p>\n\u003cp>Hackman was a frequent and versatile presence on screen from the 1960s until his retirement. His dozens of films included the Academy Award favorites \u003ci>The French Connection\u003c/i> and \u003ci>Unforgiven\u003c/i>, a breakout performance in \u003ci>Bonnie and Clyde\u003c/i>, a classic bit of farce in \u003ci>Young Frankenstein\u003c/i>, a turn as the comic book villain Lex Luthor in \u003ci>Superman\u003c/i> and the title character in Wes Anderson’s 2001 \u003ci>The Royal Tenenbaums\u003c/i>.\u003c/p>\n\u003cp>[aside postID='arts_13972343']He seemed capable of any kind of role — whether an uptight buffoon in \u003ci>Birdcage\u003c/i>, a college coach finding redemption in the sentimental favorite \u003ci>Hoosiers\u003c/i> or a secretive surveillance expert in Francis Ford Coppola’s Watergate-era release \u003ci>The Conversation\u003c/i>.\u003c/p>\n\u003cp>“Gene Hackman a great actor, inspiring and magnificent in his work and complexity,” Coppola said on Instagram. “I mourn his loss, and celebrate his existence and contribution.”\u003c/p>\n\u003cp>Although self-effacing and unfashionable, Hackman held special status within Hollywood heir to Spencer Tracy as an everyman, actor’s actor, curmudgeon and reluctant celebrity. He embodied the ethos of doing his job, doing it very well, and letting others worry about his image. Beyond the obligatory appearances at awards ceremonies, he was rarely seen on the social circuit and made no secret of his disdain for the business side of show business.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Actors tend to be shy people,” he told \u003ci>Film Comment\u003c/i> in 1988. “There is perhaps a component of hostility in that shyness, and to reach a point where you don’t deal with others in a hostile or angry way, you choose this medium for yourself. … Then you can express yourself and get this wonderful feedback.”\u003c/p>\n\u003cp>https://youtu.be/IL-_pNnEuk8?feature=shared\u003c/p>\n\u003ch2>A late but promising start\u003c/h2>\n\u003cp>He was an early retiree — essentially done, by choice, with movies by his mid-70s — and a late bloomer. Hackman was 35 when cast for \u003ci>Bonnie and Clyde\u003c/i> and past 40 when he won his first Oscar, as the rules-bending New York City detective Jimmy “Popeye” Doyle in the 1971 thriller about tracking down Manhattan drug smugglers, \u003ci>The French Connection\u003c/i>.\u003c/p>\n\u003cp>Jackie Gleason, Steve McQueen and Peter Boyle were among the actors considered for Doyle. Hackman was a minor star at the time, seemingly without the flamboyant personality that the role demanded, and in fear he was miscast. A couple of weeks of nighttime police patrols in Harlem helped reassure him.\u003c/p>\n\u003cp>[aside postID='arts_13932745']One of the first scenes of \u003ci>The French Connection\u003c/i> required Hackman to slap around a suspect. The actor realized he had failed to achieve the intensity that the scene required, and asked director \u003ca href=\"https://www.kqed.org/arts/13932745/william-friedkin-oscar-winning-director-of-the-exorcist-and-the-french-connection-dies-at-87\">William Friedkin\u003c/a> for another chance. The scene was filmed at the end of the shooting, by which time Hackman had immersed himself in his loose-cannon character. Friedkin would recall needing 37 takes to get the scene right.\u003c/p>\n\u003cp>“I had to arouse an anger in Gene that was lying dormant, I felt, within him — that he was sort of ashamed of and didn’t really want to revisit,” Friedkin told the \u003ci>Los Angeles Review of Books\u003c/i> in 2012.\u003c/p>\n\u003cp>https://youtu.be/XeT-GPcxkXs?feature=shared\u003c/p>\n\u003cp>The \u003ca href=\"https://youtu.be/XeT-GPcxkXs?feature=shared\">most famous sequence\u003c/a> was dangerously realistic: A car chase in which Det. Doyle speeds under elevated subway tracks, his brown Pontiac (driven by a stuntman) screeching into areas that the filmmakers had not received permits for. When Doyle crashes into a white Ford, it wasn’t a stuntman driving the other car, but a New York City resident who didn’t know a movie was being made.\u003c/p>\n\u003ch2>Reluctant role reaps reward\u003c/h2>\n\u003cp>Hackman also resisted the role which brought him his second Oscar. When Clint Eastwood first offered him Little Bill Daggett, the corrupt town boss in \u003ci>Unforgiven\u003c/i>, Hackman turned it down. But he realized that Eastwood was planning to make a different kind of Western, a critique, not a celebration of violence. The film won him the Academy Award as best supporting actor of 1992.\u003c/p>\n\u003cp>“To his credit, and my joy, he talked me into it,” Hackman said of Eastwood during an interview with the American Film Institute.\u003c/p>\n\u003cp>Eugene Allen Hackman was born in San Bernardino, California, and grew up in Danville, Illinois, where his father worked as a pressman for the \u003ci>Commercial-News\u003c/i>. His parents fought repeatedly, and his father often used his fists on Gene to take out his rage. The boy found refuge in movie houses, identifying with such screen rebels as Errol Flynn and James Cagney as his role models.\u003c/p>\n\u003cp>When Gene was 13, his father waved goodbye and drove off, never to return. The abandonment left lasting scars. His mother had become an alcoholic and was constantly at odds with her mother, with whom the shattered family lived (Gene had a younger brother, actor Richard Hackman). At 16, he “suddenly got the itch to get out.” Lying about his age, he enlisted in the U.S. Marines.\u003c/p>\n\u003cp>“Dysfunctional families have sired a lot of pretty good actors,” he observed ironically during a 2001 interview with \u003ci>The New York Times\u003c/i>.\u003c/p>\n\u003ch2>Nomadic career path leads to stage\u003c/h2>\n\u003cp>His brawling and resistance to authority led to his being demoted from corporal three times. His taste for show business was whetted when he conquered his mic fright and became disc jockey and news announcer on his unit’s radio station.\u003c/p>\n\u003cp>With a high school degree he earned during his time as a Marine, Hackman enrolled in journalism at the University of Illinois. He dropped out after six months to study radio announcing in New York. After working at stations in Florida and his hometown of Danville, he returned to New York to study painting at the Art Students League. Hackman switched again to enter an acting course at the Pasadena Playhouse.\u003c/p>\n\u003cp>Back in New York, he found work as a doorman and truck driver among other jobs waiting for a break as an actor, sweating it out with such fellow hopefuls as Robert Duvall and Dustin Hoffman. Summer work at a theater on Long Island led to roles off-Broadway and Hackman began attracting attention from Broadway producers. He received good notices in such plays as \u003ci>Any Wednesday\u003c/i>, with Sandy Dennis, and \u003ci>Poor Richard\u003c/i>, with Alan Bates.\u003c/p>\n\u003cp>During a tryout in New Haven for another play, Hackman was seen by film director Robert Rossen, who hired him for a brief role in \u003ci>Lilith\u003c/i>, which starred Warren Beatty and Jean Seberg. He played small roles in other films, including \u003ci>Hawaii\u003c/i>, and leads in television dramas of the early 1960s such as \u003ci>The Defenders\u003c/i> and \u003ci>Naked City\u003c/i>, before Beatty helped change his career.\u003c/p>\n\u003cp>When Beatty began work on \u003ci>Bonnie and Clyde\u003c/i>, which he produced and starred in, he remembered Hackman and cast him as bank robber Clyde Barrow’s outgoing brother. Pauline Kael in \u003ci>The New Yorker\u003c/i> called Hackman’s work “a beautifully controlled performance, the best in the film,” and he was nominated for an Academy Award as supporting actor.\u003c/p>\n\u003ch2>Near misses and a star-making turn\u003c/h2>\n\u003cp>Hackman nearly appeared in another immortal film of 1967, \u003ci>The Graduate\u003c/i>. He was supposed to play the cuckolded husband of Mrs. Robinson (Anne Bancroft), but director Mike Nichols decided he was too young and replaced him with Murray Hamilton. Two years later, he was considered for what became one of television’s most famous roles, patriarch Mike Brady of \u003ci>The Brady Bunch\u003c/i>. Producer Sherwood Schwartz wanted Hackman to audition, but network executives thought he was too obscure. (The part went to Robert Reed).\u003c/p>\n\u003cp>Hackman’s first starring film role came in 1970 with \u003ci>I Never Sang for My Father\u003c/i>, as a man struggling to deal with a failed relationship with his dying father, Melvyn Douglas. Because of Hackman’s distress over his own father, he resisted connecting to the role.\u003c/p>\n\u003cp>In his 2001 \u003ci>Times\u003c/i> interview, he recalled: “Douglas told me, ‘Gene, you’ll never get what you want with the way you’re acting.’ And he didn’t mean acting; he meant I was not behaving myself. He taught me not to use my reservations as an excuse for not doing the job.” Even though he had the central part, Hackman was Oscar-nominated as supporting actor and Douglas as lead. The following year he won the Oscar as best actor for \u003ci>The French Connection\u003c/i>.\u003c/p>\n\u003cp>Through the years, Hackman kept working, in pictures good and bad. For a time he seemed to be in a contest with Michael Caine for the world’s busiest Oscar winner. In 2001 alone, he appeared in \u003ci>The Mexican\u003c/i>, \u003ci>Heartbreakers\u003c/i>, \u003ci>Heist\u003c/i>, \u003ci>The Royal Tenenbaums\u003c/i> and \u003ci>Behind Enemy Lines\u003c/i>. But by 2004, he was openly talking about retirement, telling Larry King he had no projects lined up. His only credit in recent years was narrating a Smithsonian Channel documentary, \u003ci>The Unknown Flag Raiser of Iwo Jima\u003c/i>.