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"content": "\u003cfigure id=\"attachment_13846215\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846215\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/shannon-in-nashville--800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/shannon-in-nashville--800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/shannon-in-nashville--160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/shannon-in-nashville--768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/shannon-in-nashville--1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/shannon-in-nashville--32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/shannon-in-nashville--50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/shannon-in-nashville--64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/shannon-in-nashville--96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/shannon-in-nashville--128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/shannon-in-nashville--150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/shannon-in-nashville-.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Album art for Shannon Shaw’s ‘Shannon in Nashville.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>We’re posting our favorite Bay Area albums of 2018 every weekday through Dec. 14. \u003ca href=\"https://www.kqed.org/arts/tag/best-bay-area-albums-2018\" target=\"_blank\" rel=\"noopener\">Check back here\u003c/a> to see who else made the list. \u003c/em>\u003c/p>\n\u003cp>With their campy, countercultural take on retro Americana, Shannon and the Clams look like they walked right off a \u003ca href=\"https://www.kqed.org/forum/201406091000/john-waters-guide-to-the-hitchhiking-galaxy\" target=\"_blank\" rel=\"noopener\">John Waters\u003c/a> movie set. And even Waters, the “\u003ca href=\"https://noisey.vice.com/en_us/article/kzaajx/john-waters-is-the-filthy-uncle-of-punk\" target=\"_blank\" rel=\"noopener\">Filthy Uncle of Punk\u003c/a>” himself, is a \u003ca href=\"http://larecord.com/archive/2015/09/15/shannon-and-the-clams-interview-gone-by-the-dawn\" target=\"_blank\" rel=\"noopener\">fan\u003c/a> of the Oakland garage-rock revivalists, who’ve been a mainstay of the East Bay’s underground scene for nearly a decade.\u003c/p>\n\u003cp>2018 marked an evolution for bandleader Shannon Shaw, whose \u003ca href=\"https://www.kqed.org/arts/13823414/dan-auerbach-brings-a-rippin-band-to-the-fillmore\" target=\"_blank\" rel=\"noopener\">Dan Auerbach\u003c/a>-produced solo debut, \u003cem>Shannon in Nashville \u003c/em>(Easy Eye Sound), showcases a more personal and courageous side to her songwriting. [contextly_sidebar id=”9RhvtDZ8Um4C6kXdKqScOLcJCLLVX83R”]\u003c/p>\n\u003cp>\u003cem>Shannon in Nashville\u003c/em> shimmies into cathartic rock’n’roll about tragic love, self-reflection and heartbreak, with all of the raw emotion of the final wail in Roy Orbison’s “Crying.” Old-school session musicians who played with legends like Elvis and Orbison, Shaw’s hero, assisted on the project, which masterfully blends gut-wrenching blues, doo-wop harmonies, country croons and punk percussion into an album that cuts straight to the heart. But what stands out is the singularity of Shaw’s well-loved rasp and tenacity that lingers with every syllable.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Shannon Shaw - Freddies 'n' Teddies [Official Video]\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/cixEFBfYSOQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>With a vocal intensity comparable to Motown stalwart Mary Wells, Shaw nails a danceable bop spattered with pangs of sorrow on “Cryin’ My Eyes Out”: “Here I am, cryin’ my eyes out / Wonderin’ when things will change / When will they change?” “Broke My Own,” with its crescendo of crashing cymbals, bursts open like a raw wound, landing on the agonizing realization: “My worst enemy is my own flesh and bone\u003cem>.”\u003c/em>\u003c/p>\n\u003cp>“Leather, Metal, Steel” conjures the liberating feeling of smashing on the gas with the windows down on a solo road trip, belting at the top of one’s lungs. Accompanied by the wail of a loan trumpet, Shaw evokes a rugged independence, her raspy timbre pacing over the lines: “(She’s leavin’) before she forgets how to feel / (She’s leavin’) with leather, metal and steel.”\u003c/p>\n\u003cp>“Freddies ‘n’ Teddies” evokes the soulful rhythm and mystique of Dusty Springfield’s “Spooky,” another one of Shaw’s inspirations (\u003cem>Shannon In Nashville\u003c/em> gets its name from \u003cem>Dusty in Memphis\u003c/em>). The track courses with self-empowerment as Shaw casts off insincere men wasting her time.\u003c/p>\n\u003cp>Nostalgic yet imaginative, \u003cem>Shannon in Nashville\u003c/em> gets its strength from Shaw’s rich arc of storytelling. Resist temptation to tap “shuffle” when you listen to this album: it’s meant to be played like vinyl. A side, flip, B side. Repeat as necessary.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr />\n\u003ciframe loading=\"lazy\" src=\"https://embed.spotify.com/?uri=spotify%3Aalbum%3A4M9uQm7mOVQkwYa2iRP7Tt\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003cbr />\n[ad floatright] \u003c/p>\n",
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And even Waters, the “\u003ca href=\"https://noisey.vice.com/en_us/article/kzaajx/john-waters-is-the-filthy-uncle-of-punk\" target=\"_blank\" rel=\"noopener\">Filthy Uncle of Punk\u003c/a>” himself, is a \u003ca href=\"http://larecord.com/archive/2015/09/15/shannon-and-the-clams-interview-gone-by-the-dawn\" target=\"_blank\" rel=\"noopener\">fan\u003c/a> of the Oakland garage-rock revivalists, who’ve been a mainstay of the East Bay’s underground scene for nearly a decade.\u003c/p>\n\u003cp>2018 marked an evolution for bandleader Shannon Shaw, whose \u003ca href=\"https://www.kqed.org/arts/13823414/dan-auerbach-brings-a-rippin-band-to-the-fillmore\" target=\"_blank\" rel=\"noopener\">Dan Auerbach\u003c/a>-produced solo debut, \u003cem>Shannon in Nashville \u003c/em>(Easy Eye Sound), showcases a more personal and courageous side to her songwriting. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cem>Shannon in Nashville\u003c/em> shimmies into cathartic rock’n’roll about tragic love, self-reflection and heartbreak, with all of the raw emotion of the final wail in Roy Orbison’s “Crying.” Old-school session musicians who played with legends like Elvis and Orbison, Shaw’s hero, assisted on the project, which masterfully blends gut-wrenching blues, doo-wop harmonies, country croons and punk percussion into an album that cuts straight to the heart. But what stands out is the singularity of Shaw’s well-loved rasp and tenacity that lingers with every syllable.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Shannon Shaw - Freddies 'n' Teddies [Official Video]\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/cixEFBfYSOQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>With a vocal intensity comparable to Motown stalwart Mary Wells, Shaw nails a danceable bop spattered with pangs of sorrow on “Cryin’ My Eyes Out”: “Here I am, cryin’ my eyes out / Wonderin’ when things will change / When will they change?” “Broke My Own,” with its crescendo of crashing cymbals, bursts open like a raw wound, landing on the agonizing realization: “My worst enemy is my own flesh and bone\u003cem>.”\u003c/em>\u003c/p>\n\u003cp>“Leather, Metal, Steel” conjures the liberating feeling of smashing on the gas with the windows down on a solo road trip, belting at the top of one’s lungs. Accompanied by the wail of a loan trumpet, Shaw evokes a rugged independence, her raspy timbre pacing over the lines: “(She’s leavin’) before she forgets how to feel / (She’s leavin’) with leather, metal and steel.”\u003c/p>\n\u003cp>“Freddies ‘n’ Teddies” evokes the soulful rhythm and mystique of Dusty Springfield’s “Spooky,” another one of Shaw’s inspirations (\u003cem>Shannon In Nashville\u003c/em> gets its name from \u003cem>Dusty in Memphis\u003c/em>). The track courses with self-empowerment as Shaw casts off insincere men wasting her time.\u003c/p>\n\u003cp>Nostalgic yet imaginative, \u003cem>Shannon in Nashville\u003c/em> gets its strength from Shaw’s rich arc of storytelling. Resist temptation to tap “shuffle” when you listen to this album: it’s meant to be played like vinyl. A side, flip, B side. Repeat as necessary.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr />\n\u003ciframe loading=\"lazy\" src=\"https://embed.spotify.com/?uri=spotify%3Aalbum%3A4M9uQm7mOVQkwYa2iRP7Tt\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>“Favour is a breeze that shifts direction all the time,” warns scheming snot Robert Harley, 1st Earl of Oxford and Earl Mortimer (Nicholas Hoult), early in Yorgos Lanthimos’ delightfully scabrous period comedy, \u003cem>The Favourite\u003c/em>. He’s right about that: In the early-18th-century court of Britain’s Queen Anne (Olivia Colman), that shifting breeze regularly reaches gale-force intensity.