\u003c/p>\n\u003cp>In 1956, Hackman married Fay Maltese, a bank teller he had met at a YMCA dance in New York. They had a son, Christopher, and two daughters, Elizabeth and Leslie, but divorced in the mid-1980s. In 1991 he married Betsy Arakawa, a classical pianist.\u003c/p>\n\u003cp>When not on film locations, Hackman enjoyed painting, stunt flying, stock car racing and deep sea diving. In his latter years, he wrote novels and lived on his ranch in Santa Fe, New Mexico, on a hilltop looking out on the Colorado Rockies, a view he preferred to his films that popped up on television.\u003c/p>\n\u003cp>“I’ll watch maybe five minutes of it,” he once told \u003ci>Time\u003c/i> magazine, “and I’ll get this icky feeling, and I turn the channel.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Entertainment writer Andrew Dalton in Los Angeles contributed to this report. Bob Thomas, a longtime Associated Press journalist who died in 2014, compiled biographical material for this obituary.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>He seemed capable of any kind of role — whether an uptight buffoon in \u003ci>Birdcage\u003c/i>, a college coach finding redemption in the sentimental favorite \u003ci>Hoosiers\u003c/i> or a secretive surveillance expert in Francis Ford Coppola’s Watergate-era release \u003ci>The Conversation\u003c/i>.\u003c/p>\n\u003cp>“Gene Hackman a great actor, inspiring and magnificent in his work and complexity,” Coppola said on Instagram. “I mourn his loss, and celebrate his existence and contribution.”\u003c/p>\n\u003cp>Although self-effacing and unfashionable, Hackman held special status within Hollywood heir to Spencer Tracy as an everyman, actor’s actor, curmudgeon and reluctant celebrity. He embodied the ethos of doing his job, doing it very well, and letting others worry about his image. Beyond the obligatory appearances at awards ceremonies, he was rarely seen on the social circuit and made no secret of his disdain for the business side of show business.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Actors tend to be shy people,” he told \u003ci>Film Comment\u003c/i> in 1988. “There is perhaps a component of hostility in that shyness, and to reach a point where you don’t deal with others in a hostile or angry way, you choose this medium for yourself. … Then you can express yourself and get this wonderful feedback.”\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/IL-_pNnEuk8'\n title='//www.youtube.com/embed/IL-_pNnEuk8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>A late but promising start\u003c/h2>\n\u003cp>He was an early retiree — essentially done, by choice, with movies by his mid-70s — and a late bloomer. Hackman was 35 when cast for \u003ci>Bonnie and Clyde\u003c/i> and past 40 when he won his first Oscar, as the rules-bending New York City detective Jimmy “Popeye” Doyle in the 1971 thriller about tracking down Manhattan drug smugglers, \u003ci>The French Connection\u003c/i>.\u003c/p>\n\u003cp>Jackie Gleason, Steve McQueen and Peter Boyle were among the actors considered for Doyle. Hackman was a minor star at the time, seemingly without the flamboyant personality that the role demanded, and in fear he was miscast. A couple of weeks of nighttime police patrols in Harlem helped reassure him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>One of the first scenes of \u003ci>The French Connection\u003c/i> required Hackman to slap around a suspect. The actor realized he had failed to achieve the intensity that the scene required, and asked director \u003ca href=\"https://www.kqed.org/arts/13932745/william-friedkin-oscar-winning-director-of-the-exorcist-and-the-french-connection-dies-at-87\">William Friedkin\u003c/a> for another chance. The scene was filmed at the end of the shooting, by which time Hackman had immersed himself in his loose-cannon character. Friedkin would recall needing 37 takes to get the scene right.\u003c/p>\n\u003cp>“I had to arouse an anger in Gene that was lying dormant, I felt, within him — that he was sort of ashamed of and didn’t really want to revisit,” Friedkin told the \u003ci>Los Angeles Review of Books\u003c/i> in 2012.\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/XeT-GPcxkXs'\n title='//www.youtube.com/embed/XeT-GPcxkXs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The \u003ca href=\"https://youtu.be/XeT-GPcxkXs?feature=shared\">most famous sequence\u003c/a> was dangerously realistic: A car chase in which Det. Doyle speeds under elevated subway tracks, his brown Pontiac (driven by a stuntman) screeching into areas that the filmmakers had not received permits for. When Doyle crashes into a white Ford, it wasn’t a stuntman driving the other car, but a New York City resident who didn’t know a movie was being made.\u003c/p>\n\u003ch2>Reluctant role reaps reward\u003c/h2>\n\u003cp>Hackman also resisted the role which brought him his second Oscar. When Clint Eastwood first offered him Little Bill Daggett, the corrupt town boss in \u003ci>Unforgiven\u003c/i>, Hackman turned it down. But he realized that Eastwood was planning to make a different kind of Western, a critique, not a celebration of violence. The film won him the Academy Award as best supporting actor of 1992.\u003c/p>\n\u003cp>“To his credit, and my joy, he talked me into it,” Hackman said of Eastwood during an interview with the American Film Institute.\u003c/p>\n\u003cp>Eugene Allen Hackman was born in San Bernardino, California, and grew up in Danville, Illinois, where his father worked as a pressman for the \u003ci>Commercial-News\u003c/i>. His parents fought repeatedly, and his father often used his fists on Gene to take out his rage. The boy found refuge in movie houses, identifying with such screen rebels as Errol Flynn and James Cagney as his role models.\u003c/p>\n\u003cp>When Gene was 13, his father waved goodbye and drove off, never to return. The abandonment left lasting scars. His mother had become an alcoholic and was constantly at odds with her mother, with whom the shattered family lived (Gene had a younger brother, actor Richard Hackman). At 16, he “suddenly got the itch to get out.” Lying about his age, he enlisted in the U.S. Marines.\u003c/p>\n\u003cp>“Dysfunctional families have sired a lot of pretty good actors,” he observed ironically during a 2001 interview with \u003ci>The New York Times\u003c/i>.\u003c/p>\n\u003ch2>Nomadic career path leads to stage\u003c/h2>\n\u003cp>His brawling and resistance to authority led to his being demoted from corporal three times. His taste for show business was whetted when he conquered his mic fright and became disc jockey and news announcer on his unit’s radio station.\u003c/p>\n\u003cp>With a high school degree he earned during his time as a Marine, Hackman enrolled in journalism at the University of Illinois. He dropped out after six months to study radio announcing in New York. After working at stations in Florida and his hometown of Danville, he returned to New York to study painting at the Art Students League. Hackman switched again to enter an acting course at the Pasadena Playhouse.\u003c/p>\n\u003cp>Back in New York, he found work as a doorman and truck driver among other jobs waiting for a break as an actor, sweating it out with such fellow hopefuls as Robert Duvall and Dustin Hoffman. Summer work at a theater on Long Island led to roles off-Broadway and Hackman began attracting attention from Broadway producers. He received good notices in such plays as \u003ci>Any Wednesday\u003c/i>, with Sandy Dennis, and \u003ci>Poor Richard\u003c/i>, with Alan Bates.\u003c/p>\n\u003cp>During a tryout in New Haven for another play, Hackman was seen by film director Robert Rossen, who hired him for a brief role in \u003ci>Lilith\u003c/i>, which starred Warren Beatty and Jean Seberg. He played small roles in other films, including \u003ci>Hawaii\u003c/i>, and leads in television dramas of the early 1960s such as \u003ci>The Defenders\u003c/i> and \u003ci>Naked City\u003c/i>, before Beatty helped change his career.\u003c/p>\n\u003cp>When Beatty began work on \u003ci>Bonnie and Clyde\u003c/i>, which he produced and starred in, he remembered Hackman and cast him as bank robber Clyde Barrow’s outgoing brother. Pauline Kael in \u003ci>The New Yorker\u003c/i> called Hackman’s work “a beautifully controlled performance, the best in the film,” and he was nominated for an Academy Award as supporting actor.\u003c/p>\n\u003ch2>Near misses and a star-making turn\u003c/h2>\n\u003cp>Hackman nearly appeared in another immortal film of 1967, \u003ci>The Graduate\u003c/i>. He was supposed to play the cuckolded husband of Mrs. Robinson (Anne Bancroft), but director Mike Nichols decided he was too young and replaced him with Murray Hamilton. Two years later, he was considered for what became one of television’s most famous roles, patriarch Mike Brady of \u003ci>The Brady Bunch\u003c/i>. Producer Sherwood Schwartz wanted Hackman to audition, but network executives thought he was too obscure. (The part went to Robert Reed).\u003c/p>\n\u003cp>Hackman’s first starring film role came in 1970 with \u003ci>I Never Sang for My Father\u003c/i>, as a man struggling to deal with a failed relationship with his dying father, Melvyn Douglas. Because of Hackman’s distress over his own father, he resisted connecting to the role.\u003c/p>\n\u003cp>In his 2001 \u003ci>Times\u003c/i> interview, he recalled: “Douglas told me, ‘Gene, you’ll never get what you want with the way you’re acting.’ And he didn’t mean acting; he meant I was not behaving myself. He taught me not to use my reservations as an excuse for not doing the job.” Even though he had the central part, Hackman was Oscar-nominated as supporting actor and Douglas as lead. The following year he won the Oscar as best actor for \u003ci>The French Connection\u003c/i>.\u003c/p>\n\u003cp>Through the years, Hackman kept working, in pictures good and bad. For a time he seemed to be in a contest with Michael Caine for the world’s busiest Oscar winner. In 2001 alone, he appeared in \u003ci>The Mexican\u003c/i>, \u003ci>Heartbreakers\u003c/i>, \u003ci>Heist\u003c/i>, \u003ci>The Royal Tenenbaums\u003c/i> and \u003ci>Behind Enemy Lines\u003c/i>. But by 2004, he was openly talking about retirement, telling Larry King he had no projects lined up. His only credit in recent years was narrating a Smithsonian Channel documentary, \u003ci>The Unknown Flag Raiser of Iwo Jima\u003c/i>.\u003c/p>\n\u003cp>In 1956, Hackman married Fay Maltese, a bank teller he had met at a YMCA dance in New York. They had a son, Christopher, and two daughters, Elizabeth and Leslie, but divorced in the mid-1980s. In 1991 he married Betsy Arakawa, a classical pianist.\u003c/p>\n\u003cp>When not on film locations, Hackman enjoyed painting, stunt flying, stock car racing and deep sea diving. In his latter years, he wrote novels and lived on his ranch in Santa Fe, New Mexico, on a hilltop looking out on the Colorado Rockies, a view he preferred to his films that popped up on television.\u003c/p>\n\u003cp>“I’ll watch maybe five minutes of it,” he once told \u003ci>Time\u003c/i> magazine, “and I’ll get this icky feeling, and I turn the channel.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Entertainment writer Andrew Dalton in Los Angeles contributed to this report. Bob Thomas, a longtime Associated Press journalist who died in 2014, compiled biographical material for this obituary.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Roxie Honors the Late, Great David Lynch with a Retrospective",
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"content": "\u003cp>Few filmmakers’ names turn into adjectives. But so distinctive is David Lynch’s feature-length work — with his noir visuals, unsettling narratives, stutter-step pacing and ethereal soundtracks — that we now use “Lynchian” to describe all manner of strange stuff, both real and fictionalized.\u003c/p>\n\u003cp>Since his death on Jan. 16, David Lynch tribute programs have popped up across the Bay Area, but the Roxie’s concentrated “\u003ca href=\"https://roxie.com/series/in-dreams-a-tribute-to-david-lynch/\">In Dreams\u003c/a>” retrospective, playing March 6–13, packs eight films into eight days, with multiple screenings of many. Which leads me to wonder, what would happen to someone who watches all the films back to back?\u003c/p>\n\u003cp>“Well, I think they’ll be more connected to reality, to be honest,” says Isabel Fondevila, the Roxie’s director of programming and curator of the retrospective. \u003c/p>\n\u003cfigure id=\"attachment_13972389\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/1-2.jpg\" alt=\"newsletter clipping with text and images of films\" width=\"1080\" height=\"1350\" class=\"size-full wp-image-13972389\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/1-2.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/1-2-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/1-2-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/1-2-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/1-2-768x960.jpg 768w\" sizes=\"auto, (max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">A clip from the Roxie newsletter announcing the end of ‘Eraserhead’s original run at the theater. \u003ccite>(Courtesy of the Roxie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Audiences must see \u003ci>\u003ca href=\"https://roxie.com/film/eraserhead/\">Eraserhead\u003c/a>\u003c/i>, she insists, Lynch’s self-described “dream of dark and troubling things,” his debut black-and-white feature about a distinctively coiffed man experiencing the horrors of work, parenthood and in-laws. After it premiered in 1977, \u003ci>Eraserhead\u003c/i> achieved fame as a midnight film in New York and Los Angeles theaters; the Roxie hosted it from 1978 to 1979.\u003c/p>\n\u003cp>“It was huge,” Fondevila says. “It’s a really really important film for the Roxie.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The March 6 and 11 retrospective screenings of \u003ci>Eraserhead\u003c/i> will be extra special, she notes, because they reunite the feature with Suzan Pitt’s avant-garde animated short \u003ci>\u003ca href=\"https://www.suzanpitt.com/asparagus\">Asparagus\u003c/a>\u003c/i>, which played before it at many of the midnight shows. “It feels like you’re stepping into someone else’s subconscious,” she says of Pitt’s 1979 short. “Just going from that super colorful \u003ci>Asparagus\u003c/i> and then \u003ci>Eraserhead\u003c/i>? It’s got to be a trip, really. I can’t wait.”\u003c/p>\n\u003cfigure id=\"attachment_13972395\" class=\"wp-caption aligncenter\" style=\"max-width: 1860px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Wild-at-Heart-HERO.jpg\" alt=\"white woman kisses a man while standing in a car\" width=\"1860\" height=\"1044\" class=\"size-full wp-image-13972395\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Wild-at-Heart-HERO.jpg 1860w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Wild-at-Heart-HERO-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Wild-at-Heart-HERO-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Wild-at-Heart-HERO-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Wild-at-Heart-HERO-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Wild-at-Heart-HERO-1536x862.jpg 1536w\" sizes=\"auto, (max-width: 1860px) 100vw, 1860px\">\u003cfigcaption class=\"wp-caption-text\">Laura Dern and Nicolas Cage in ‘Wild at Heart,’ 1990. \u003ccite>(Courtesy of the Roxie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s no one way to approach the program, Fondevila says: “You can do anything you want with Lynch.”\u003c/p>\n\u003cp>I do have some highlights to note, for your planning purposes. Barry Gifford, co-screenwriter of 1997’s \u003ci>\u003ca href=\"https://roxie.com/film/lost-highway/\">Lost Highway\u003c/a>\u003c/i>, will appear for a post-film conversation at the March 8 screening. The March 7 screening of \u003ci>\u003ca href=\"https://roxie.com/film/wild-at-heart/\">Wild at Heart\u003c/a>\u003c/i> (adapted from a Gifford book), featuring young Nicolas Cage and Laura Dern as couple-on-the-run Sailor and Lula, opens with a “wild” drag show featuring Lil King Milk and Vivica Bea Roadkill. And \u003ci>Eraserhead\u003c/i>, \u003ci>\u003ca href=\"https://roxie.com/film/mulholland-dr/\">Mulholland Dr.\u003c/a>\u003c/i> and \u003ci>\u003ca href=\"https://roxie.com/film/dune-35mm/\">Dune\u003c/a>\u003c/i> are all showing on 35mm.\u003c/p>\n\u003cp>(With Denis Villeneuve’s \u003ci>Dune\u003c/i> films in our recent memory, Fondevila points out, it will be interesting to revisit Lynch’s take on Frank Herbert’s sci-fi.)\u003c/p>\n\u003cfigure id=\"attachment_13972397\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dune.jpg\" alt=\"white woman and young man in sci-fi attire\" width=\"1440\" height=\"810\" class=\"size-full wp-image-13972397\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dune.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dune-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dune-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dune-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dune-768x432.jpg 768w\" sizes=\"auto, (max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Francesca Annis and Kyle MacLachlan in David Lynch’s ‘Dune,’ 1984. \u003ccite>(Courtesy of the Roxie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Die-hard completists will have to seek out \u003ci>The Elephant Man\u003c/i>, \u003ci>Twin Peaks: Fire Walk With Me\u003c/i> and \u003ci>The Straight Story\u003c/i> elsewhere. The Alamo has organized their own retrospective (coincidentally, also called “\u003ca href=\"https://drafthouse.com/sf/movies/in-dreams-films-of-david-lynch\">In Dreams\u003c/a>”) March 7–April 4, showing every Lynch feature except for \u003ci>The Straight Story\u003c/i>, which seemingly can’t catch a break. \u003c/p>\n\u003cp>Over a month after his death, we are no closer to pinpointing what makes a Lynch film so Lynchian. The word is its own definition. What’s left is for us to bask in the weirdness, celebrate a singular artist and surround ourselves with like-minded devotees.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://roxie.com/series/in-dreams-a-tribute-to-david-lynch/\">In Dreams\u003c/a>’ plays at the Roxie Theater March 6–13, 2025. \u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Few filmmakers’ names turn into adjectives. But so distinctive is David Lynch’s feature-length work — with his noir visuals, unsettling narratives, stutter-step pacing and ethereal soundtracks — that we now use “Lynchian” to describe all manner of strange stuff, both real and fictionalized.\u003c/p>\n\u003cp>Since his death on Jan. 16, David Lynch tribute programs have popped up across the Bay Area, but the Roxie’s concentrated “\u003ca href=\"https://roxie.com/series/in-dreams-a-tribute-to-david-lynch/\">In Dreams\u003c/a>” retrospective, playing March 6–13, packs eight films into eight days, with multiple screenings of many. Which leads me to wonder, what would happen to someone who watches all the films back to back?