\u003c/p>\n\u003cp>And it’s not simply the Queen’s favor—er, favour—that proves so mercurial. As the film progresses, our sympathies get brutally buffeted about among its three major players: the weak-willed Anne; her sublimely vicious adviser Sarah, Duchess of Marlborough (Rachel Weisz); and the ambitious, wiser-than-she-lets-on servant Abigail (Emma Stone). Weisz and Stone constantly plot and counter-plot against each other as Colman’s Anne dithers and waffles and screams at whatever unlucky attendant should happen to enter her field of vision.\u003c/p>\n\u003cp>https://youtu.be/SYb-wkehT1g\u003c/p>\n\u003cp>At first, Colman makes Anne a downright hateful figure. Having spent her reign infantilized by those around her, she barks willfully childish demands from her bedchamber, throws tantrums, hurls herself into salty spirals of self-pity and too-willingly shunts the affairs of state onto Weisz’s Sarah. But Colman’s just too damn good to leave it at that; Anne’s initial repellent awfulness soon softens into something more pitiable, even empathetic, while her mewling self-pity hardens into a kind of resigned self-awareness—often over the course of a single scene. It’s a remarkable performance, at once hilarious and achingly sad.\u003c/p>\n\u003cp>As Sarah, Rachel Weisz gazes out at the world from behind a fixed, steely, calculating expression, her mouth pressed into a thin reptilian smile that should be registered as a lethal weapon. As she trades waspishly witty barbs with Stone (the screenplay by Deborah Davis and Tony McNamara teems with quotable insults, both veiled and very, very not), what begins as a hairline fracture in her cocksure veneer soon spiders into a crackle finish; she’s worried about her station. She has every right to be.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That’s because she’s watching, in horror, the same thing we’re watching: Emma Stone’s Abigail shuffling off her plain, humble outer layer to reveal the shrewd and cunning creature of raw ambition that lies beneath. Stone’s never been better than she is here, as the character of Abigail threads a perilous needle. The first time we see her, she’s literally thrown in the mud. She then proceeds to get dismissed, exploited, abused, and thrown into still more mud—this time at the bottom of a ditch—and if all that weren’t enough to win our sympathies, and our sympathetic thirst for vengeance, there’s also the small but telling fact that she’s played by Emma Freaking Stone, an actress who works with an audience’s empathy the way J.M.W. Turner worked with oils. As Abigail learns to play the game of court, we cheer her on—and when she goes further, and further still, and her lip inevitably curls into a sneer, we’re \u003cem>still\u003c/em> with her, though we should know better.\u003c/p>\n\u003cp>In films like \u003cem>Dogtooth\u003c/em>, \u003cem>The Lobster\u003c/em> and \u003cem>The Killing of A Sacred Deer\u003c/em>, director Lanthimos established his signature, deadpan aesthetic. His characters didn’t so much speak as intone their lines in a flat, affectless monotone which served at first to amuse and fascinate, then ultimately to unsettle, our perceptions. \u003cem>The Favourite\u003c/em> forgoes such verbal constraints to freely admit messy human emotions—it’s downright awash with them—and the vocal inflections that attend them. The fact that Lanthimos didn’t write the script means that the dialogue is sharper and more acidic than usual, favoring the venomous over the vacuous.\u003c/p>\n\u003cp>Yet this is unmistakably a Lanthimos joint: The world of the film feels both familiar and foreign. Here are all the expected period-drama trappings: wigs and Whigs, Tories and topiaries, bustles and corsets and flounces. But Lanthimos films the action from low angles, to highlight the well-appointed yet oppressive ceilings hanging over everything, and underscores the artifice by employing fish-eye lenses and double-exposure to allow us to see the world through his characters’ skewed perceptions. And he doesn’t skimp on the vaguely absurdist details: dandies in powdered wigs parade their beloved ducks; a naked man gleefully withstands an odd pomegranate fusillade; a decorous waltz transforms into a kind of antic soul-train line-dance.\u003c/p>\n\u003cp>Everything looks both stately and grubby, somehow. Cinematographer Robbie Ryan’s dull, colorless light leaches through heavily leaded windows to make the rooms, with their dark rich wood and sumptuous fabrics, look passionless, even sickly.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That grayed-out quality of light suggests Anne’s emotional and physical state: She’s fading, and not terribly slowly. Gout and depression are catching up with her, leading to a final shot that’s even more arresting, and mysterious, and unforgettable than the uncompromising, charmingly merciless film that preceded it.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Favour is a breeze that shifts direction all the time,” warns scheming snot Robert Harley, 1st Earl of Oxford and Earl Mortimer (Nicholas Hoult), early in Yorgos Lanthimos’ delightfully scabrous period comedy, \u003cem>The Favourite\u003c/em>. He’s right about that: In the early-18th-century court of Britain’s Queen Anne (Olivia Colman), that shifting breeze regularly reaches gale-force intensity.\u003c/p>\n\u003cp>And it’s not simply the Queen’s favor—er, favour—that proves so mercurial. As the film progresses, our sympathies get brutally buffeted about among its three major players: the weak-willed Anne; her sublimely vicious adviser Sarah, Duchess of Marlborough (Rachel Weisz); and the ambitious, wiser-than-she-lets-on servant Abigail (Emma Stone). Weisz and Stone constantly plot and counter-plot against each other as Colman’s Anne dithers and waffles and screams at whatever unlucky attendant should happen to enter her field of vision.\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/SYb-wkehT1g'\n title='//www.youtube.com/embed/SYb-wkehT1g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>At first, Colman makes Anne a downright hateful figure. Having spent her reign infantilized by those around her, she barks willfully childish demands from her bedchamber, throws tantrums, hurls herself into salty spirals of self-pity and too-willingly shunts the affairs of state onto Weisz’s Sarah. But Colman’s just too damn good to leave it at that; Anne’s initial repellent awfulness soon softens into something more pitiable, even empathetic, while her mewling self-pity hardens into a kind of resigned self-awareness—often over the course of a single scene. It’s a remarkable performance, at once hilarious and achingly sad.\u003c/p>\n\u003cp>As Sarah, Rachel Weisz gazes out at the world from behind a fixed, steely, calculating expression, her mouth pressed into a thin reptilian smile that should be registered as a lethal weapon. As she trades waspishly witty barbs with Stone (the screenplay by Deborah Davis and Tony McNamara teems with quotable insults, both veiled and very, very not), what begins as a hairline fracture in her cocksure veneer soon spiders into a crackle finish; she’s worried about her station. She has every right to be.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s because she’s watching, in horror, the same thing we’re watching: Emma Stone’s Abigail shuffling off her plain, humble outer layer to reveal the shrewd and cunning creature of raw ambition that lies beneath. Stone’s never been better than she is here, as the character of Abigail threads a perilous needle. The first time we see her, she’s literally thrown in the mud. She then proceeds to get dismissed, exploited, abused, and thrown into still more mud—this time at the bottom of a ditch—and if all that weren’t enough to win our sympathies, and our sympathetic thirst for vengeance, there’s also the small but telling fact that she’s played by Emma Freaking Stone, an actress who works with an audience’s empathy the way J.M.W. Turner worked with oils. As Abigail learns to play the game of court, we cheer her on—and when she goes further, and further still, and her lip inevitably curls into a sneer, we’re \u003cem>still\u003c/em> with her, though we should know better.\u003c/p>\n\u003cp>In films like \u003cem>Dogtooth\u003c/em>, \u003cem>The Lobster\u003c/em> and \u003cem>The Killing of A Sacred Deer\u003c/em>, director Lanthimos established his signature, deadpan aesthetic. His characters didn’t so much speak as intone their lines in a flat, affectless monotone which served at first to amuse and fascinate, then ultimately to unsettle, our perceptions. \u003cem>The Favourite\u003c/em> forgoes such verbal constraints to freely admit messy human emotions—it’s downright awash with them—and the vocal inflections that attend them. The fact that Lanthimos didn’t write the script means that the dialogue is sharper and more acidic than usual, favoring the venomous over the vacuous.