\u003c/p>\n\u003cp>“Well, I think they’ll be more connected to reality, to be honest,” says Isabel Fondevila, the Roxie’s director of programming and curator of the retrospective. \u003c/p>\n\u003cfigure id=\"attachment_13972389\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/1-2.jpg\" alt=\"newsletter clipping with text and images of films\" width=\"1080\" height=\"1350\" class=\"size-full wp-image-13972389\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/1-2.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/1-2-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/1-2-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/1-2-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/1-2-768x960.jpg 768w\" sizes=\"auto, (max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">A clip from the Roxie newsletter announcing the end of ‘Eraserhead’s original run at the theater. \u003ccite>(Courtesy of the Roxie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Audiences must see \u003ci>\u003ca href=\"https://roxie.com/film/eraserhead/\">Eraserhead\u003c/a>\u003c/i>, she insists, Lynch’s self-described “dream of dark and troubling things,” his debut black-and-white feature about a distinctively coiffed man experiencing the horrors of work, parenthood and in-laws. After it premiered in 1977, \u003ci>Eraserhead\u003c/i> achieved fame as a midnight film in New York and Los Angeles theaters; the Roxie hosted it from 1978 to 1979.\u003c/p>\n\u003cp>“It was huge,” Fondevila says. “It’s a really really important film for the Roxie.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The March 6 and 11 retrospective screenings of \u003ci>Eraserhead\u003c/i> will be extra special, she notes, because they reunite the feature with Suzan Pitt’s avant-garde animated short \u003ci>\u003ca href=\"https://www.suzanpitt.com/asparagus\">Asparagus\u003c/a>\u003c/i>, which played before it at many of the midnight shows. “It feels like you’re stepping into someone else’s subconscious,” she says of Pitt’s 1979 short. “Just going from that super colorful \u003ci>Asparagus\u003c/i> and then \u003ci>Eraserhead\u003c/i>? It’s got to be a trip, really. I can’t wait.”\u003c/p>\n\u003cfigure id=\"attachment_13972395\" class=\"wp-caption aligncenter\" style=\"max-width: 1860px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Wild-at-Heart-HERO.jpg\" alt=\"white woman kisses a man while standing in a car\" width=\"1860\" height=\"1044\" class=\"size-full wp-image-13972395\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Wild-at-Heart-HERO.jpg 1860w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Wild-at-Heart-HERO-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Wild-at-Heart-HERO-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Wild-at-Heart-HERO-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Wild-at-Heart-HERO-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Wild-at-Heart-HERO-1536x862.jpg 1536w\" sizes=\"auto, (max-width: 1860px) 100vw, 1860px\">\u003cfigcaption class=\"wp-caption-text\">Laura Dern and Nicolas Cage in ‘Wild at Heart,’ 1990. \u003ccite>(Courtesy of the Roxie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s no one way to approach the program, Fondevila says: “You can do anything you want with Lynch.”\u003c/p>\n\u003cp>I do have some highlights to note, for your planning purposes. Barry Gifford, co-screenwriter of 1997’s \u003ci>\u003ca href=\"https://roxie.com/film/lost-highway/\">Lost Highway\u003c/a>\u003c/i>, will appear for a post-film conversation at the March 8 screening. The March 7 screening of \u003ci>\u003ca href=\"https://roxie.com/film/wild-at-heart/\">Wild at Heart\u003c/a>\u003c/i> (adapted from a Gifford book), featuring young Nicolas Cage and Laura Dern as couple-on-the-run Sailor and Lula, opens with a “wild” drag show featuring Lil King Milk and Vivica Bea Roadkill. And \u003ci>Eraserhead\u003c/i>, \u003ci>\u003ca href=\"https://roxie.com/film/mulholland-dr/\">Mulholland Dr.\u003c/a>\u003c/i> and \u003ci>\u003ca href=\"https://roxie.com/film/dune-35mm/\">Dune\u003c/a>\u003c/i> are all showing on 35mm.\u003c/p>\n\u003cp>(With Denis Villeneuve’s \u003ci>Dune\u003c/i> films in our recent memory, Fondevila points out, it will be interesting to revisit Lynch’s take on Frank Herbert’s sci-fi.)\u003c/p>\n\u003cfigure id=\"attachment_13972397\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dune.jpg\" alt=\"white woman and young man in sci-fi attire\" width=\"1440\" height=\"810\" class=\"size-full wp-image-13972397\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dune.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dune-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dune-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dune-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dune-768x432.jpg 768w\" sizes=\"auto, (max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Francesca Annis and Kyle MacLachlan in David Lynch’s ‘Dune,’ 1984. \u003ccite>(Courtesy of the Roxie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Die-hard completists will have to seek out \u003ci>The Elephant Man\u003c/i>, \u003ci>Twin Peaks: Fire Walk With Me\u003c/i> and \u003ci>The Straight Story\u003c/i> elsewhere. The Alamo has organized their own retrospective (coincidentally, also called “\u003ca href=\"https://drafthouse.com/sf/movies/in-dreams-films-of-david-lynch\">In Dreams\u003c/a>”) March 7–April 4, showing every Lynch feature except for \u003ci>The Straight Story\u003c/i>, which seemingly can’t catch a break. \u003c/p>\n\u003cp>Over a month after his death, we are no closer to pinpointing what makes a Lynch film so Lynchian. The word is its own definition. What’s left is for us to bask in the weirdness, celebrate a singular artist and surround ourselves with like-minded devotees.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://roxie.com/series/in-dreams-a-tribute-to-david-lynch/\">In Dreams\u003c/a>’ plays at the Roxie Theater March 6–13, 2025. \u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The papal thriller \u003cem>\u003ca href=\"https://www.kqed.org/arts/13967200/conclave-movie-review-ralph-fiennes-edward-berger-catholic-church-pope\">Conclave\u003c/a>\u003c/em> won best ensemble and \u003ca href=\"https://www.kqed.org/arts/13969721/a-complete-unknown-movie-review-timothee-chalamet\">Timothée Chalamet\u003c/a> took best actor at the 31st Screen Actors Guild Awards on Sunday, a pair of twists that added a few final wrinkles to an unusually unpredictable awards season.\u003c/p>\n\u003cp>In winning the guild’s top award, Edward Berger’s Vatican-set drama triumphed just as the Catholic Church was praying for the health of Pope Francis, who remained in critical condition Sunday after an asthmatic respiratory crisis. \u003cem>Conclave\u003c/em> dramatizes the fictional election of a new pope. Earlier in the evening onstage, Isabella Rossellini shared the cast’s best wishes for Pope Francis.\u003c/p>\n\u003cp>[aside postid='arts_13967226,arts_13967200' label='Awards Watch']All the momentum going into the SAG Awards was with Sean Baker’s \u003cem>\u003ca href=\"https://www.kqed.org/arts/13967226/anora-movie-review-sean-baker-mikey-madison\">Anora\u003c/a>\u003c/em>, which had won with the producers, directors and writers guilds. Now, with \u003cem>Conclave\u003c/em> winning with the actors and at the BAFTAs, what will nab best picture in a week’s time at the Academy Awards is, again, anyone’s guess.\u003c/p>\n\u003cp>“Wow,” said \u003cem>Conclave\u003c/em> star Ralph Fiennes taking the stage. “I’ve not been elected to speak. I’ve been designated to speak on behalf of our conclave, our ensemble.”\u003c/p>\n\u003cp>That wasn’t the only surprise in the ceremony held at the Shrine Auditorium in Los Angeles and streamed lived by Netflix. Chalamet’s best actor win upset \u003cem>T\u003ca href=\"https://www.kqed.org/arts/13970690/2025-oscar-nominations-analysis-substance-academy-awards-emilia-perez\">he Brutalist\u003c/a>\u003c/em> star Adrien Brody and put the 29-year-old on course to possibly win his first Academy Award.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Chalamet looked visibly surprised when his name was announced at the ceremony. But once he reached the staged, the \u003cem>A Complete Unknown\u003c/em> star spoke with composure and confidence.\u003c/p>\n\u003cp>“The truth is, this was five and a half years of my life,” said Chalamet. “I poured everything I had into playing this incomparable artist, Mr. Bob Dylan, a true American hero. It was the honor of a lifetime playing him.”\u003c/p>\n\u003cp>[aside postid='arts_13969721,arts_13965103' label='awards watch']He then added: “The truth is, I’m really in pursuit of greatness. I know people don’t usually talk like that, but I want to be one of the greats.”\u003c/p>\n\u003cp>The other Oscar favorites — Demi Moore, Zoe Saldaña and Kieran Culkin — all won. The SAG Awards are closely watched as an Oscar preview. Their picks don’t always align exactly with those of the film academy, but they often nearly do.\u003c/p>\n\u003cp>The last three best ensemble winners — \u003cem>Oppenheimer\u003c/em>, \u003cem>Everything Everywhere All at Once\u003c/em> and \u003cem>CODA\u003c/em> — all went on to win best picture at the Oscars. All but one of the SAG acting winners of the last three years has also won the Oscar. (The sole exception was Lily Gladstone, who won SAG’s award for female actor last year for \u003cem>Killers of the Flower Moon\u003c/em>, but the Oscar trophy went to Emma Stone for \u003cem>Poor Things\u003c/em>.)