\u003c/p>\n\u003cp>Yet this is unmistakably a Lanthimos joint: The world of the film feels both familiar and foreign. Here are all the expected period-drama trappings: wigs and Whigs, Tories and topiaries, bustles and corsets and flounces. But Lanthimos films the action from low angles, to highlight the well-appointed yet oppressive ceilings hanging over everything, and underscores the artifice by employing fish-eye lenses and double-exposure to allow us to see the world through his characters’ skewed perceptions. And he doesn’t skimp on the vaguely absurdist details: dandies in powdered wigs parade their beloved ducks; a naked man gleefully withstands an odd pomegranate fusillade; a decorous waltz transforms into a kind of antic soul-train line-dance.\u003c/p>\n\u003cp>Everything looks both stately and grubby, somehow. Cinematographer Robbie Ryan’s dull, colorless light leaches through heavily leaded windows to make the rooms, with their dark rich wood and sumptuous fabrics, look passionless, even sickly.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That grayed-out quality of light suggests Anne’s emotional and physical state: She’s fading, and not terribly slowly. Gout and depression are catching up with her, leading to a final shot that’s even more arresting, and mysterious, and unforgettable than the uncompromising, charmingly merciless film that preceded it.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The history of post-war Italian cinema is a mellifluous litany of household names, from Rossellini and De Sica to Taviani and Benigni. But recognizable icons are in short supply these days, a byproduct of the vagaries of foreign film distribution in the U.S. So partly by happenstance and partly by design, the annual \u003ca href=\"http://www.newitaliancinema.org/2018\" rel=\"noopener\" target=\"_blank\">New Italian Cinema\u003c/a> series, running Nov. 30–Dec. 2 at San Francisco’s Vogue Theatre, is a festival of discovery.\u003c/p>\n\u003cp>The “design” element is embodied by the City of Florence Award competition of first or second features. The six new talents on offer range from wunderkind scaremeister Antonio Padovan’s Northern Italian murder mystery \u003cem>The Last Prosecco\u003c/em> (Dec. 1 at 6pm) to documentary filmmaker Andrea Magnani’s poignantly comic narrative debut, \u003cem>Easy\u003c/em> (Dec. 2 at 4:30pm), about an overweight slacker determined to transport the body of a Hungarian construction worker to his home.\u003c/p>\n\u003cfigure id=\"attachment_13845638\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Open-to-the-Public_03.jpg\" alt=\"Still from 'Open to the Public.'\" width=\"1280\" height=\"716\" class=\"size-full wp-image-13845638\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Open-to-the-Public_03.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Open-to-the-Public_03-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Open-to-the-Public_03-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Open-to-the-Public_03-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Open-to-the-Public_03-1020x571.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Open-to-the-Public_03-1200x671.jpg 1200w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Open to the Public.’ \u003ccite>(Courtesy of New Italian Cinema)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Happenstance” is an unfair word to apply to the rest of the program, except in the sense that every festival of new films is dependent on this year’s output. The Italian Cultural Institute (who presents the fest with New Italian Cinema Events of Florence) has done the great service of programming a pair of one-hour docs about Italian institutions (Dec. 2 at 7:15pm) that U.S. audiences would almost certainly never see otherwise: Enrico Maisto’s verite \u003cem>The Call\u003c/em> spends a day in Milan’s criminal courts with a batch of querulous jurors, while Silvia Bellotti’s \u003cem>Open to the Public\u003c/em> visits the offices of Naples’ public housing administrators. Humanity meets bureaucracy, Italian-style.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The history of post-war Italian cinema is a mellifluous litany of household names, from Rossellini and De Sica to Taviani and Benigni. But recognizable icons are in short supply these days, a byproduct of the vagaries of foreign film distribution in the U.S. So partly by happenstance and partly by design, the annual \u003ca href=\"http://www.newitaliancinema.org/2018\" rel=\"noopener\" target=\"_blank\">New Italian Cinema\u003c/a> series, running Nov. 30–Dec. 2 at San Francisco’s Vogue Theatre, is a festival of discovery.\u003c/p>\n\u003cp>The “design” element is embodied by the City of Florence Award competition of first or second features. The six new talents on offer range from wunderkind scaremeister Antonio Padovan’s Northern Italian murder mystery \u003cem>The Last Prosecco\u003c/em> (Dec. 1 at 6pm) to documentary filmmaker Andrea Magnani’s poignantly comic narrative debut, \u003cem>Easy\u003c/em> (Dec. 2 at 4:30pm), about an overweight slacker determined to transport the body of a Hungarian construction worker to his home.\u003c/p>\n\u003cfigure id=\"attachment_13845638\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Open-to-the-Public_03.jpg\" alt=\"Still from 'Open to the Public.'\" width=\"1280\" height=\"716\" class=\"size-full wp-image-13845638\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Open-to-the-Public_03.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Open-to-the-Public_03-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Open-to-the-Public_03-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Open-to-the-Public_03-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Open-to-the-Public_03-1020x571.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Open-to-the-Public_03-1200x671.jpg 1200w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Open to the Public.’ \u003ccite>(Courtesy of New Italian Cinema)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Happenstance” is an unfair word to apply to the rest of the program, except in the sense that every festival of new films is dependent on this year’s output. The Italian Cultural Institute (who presents the fest with New Italian Cinema Events of Florence) has done the great service of programming a pair of one-hour docs about Italian institutions (Dec. 2 at 7:15pm) that U.S. audiences would almost certainly never see otherwise: Enrico Maisto’s verite \u003cem>The Call\u003c/em> spends a day in Milan’s criminal courts with a batch of querulous jurors, while Silvia Bellotti’s \u003cem>Open to the Public\u003c/em> visits the offices of Naples’ public housing administrators. Humanity meets bureaucracy, Italian-style.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'At Eternity's Gate': Dafoe Is Van Gogh, And You Should Go",
"headTitle": "‘At Eternity’s Gate’: Dafoe Is Van Gogh, And You Should Go | KQED",
"content": "\u003cp>The short, brilliant, tragic life of Vincent Van Gogh has long been a source of inspiration for creatives of all types. Something about the mystique of the artist with severe mental illness, whose greatness was only recognized years after his death, resonates with frustrated souls the world over. But it can be distressingly easy for a story as nuanced and contradictory as Van Gogh’s, with all its bright colors and violent strokes, to become flattened into easy answers under the harsh light of the camera, an artist’s implement that so rarely matches the delicacy of the paintbrush.\u003c/p>\n\u003cp>What a treat, then, to arrive \u003cem>At Eternity’s Gate\u003c/em>. The lovely new biopic by Julian Schnabel offers a vision of Van Gogh’s final days that is at once bold, blissful and deeply sad. Focusing on the final few years of the painter’s life, when he left Paris for the rural southern French town of Arles in order to be near the nature that so inspired him, Schnabel (with co-writers Jean-Claude Carrière and Louise Kugelberg) feeds his subject’s thirst for purpose without sugarcoating the immense darkness that plagued him as his mental and physical health deteriorated. This is a very textured film, like one of its subject’s paintings, with their great, big globs of color coming off the canvases.\u003c/p>\n\u003cp>https://youtu.be/T77PDm3e1iE\u003c/p>\n\u003cp>At 63, Willem Dafoe is nearly twice the age Van Gogh was when he died. Yet the actor helps close that noticeable gap with the tremendous physicality he brings to the role – one of the finest performances of the year. Gazing out at the dewy fields with glee, rubbing the blessed dirt on his face to better understand its properties, Dafoe’s Van Gogh is often too blissed-out on the feelings of life to take in much of any other sense. We see him paint in rough, rambunctious strokes fitting of someone who could churn out a completed work in an hour. He’s barely able to set up his easel in a field before he goes to town. \u003c/p>\n\u003cp>But the actor is also very good at making Van Gogh unpleasant to be around: blowing past social cues, exploding at a group of schoolchildren who invade his space, getting too close to people who clearly think he smells bad. As he loses his grip on sanity in the film’s second half, he can no longer allow his devotion to the work to overcome his shortcomings in life. Dafoe’s final scenes are dark and deflating, with only a desperate hope that someday in the future, people will enjoy his paintings.