\u003c/p>\n\u003cfigure id=\"attachment_13965187\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/TheSubstance_Still_01_2000.jpg\" alt=\"White woman with long dark hair looks in mirror\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13965187\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/TheSubstance_Still_01_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/TheSubstance_Still_01_2000-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/TheSubstance_Still_01_2000-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/TheSubstance_Still_01_2000-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/TheSubstance_Still_01_2000-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/TheSubstance_Still_01_2000-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/TheSubstance_Still_01_2000-1920x1278.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Demi Moore as Elisabeth Sparkle in ‘The Substance.’ \u003ccite>(Courtesy of MUBI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Moore seemingly solidified her Oscar chances by following up her Golden Globe win for her performance in \u003cem>\u003ca href=\"https://www.kqed.org/arts/13965103/the-substance-review-demi-moore-margaret-qualley\">The Substance\u003c/a>\u003c/em>. Moore, whose campaign was boosted by her speech about being pigeonholed a “popcorn actress,” has traded awards with \u003cem>Anora\u003c/em> breakthrough Mikey Madison.\u003c/p>\n\u003cp>“What we believe is so much more powerful than what we think,” said Moore. “The saying, ‘I’ll believe it when I see it’ — the reality is when I believe it, I will see it.”\u003c/p>\n\u003cp>The SAG Awards unfolded against the backdrop of the aftermath of the devastating wildfires that began in early January. Those fires forced the guild to cancel its in-person nominations announcement and launch a disaster relief fund for SAG-AFTRA members affected. Host Kristen Bell introduced attending firefighters as “the most attractive tables” among a sea of stars.\u003c/p>\n\u003cfigure id=\"attachment_13972251\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/JaneFondaSAG_2000.jpg\" alt=\"older white woman on stage raises one fist in power gesture, holds an award in other arm\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13972251\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/JaneFondaSAG_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/JaneFondaSAG_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/JaneFondaSAG_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/JaneFondaSAG_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/JaneFondaSAG_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/JaneFondaSAG_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/JaneFondaSAG_2000-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jane Fonda accepts the SAG Life Achievement Award at the 31st Annual Screen Actors Guild Awards on Feb. 23, 2025 in Los Angeles. \u003ccite>(Matt Winkelmeyer/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jane Fonda, 87, given the guild’s Life Achievement Award, provided the evening with its most passionately political moment. Fonda, a famed activist, spoke indirectly about President Donald Trump’s administration.\u003c/p>\n\u003cp>“We are in our documentary moment,” said Fonda. “This is it. And it’s not a rehearsal.”\u003c/p>\n\u003cp>Fonda added that “woke just means you give a damn about other people.”\u003c/p>\n\u003cp>“A whole lot of people are going to be hurt by what’s happening, by what’s coming our way,” said Fonda. “We are going to need a big tent to resist what’s coming at us.”\u003c/p>\n\u003cp>Jean Smart, who had advocated for canceling award shows because of the wildfires, won best female actor in a comedy series for \u003cem>Hacks\u003c/em>. Smart didn’t attend, but participated in a pre-taped introduction as her character, Deborah Vance.\u003c/p>\n\u003cp>Also not in attendance: Martin Short, though he upset Jeremy Allen White to win best male actor in a comedy series for \u003cem>Only Murders in the Building\u003c/em>. The Hulu series also won for best comedy ensemble.\u003c/p>\n\u003cp>“Wait, we never win. This is so weird,” said Selena Gomez. “Marty and Steve (Martin) aren’t here because, you know, they don’t really care.”\u003c/p>\n\u003cfigure id=\"attachment_13972248\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/OnlyMurders_2000.jpg\" alt=\"A 30-something glamorous woman stands between two older smartly dressed men\" width=\"2000\" height=\"1124\" class=\"size-full wp-image-13972248\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/OnlyMurders_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/OnlyMurders_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/OnlyMurders_2000-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/OnlyMurders_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/OnlyMurders_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/OnlyMurders_2000-1536x863.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/OnlyMurders_2000-1920x1079.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Steve Martin, Selena Gomez and Martin Short in a scene from Season 4 of ‘Only Murders in the Building.’ \u003ccite>( Eric McCandless/Disney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Colin Farrell won his first SAG award, for his performance in \u003cem>The Penguin\u003c/em> and also became the first winner ever introduced, by Jamie Lee Curtis, as “the man who gave me COVID at the Golden Globes.” Farrell bounded to the stage and promptly responded, “Guilty as charged,” before blaming Brendan Gleeson for giving it to him.\u003c/p>\n\u003cp>The night’s first televised award went to Culkin, who has won just about every award in the category for \u003cem>\u003ca href=\"https://www.kqed.org/arts/13967522/kieran-culkin-shines-in-jesse-eisenbergs-deft-accomplished-a-real-pain\">A Real Pain\u003c/a>\u003c/em>. Gripping the SAG trophy, he could quickly tell the difference.\u003c/p>\n\u003cp>[aside postID='arts_13970417']“It is funny that the heaviest of all awards is given by actors,” said Culkin, who characteristically riffed his way through a rambling acceptance speech before swearing sincerity: “Believe it or not, this actually means a lot to me.”\u003c/p>\n\u003cp>Netflix’s \u003cem>\u003ca href=\"https://www.kqed.org/arts/13967482/emilia-perez-movie-review-netflix-streaming-musical-crime-thriller\">Emilia Pérez\u003c/a>\u003c/em>, which has seen its awards hopes largely dashed by controversy over old tweets by lead actor Karla Sofia Gascón, took home the award for best female supporting actor, for Oscar favorite Saldaña.\u003c/p>\n\u003cp>For Netflix’s second time around streaming the awards, it inserted ads sporadically, like a traditional broadcast. Last year, downtimes were occupied by backstage interviews. Audio issues occasionally marred the broadcast, including brief interruptions of Fonda’s speech.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>After romps at the Emmys and Golden Globes, \u003cem>Shōgun\u003c/em> kept up its dominance. The FX series won best drama series ensemble, along with acting awards for Hiroyuki Sanada, Anna Sawai and for best stunt ensemble. The corresponding award for film went to the stunt performer ode \u003cem>\u003ca href=\"https://www.kqed.org/arts/13956892/the-fall-guy-remake-movie-review-ryan-gosling-emily-blunt\">The Fall Guy\u003c/a>\u003c/em>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The papal thriller \u003cem>\u003ca href=\"https://www.kqed.org/arts/13967200/conclave-movie-review-ralph-fiennes-edward-berger-catholic-church-pope\">Conclave\u003c/a>\u003c/em> won best ensemble and \u003ca href=\"https://www.kqed.org/arts/13969721/a-complete-unknown-movie-review-timothee-chalamet\">Timothée Chalamet\u003c/a> took best actor at the 31st Screen Actors Guild Awards on Sunday, a pair of twists that added a few final wrinkles to an unusually unpredictable awards season.\u003c/p>\n\u003cp>In winning the guild’s top award, Edward Berger’s Vatican-set drama triumphed just as the Catholic Church was praying for the health of Pope Francis, who remained in critical condition Sunday after an asthmatic respiratory crisis. \u003cem>Conclave\u003c/em> dramatizes the fictional election of a new pope. Earlier in the evening onstage, Isabella Rossellini shared the cast’s best wishes for Pope Francis.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>All the momentum going into the SAG Awards was with Sean Baker’s \u003cem>\u003ca href=\"https://www.kqed.org/arts/13967226/anora-movie-review-sean-baker-mikey-madison\">Anora\u003c/a>\u003c/em>, which had won with the producers, directors and writers guilds. Now, with \u003cem>Conclave\u003c/em> winning with the actors and at the BAFTAs, what will nab best picture in a week’s time at the Academy Awards is, again, anyone’s guess.\u003c/p>\n\u003cp>“Wow,” said \u003cem>Conclave\u003c/em> star Ralph Fiennes taking the stage. “I’ve not been elected to speak. I’ve been designated to speak on behalf of our conclave, our ensemble.”\u003c/p>\n\u003cp>That wasn’t the only surprise in the ceremony held at the Shrine Auditorium in Los Angeles and streamed lived by Netflix. Chalamet’s best actor win upset \u003cem>T\u003ca href=\"https://www.kqed.org/arts/13970690/2025-oscar-nominations-analysis-substance-academy-awards-emilia-perez\">he Brutalist\u003c/a>\u003c/em> star Adrien Brody and put the 29-year-old on course to possibly win his first Academy Award.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Chalamet looked visibly surprised when his name was announced at the ceremony. But once he reached the staged, the \u003cem>A Complete Unknown\u003c/em> star spoke with composure and confidence.\u003c/p>\n\u003cp>“The truth is, this was five and a half years of my life,” said Chalamet. “I poured everything I had into playing this incomparable artist, Mr. Bob Dylan, a true American hero. It was the honor of a lifetime playing him.