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the film’s telling, Van Gogh had two important people left in his life during this time: brother Theo (Rupert Friend), an art dealer who supported him financially as he tried to drum up a market for his paintings; and friend and art-world contemporary Paul Gauguin (Oscar Isaac), who encouraged his talents even as he challenged the technique. Both men come to visit him as his mood seesaws, and he’s despondent when they leave, which leads to, yes, the ear. Yet it’s not some overwrought fit of madness that makes him cut it off, and in fact we don’t even see the action itself, only the shame of its aftermath. \u003c/p>\n\u003cp>The bond between Van Gogh and Gauguin is an uneven one, because Gauguin has money – he dresses in sharp suits and casually speaks of his travels to exotic locales, while his friend, who worships him, makes do with torn workpants and rarely bathes. Though the two artists are mostly friendly, trading musings on painting philosophy and the direction of the Paris art scene, there’s a tension between them that approaches the operatic. In one of the film’s best scenes, Van Gogh walks in on Gauguin painting a portrait of his boarding-house proprietor Madame Ginoux (Emmanuelle Seigner), and hurriedly unpacks his canvas to construct a \u003ca href=\"https://www.metmuseum.org/art/collection/search/436529\" target=\"_blank\" rel=\"noopener\">lickety-split portrait\u003c/a> of his own.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Schnabel often films scenes from Van Gogh’s point of view, the camera shaking as he trudges through farmland or tries to get a stranger to pose for him. The style can get exhausting, and occasionally ill-fitting for a film about someone who saw the world differently from the rest of us. Last year’s \u003ca href=\"https://www.npr.org/2017/09/26/553775055/-loving-vincent-paints-van-gough-into-a-murder-mystery\" target=\"_blank\" rel=\"noopener\">\u003cem>Loving Vincent\u003c/em>\u003c/a>, an astonishing animated film about Van Gogh’s death, employed a large team of painters to craft every frame in an approximation of his own style, an example of artists rising to the challenge to render one of their finest in a new medium. That film might have been far prettier to look at, but the two movies are able to speak to different sides of Van Gogh’s life and legacy. \u003cem>At Eternity’s Gate\u003c/em> allows its portrait to be a bit uglier, more sorrowful, and embodied by an actor and script who know how painful the act of creating beauty can be sometimes. Hopefully this film, at least, can be appreciated in its lifetime.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The short, brilliant, tragic life of Vincent Van Gogh has long been a source of inspiration for creatives of all types. Something about the mystique of the artist with severe mental illness, whose greatness was only recognized years after his death, resonates with frustrated souls the world over. But it can be distressingly easy for a story as nuanced and contradictory as Van Gogh’s, with all its bright colors and violent strokes, to become flattened into easy answers under the harsh light of the camera, an artist’s implement that so rarely matches the delicacy of the paintbrush.\u003c/p>\n\u003cp>What a treat, then, to arrive \u003cem>At Eternity’s Gate\u003c/em>. The lovely new biopic by Julian Schnabel offers a vision of Van Gogh’s final days that is at once bold, blissful and deeply sad. Focusing on the final few years of the painter’s life, when he left Paris for the rural southern French town of Arles in order to be near the nature that so inspired him, Schnabel (with co-writers Jean-Claude Carrière and Louise Kugelberg) feeds his subject’s thirst for purpose without sugarcoating the immense darkness that plagued him as his mental and physical health deteriorated. This is a very textured film, like one of its subject’s paintings, with their great, big globs of color coming off the canvases.