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>He then added: “The truth is, I’m really in pursuit of greatness. I know people don’t usually talk like that, but I want to be one of the greats.”\u003c/p>\n\u003cp>The other Oscar favorites — Demi Moore, Zoe Saldaña and Kieran Culkin — all won. The SAG Awards are closely watched as an Oscar preview. Their picks don’t always align exactly with those of the film academy, but they often nearly do.\u003c/p>\n\u003cp>The last three best ensemble winners — \u003cem>Oppenheimer\u003c/em>, \u003cem>Everything Everywhere All at Once\u003c/em> and \u003cem>CODA\u003c/em> — all went on to win best picture at the Oscars. All but one of the SAG acting winners of the last three years has also won the Oscar. (The sole exception was Lily Gladstone, who won SAG’s award for female actor last year for \u003cem>Killers of the Flower Moon\u003c/em>, but the Oscar trophy went to Emma Stone for \u003cem>Poor Things\u003c/em>.)\u003c/p>\n\u003cfigure id=\"attachment_13965187\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/TheSubstance_Still_01_2000.jpg\" alt=\"White woman with long dark hair looks in mirror\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13965187\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/TheSubstance_Still_01_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/TheSubstance_Still_01_2000-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/TheSubstance_Still_01_2000-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/TheSubstance_Still_01_2000-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/TheSubstance_Still_01_2000-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/TheSubstance_Still_01_2000-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/TheSubstance_Still_01_2000-1920x1278.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Demi Moore as Elisabeth Sparkle in ‘The Substance.’ \u003ccite>(Courtesy of MUBI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Moore seemingly solidified her Oscar chances by following up her Golden Globe win for her performance in \u003cem>\u003ca href=\"https://www.kqed.org/arts/13965103/the-substance-review-demi-moore-margaret-qualley\">The Substance\u003c/a>\u003c/em>. Moore, whose campaign was boosted by her speech about being pigeonholed a “popcorn actress,” has traded awards with \u003cem>Anora\u003c/em> breakthrough Mikey Madison.\u003c/p>\n\u003cp>“What we believe is so much more powerful than what we think,” said Moore. “The saying, ‘I’ll believe it when I see it’ — the reality is when I believe it, I will see it.”\u003c/p>\n\u003cp>The SAG Awards unfolded against the backdrop of the aftermath of the devastating wildfires that began in early January. Those fires forced the guild to cancel its in-person nominations announcement and launch a disaster relief fund for SAG-AFTRA members affected. Host Kristen Bell introduced attending firefighters as “the most attractive tables” among a sea of stars.\u003c/p>\n\u003cfigure id=\"attachment_13972251\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/JaneFondaSAG_2000.jpg\" alt=\"older white woman on stage raises one fist in power gesture, holds an award in other arm\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13972251\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/JaneFondaSAG_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/JaneFondaSAG_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/JaneFondaSAG_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/JaneFondaSAG_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/JaneFondaSAG_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/JaneFondaSAG_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/JaneFondaSAG_2000-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jane Fonda accepts the SAG Life Achievement Award at the 31st Annual Screen Actors Guild Awards on Feb. 23, 2025 in Los Angeles. \u003ccite>(Matt Winkelmeyer/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jane Fonda, 87, given the guild’s Life Achievement Award, provided the evening with its most passionately political moment. Fonda, a famed activist, spoke indirectly about President Donald Trump’s administration.\u003c/p>\n\u003cp>“We are in our documentary moment,” said Fonda. “This is it. And it’s not a rehearsal.”\u003c/p>\n\u003cp>Fonda added that “woke just means you give a damn about other people.”\u003c/p>\n\u003cp>“A whole lot of people are going to be hurt by what’s happening, by what’s coming our way,” said Fonda. “We are going to need a big tent to resist what’s coming at us.”\u003c/p>\n\u003cp>Jean Smart, who had advocated for canceling award shows because of the wildfires, won best female actor in a comedy series for \u003cem>Hacks\u003c/em>. Smart didn’t attend, but participated in a pre-taped introduction as her character, Deborah Vance.\u003c/p>\n\u003cp>Also not in attendance: Martin Short, though he upset Jeremy Allen White to win best male actor in a comedy series for \u003cem>Only Murders in the Building\u003c/em>. The Hulu series also won for best comedy ensemble.\u003c/p>\n\u003cp>“Wait, we never win. This is so weird,” said Selena Gomez. “Marty and Steve (Martin) aren’t here because, you know, they don’t really care.”\u003c/p>\n\u003cfigure id=\"attachment_13972248\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/OnlyMurders_2000.jpg\" alt=\"A 30-something glamorous woman stands between two older smartly dressed men\" width=\"2000\" height=\"1124\" class=\"size-full wp-image-13972248\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/OnlyMurders_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/OnlyMurders_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/OnlyMurders_2000-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/OnlyMurders_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/OnlyMurders_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/OnlyMurders_2000-1536x863.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/OnlyMurders_2000-1920x1079.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Steve Martin, Selena Gomez and Martin Short in a scene from Season 4 of ‘Only Murders in the Building.’ \u003ccite>( Eric McCandless/Disney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Colin Farrell won his first SAG award, for his performance in \u003cem>The Penguin\u003c/em> and also became the first winner ever introduced, by Jamie Lee Curtis, as “the man who gave me COVID at the Golden Globes.” Farrell bounded to the stage and promptly responded, “Guilty as charged,” before blaming Brendan Gleeson for giving it to him.\u003c/p>\n\u003cp>The night’s first televised award went to Culkin, who has won just about every award in the category for \u003cem>\u003ca href=\"https://www.kqed.org/arts/13967522/kieran-culkin-shines-in-jesse-eisenbergs-deft-accomplished-a-real-pain\">A Real Pain\u003c/a>\u003c/em>. Gripping the SAG trophy, he could quickly tell the difference.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“It is funny that the heaviest of all awards is given by actors,” said Culkin, who characteristically riffed his way through a rambling acceptance speech before swearing sincerity: “Believe it or not, this actually means a lot to me.”\u003c/p>\n\u003cp>Netflix’s \u003cem>\u003ca href=\"https://www.kqed.org/arts/13967482/emilia-perez-movie-review-netflix-streaming-musical-crime-thriller\">Emilia Pérez\u003c/a>\u003c/em>, which has seen its awards hopes largely dashed by controversy over old tweets by lead actor Karla Sofia Gascón, took home the award for best female supporting actor, for Oscar favorite Saldaña.\u003c/p>\n\u003cp>For Netflix’s second time around streaming the awards, it inserted ads sporadically, like a traditional broadcast. Last year, downtimes were occupied by backstage interviews. Audio issues occasionally marred the broadcast, including brief interruptions of Fonda’s speech.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After romps at the Emmys and Golden Globes, \u003cem>Shōgun\u003c/em> kept up its dominance. The FX series won best drama series ensemble, along with acting awards for Hiroyuki Sanada, Anna Sawai and for best stunt ensemble. The corresponding award for film went to the stunt performer ode \u003cem>\u003ca href=\"https://www.kqed.org/arts/13956892/the-fall-guy-remake-movie-review-ryan-gosling-emily-blunt\">The Fall Guy\u003c/a>\u003c/em>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Palestinian Point of View Anchors Oscar-Nominated ‘No Other Land’",
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"content": "\u003cp>I am chagrined to admit that I was under the influence in early December — not of seasonal libations but of 40-plus years of doggedly hopeful documentaries about the Israeli-Palestinian situation — when I watched \u003cem>No Other Land\u003c/em> in preparation for the San Francisco Bay Area Film Critics Circle’s year-end awards vote.\u003c/p>\n\u003cp>A four-year collaboration between Palestinian activist Basel Adra and Israeli journalist Yuval Abraham — the twentysomething onscreen protagonists — and Palestinian Hamdan Ballal and Israeli Rachel Szor, \u003cem>No Other Land\u003c/em> is an infuriating verité record of the Israel military’s incessant intimidation and persecution of the residents of the 20-odd Palestinian villages in the hilly Masafer Yatta area of the West Bank.\u003c/p>\n\u003cp>The film screened at 50 festivals around the world in 2024 (including SFFILM’s Doc Stories) after its prize-winning premiere at Berlin, and was acquired for distribution in two dozen countries (though not the U.S.). Nominated for the Academy Award for Documentary Feature following a qualifying New York theatrical booking, \u003cem>No Other Land\u003c/em> opens Feb. 14 at the \u003ca href=\"https://roxie.com/film/no-other-land/\">Roxie\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13971840\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/No-Other-Land-4_2000.jpg\" alt=\"child in red sweats stands on rubble of concrete home\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13971840\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/No-Other-Land-4_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/No-Other-Land-4_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/No-Other-Land-4_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/No-Other-Land-4_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/No-Other-Land-4_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/No-Other-Land-4_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/No-Other-Land-4_2000-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘No Other Land,’ filmed in Masafer Yatta in the West Bank. \u003ccite>(Courtesy of the Roxie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The filmmakers completed their work before Hamas killed around 1,200 Israelis on Oct. 7, 2023 and Israel subsequently killed over 46,000 Palestinians in Gaza (according to \u003ca href=\"https://www.reuters.com/world/middle-east/how-many-palestinians-has-israels-gaza-offensive-killed-2025-01-15/\">Reuters\u003c/a>). Inevitably, every viewing of \u003cem>No Other Land\u003c/em> is colored by that carnage, as well as by the current lunacy emanating from the White House about “relocating” the Palestinians from their land and homes in Gaza (which UN Secretary-General António Guterres warns is a form of “\u003ca href=\"https://news.un.org/en/story/2025/02/1159821\">ethnic cleansing\u003c/a>”).\u003c/p>\n\u003cp>\u003cem>No Other Land\u003c/em> employs a tight focus, restricting itself to the events happening in the immediate vicinity of resident Basel Adra and his small cache of smartphones and digital video cameras. The effect is to refract Israel’s overarching political agenda of pushing out the Palestinians (via the “official” actions of soldiers and the “unsanctioned” violence of settlers) through the eyes of the families on the ground.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Adra’s father was also an activist — he devotes his energies now to operating a gas station, but still has the chops and savvy to intervene when necessary, and get arrested, to protect his son — and the lack of opportunities available to them is a form of injustice. We learn in passing that Adra only was able to get construction jobs when he was a student in Beersheba, which is hardly the professional experience a college kid covets.\u003c/p>\n\u003cp>[aside postID='news_12024365']\u003cem>No Other Land\u003c/em> doesn’t have much of a narrative arc, by which I mean that a plot doesn’t develop so much as events repeat, and repeat, and repeat: The army demolishes homes on the basis that the residents don’t have permits, the homeowners scream at the soldiers that the Israeli government won’t give them legal permission to build on their own land, the army leaves and the people rebuild (often under cover of darkness).\u003c/p>\n\u003cp>There isn’t much character development either. The change in Adra from the summer of 2019 to 2023 is ever-escalating exhaustion, expressed as silence and frustration. While it doesn’t make for entertaining cinema (which is a perquisite for most viewers, even of documentaries), these sequences powerfully convey the ground-down effects of a war of attrition.\u003c/p>\n\u003cfigure id=\"attachment_13971839\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/No-Other-Land-3_2000.jpg\" alt=\"two young men silhouetted against landscape, facing each other\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13971839\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/No-Other-Land-3_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/No-Other-Land-3_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/No-Other-Land-3_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/No-Other-Land-3_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/No-Other-Land-3_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/No-Other-Land-3_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/No-Other-Land-3_2000-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Basel Adra and Yuval Abraham are the on-screen protagonists of ‘No Other Land.’ \u003ccite>(Courtesy of the Roxie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yuval Abraham enters the film in its early stages as a sympathetic journalist for an Israeli online outlet whose reach, we gather, is pretty small. He does get some face time on an Israeli current events program, but his ability to push back on the government’s narrative is quite limited. (Possibly due to Abraham’s posts, Adra is booked on a flurry of international TV programs, including \u003cem>Democracy Now\u003c/em>. But a news cycle doesn’t last forever, and Adra returns to his usual chaotic routine.)\u003c/p>\n\u003cp>I consider Abraham as a Gen Z descendant of the Israeli journalists, activists and sympathizers whom Palestinians welcomed to the West Bank in documentaries of yore. Today, though, everyone — including the youthful filmmakers of \u003cem>No Other Land\u003c/em> — knows those idealistic, well-meaning allies didn’t make much of a dent. And all those films, produced for European and American television with the unspoken yet explicit goal of raising public and governmental pressure on the Israeli government, had little effect on the occupation.\u003c/p>\n\u003cp>So it’s essential that \u003cem>No Other Land\u003c/em> deals head-on with Abraham’s presence. “What do you think about what your country is doing to us?” one of Adra’s neighbors pointedly asks, after we’ve seen soldiers bulldozing homes and a sheep pen. “I think it’s a crime,” Abraham answers.\u003c/p>\n\u003cp>Of course, Abraham can leave any time he wants, and drive home unimpeded through any checkpoint. While his influence is limited, so is his risk. He is clear that he has taken a position as an Israeli citizen and backed it with action, but he is a minor character in the Palestinian-Israeli saga.\u003c/p>\n\u003cfigure id=\"attachment_13971838\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/No-Other-Land-2_2000.jpg\" alt=\"young man's face lit against dark background\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13971838\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/No-Other-Land-2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/No-Other-Land-2_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/No-Other-Land-2_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/No-Other-Land-2_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/No-Other-Land-2_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/No-Other-Land-2_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/No-Other-Land-2_2000-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘No Other Land.’ \u003ccite>(Courtesy of the Roxie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And a supporting player in \u003cem>No Other Land\u003c/em>. When I viewed the film back in December, I was comforted by this heat-of-battle friendship between two smart, likable young men making extraordinary sacrifices for a just cause. I grabbed for the wispiest bit of evidence that coexistence could still exist even after the irrevocably apocalyptic 15 months that began on Oct. 7.\u003c/p>\n\u003cp>When I revisited \u003cem>No Other Land\u003c/em> again last week, I exorcised any Hallmark Channel vibe in the first minute and a half. My Pollyanna hookah dream of coexistence vanished like smoke. The connection between Adra and Abraham, conjured though the magic of editing, may not have been invented out of whole cloth, but it wasn’t a central theme, either.\u003c/p>\n\u003cp>I had to confront the shocking reality. \u003cem>No Other Land\u003c/em> isn’t a documentary about power sharing, or power shifts, or the power of grassroots resistance or grassroots journalism. It isn’t a film about the power of the righteous, or the promise of a brighter future, or even the persistence of the human spirit (though that is at the core of the Palestinian experience).\u003c/p>\n\u003cp>\u003cem>No Other Land\u003c/em> is a stark and brutal document of power and powerlessness. Even, or especially, in the current moment, it is a necessary shock to our system. \u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://roxie.com/film/no-other-land/\">No Other Land\u003c/a>’ plays Feb. 14–27, 2025 at the Roxie Theater.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I am chagrined to admit that I was under the influence in early December — not of seasonal libations but of 40-plus years of doggedly hopeful documentaries about the Israeli-Palestinian situation — when I watched \u003cem>No Other Land\u003c/em> in preparation for the San Francisco Bay Area Film Critics Circle’s year-end awards vote.\u003c/p>\n\u003cp>A four-year collaboration between Palestinian activist Basel Adra and Israeli journalist Yuval Abraham — the twentysomething onscreen protagonists — and Palestinian Hamdan Ballal and Israeli Rachel Szor, \u003cem>No Other Land\u003c/em> is an infuriating verité record of the Israel military’s incessant intimidation and persecution of the residents of the 20-odd Palestinian villages in the hilly Masafer Yatta area of the West Bank.\u003c/p>\n\u003cp>The film screened at 50 festivals around the world in 2024 (including SFFILM’s Doc Stories) after its prize-winning premiere at Berlin, and was acquired for distribution in two dozen countries (though not the U.S.). Nominated for the Academy Award for Documentary Feature following a qualifying New York theatrical booking, \u003cem>No Other Land\u003c/em> opens Feb. 14 at the \u003ca href=\"https://roxie.com/film/no-other-land/\">Roxie\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13971840\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/No-Other-Land-4_2000.jpg\" alt=\"child in red sweats stands on rubble of concrete home\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13971840\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/No-Other-Land-4_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/No-Other-Land-4_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/No-Other-Land-4_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/No-Other-Land-4_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/No-Other-Land-4_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/No-Other-Land-4_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/No-Other-Land-4_2000-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘No Other Land,’ filmed in Masafer Yatta in the West Bank. \u003ccite>(Courtesy of the Roxie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The filmmakers completed their work before Hamas killed around 1,200 Israelis on Oct. 7, 2023 and Israel subsequently killed over 46,000 Palestinians in Gaza (according to \u003ca href=\"https://www.reuters.com/world/middle-east/how-many-palestinians-has-israels-gaza-offensive-killed-2025-01-15/\">Reuters\u003c/a>). Inevitably, every viewing of \u003cem>No Other Land\u003c/em> is colored by that carnage, as well as by the current lunacy emanating from the White House about “relocating” the Palestinians from their land and homes in Gaza (which UN Secretary-General António Guterres warns is a form of “\u003ca href=\"https://news.un.org/en/story/2025/02/1159821\">ethnic cleansing\u003c/a>”).\u003c/p>\n\u003cp>\u003cem>No Other Land\u003c/em> employs a tight focus, restricting itself to the events happening in the immediate vicinity of resident Basel Adra and his small cache of smartphones and digital video cameras. The effect is to refract Israel’s overarching political agenda of pushing out the Palestinians (via the “official” actions of soldiers and the “unsanctioned” violence of settlers) through the eyes of the families on the ground.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Adra’s father was also an activist — he devotes his energies now to operating a gas station, but still has the chops and savvy to intervene when necessary, and get arrested, to protect his son — and the lack of opportunities available to them is a form of injustice. We learn in passing that Adra only was able to get construction jobs when he was a student in Beersheba, which is hardly the professional experience a college kid covets.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>No Other Land\u003c/em> doesn’t have much of a narrative arc, by which I mean that a plot doesn’t develop so much as events repeat, and repeat, and repeat: The army demolishes homes on the basis that the residents don’t have permits, the homeowners scream at the soldiers that the Israeli government won’t give them legal permission to build on their own land, the army leaves and the people rebuild (often under cover of darkness).\u003c/p>\n\u003cp>There isn’t much character development either. The change in Adra from the summer of 2019 to 2023 is ever-escalating exhaustion, expressed as silence and frustration. While it doesn’t make for entertaining cinema (which is a perquisite for most viewers, even of documentaries), these sequences powerfully convey the ground-down effects of a war of attrition.\u003c/p>\n\u003cfigure id=\"attachment_13971839\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/No-Other-Land-3_2000.jpg\" alt=\"two young men silhouetted against landscape, facing each other\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13971839\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/No-Other-Land-3_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/No-Other-Land-3_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/No-Other-Land-3_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/No-Other-Land-3_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/No-Other-Land-3_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/No-Other-Land-3_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/No-Other-Land-3_2000-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Basel Adra and Yuval Abraham are the on-screen protagonists of ‘No Other Land.’ \u003ccite>(Courtesy of the Roxie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yuval Abraham enters the film in its early stages as a sympathetic journalist for an Israeli online outlet whose reach, we gather, is pretty small. He does get some face time on an Israeli current events program, but his ability to push back on the government’s narrative is quite limited. (Possibly due to Abraham’s posts, Adra is booked on a flurry of international TV programs, including \u003cem>Democracy Now\u003c/em>. But a news cycle doesn’t last forever, and Adra returns to his usual chaotic routine.)\u003c/p>\n\u003cp>I consider Abraham as a Gen Z descendant of the Israeli journalists, activists and sympathizers whom Palestinians welcomed to the West Bank in documentaries of yore. Today, though, everyone — including the youthful filmmakers of \u003cem>No Other Land\u003c/em> — knows those idealistic, well-meaning allies didn’t make much of a dent. And all those films, produced for European and American television with the unspoken yet explicit goal of raising public and governmental pressure on the Israeli government, had little effect on the occupation.\u003c/p>\n\u003cp>So it’s essential that \u003cem>No Other Land\u003c/em> deals head-on with Abraham’s presence. “What do you think about what your country is doing to us?” one of Adra’s neighbors pointedly asks, after we’ve seen soldiers bulldozing homes and a sheep pen. “I think it’s a crime,” Abraham answers.\u003c/p>\n\u003cp>Of course, Abraham can leave any time he wants, and drive home unimpeded through any checkpoint. While his influence is limited, so is his risk. He is clear that he has taken a position as an Israeli citizen and backed it with action, but he is a minor character in the Palestinian-Israeli saga.\u003c/p>\n\u003cfigure id=\"attachment_13971838\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/No-Other-Land-2_2000.jpg\" alt=\"young man's face lit against dark background\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13971838\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/No-Other-Land-2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/No-Other-Land-2_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/No-Other-Land-2_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/No-Other-Land-2_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/No-Other-Land-2_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/No-Other-Land-2_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/No-Other-Land-2_2000-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘No Other Land.’ \u003ccite>(Courtesy of the Roxie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And a supporting player in \u003cem>No Other Land\u003c/em>. When I viewed the film back in December, I was comforted by this heat-of-battle friendship between two smart, likable young men making extraordinary sacrifices for a just cause. I grabbed for the wispiest bit of evidence that coexistence could still exist even after the irrevocably apocalyptic 15 months that began on Oct. 7.\u003c/p>\n\u003cp>When I revisited \u003cem>No Other Land\u003c/em> again last week, I exorcised any Hallmark Channel vibe in the first minute and a half. My Pollyanna hookah dream of coexistence vanished like smoke. The connection between Adra and Abraham, conjured though the magic of editing, may not have been invented out of whole cloth, but it wasn’t a central theme, either.\u003c/p>\n\u003cp>I had to confront the shocking reality. \u003cem>No Other Land\u003c/em> isn’t a documentary about power sharing, or power shifts, or the power of grassroots resistance or grassroots journalism. It isn’t a film about the power of the righteous, or the promise of a brighter future, or even the persistence of the human spirit (though that is at the core of the Palestinian experience).\u003c/p>\n\u003cp>\u003cem>No Other Land\u003c/em> is a stark and brutal document of power and powerlessness. Even, or especially, in the current moment, it is a necessary shock to our system. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://roxie.com/film/no-other-land/\">No Other Land\u003c/a>’ plays Feb. 14–27, 2025 at the Roxie Theater.\u003c/i>\u003c/p>\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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"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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"masters-of-scale": {
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},
"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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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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"on-the-media": {
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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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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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},
"radiolab": {
"id": "radiolab",
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