\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/T77PDm3e1iE'\n title='//www.youtube.com/embed/T77PDm3e1iE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>At 63, Willem Dafoe is nearly twice the age Van Gogh was when he died. Yet the actor helps close that noticeable gap with the tremendous physicality he brings to the role – one of the finest performances of the year. Gazing out at the dewy fields with glee, rubbing the blessed dirt on his face to better understand its properties, Dafoe’s Van Gogh is often too blissed-out on the feelings of life to take in much of any other sense. We see him paint in rough, rambunctious strokes fitting of someone who could churn out a completed work in an hour. He’s barely able to set up his easel in a field before he goes to town. \u003c/p>\n\u003cp>But the actor is also very good at making Van Gogh unpleasant to be around: blowing past social cues, exploding at a group of schoolchildren who invade his space, getting too close to people who clearly think he smells bad. As he loses his grip on sanity in the film’s second half, he can no longer allow his devotion to the work to overcome his shortcomings in life. Dafoe’s final scenes are dark and deflating, with only a desperate hope that someday in the future, people will enjoy his paintings.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the film’s telling, Van Gogh had two important people left in his life during this time: brother Theo (Rupert Friend), an art dealer who supported him financially as he tried to drum up a market for his paintings; and friend and art-world contemporary Paul Gauguin (Oscar Isaac), who encouraged his talents even as he challenged the technique. Both men come to visit him as his mood seesaws, and he’s despondent when they leave, which leads to, yes, the ear. Yet it’s not some overwrought fit of madness that makes him cut it off, and in fact we don’t even see the action itself, only the shame of its aftermath. \u003c/p>\n\u003cp>The bond between Van Gogh and Gauguin is an uneven one, because Gauguin has money – he dresses in sharp suits and casually speaks of his travels to exotic locales, while his friend, who worships him, makes do with torn workpants and rarely bathes. Though the two artists are mostly friendly, trading musings on painting philosophy and the direction of the Paris art scene, there’s a tension between them that approaches the operatic. In one of the film’s best scenes, Van Gogh walks in on Gauguin painting a portrait of his boarding-house proprietor Madame Ginoux (Emmanuelle Seigner), and hurriedly unpacks his canvas to construct a \u003ca href=\"https://www.metmuseum.org/art/collection/search/436529\" target=\"_blank\" rel=\"noopener\">lickety-split portrait\u003c/a> of his own.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Schnabel often films scenes from Van Gogh’s point of view, the camera shaking as he trudges through farmland or tries to get a stranger to pose for him. The style can get exhausting, and occasionally ill-fitting for a film about someone who saw the world differently from the rest of us. Last year’s \u003ca href=\"https://www.npr.org/2017/09/26/553775055/-loving-vincent-paints-van-gough-into-a-murder-mystery\" target=\"_blank\" rel=\"noopener\">\u003cem>Loving Vincent\u003c/em>\u003c/a>, an astonishing animated film about Van Gogh’s death, employed a large team of painters to craft every frame in an approximation of his own style, an example of artists rising to the challenge to render one of their finest in a new medium. That film might have been far prettier to look at, but the two movies are able to speak to different sides of Van Gogh’s life and legacy. \u003cem>At Eternity’s Gate\u003c/em> allows its portrait to be a bit uglier, more sorrowful, and embodied by an actor and script who know how painful the act of creating beauty can be sometimes. Hopefully this film, at least, can be appreciated in its lifetime.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In October, shortly before my Fairmont Hotel interview with Barry Jenkins, the filmmaker \u003ca href=\"https://twitter.com/barryjenkins/status/1051552969672470528\" rel=\"noopener\" target=\"_blank\">tweeted a photograph\u003c/a> of one clean, pink button down shirt captioned, “A very efficient SF laundry day at the coin op on Bush, real chill laundromat.” \u003c/p>\n\u003cp>It wasn’t the kind of messaging you’d expect to see from the Academy Award-winner (for best screenplay) and director of \u003cem>Moonlight\u003c/em>. The truth is, despite a social media feed that includes trips to film festivals around the world, Jenkins is down to earth. \u003c/p>\n\u003cp>He was in San Francisco to screen his latest film \u003cem>If Beale Street Could Talk\u003c/em>, a love story set in New York City during the 1970s adapted from a James Baldwin novel. I started the interview with the most important—and pressing—question.\u003c/p>\n\u003cp>\u003cstrong>Did anyone recognize you in the laundromat?\u003c/strong>\u003c/p>\n\u003cp>No, no, no. I’m not recognized many places, certainly not laundromats. Unless it’s LA or I’m walking a red carpet. I actually enjoy doing laundry. It’s 90 minutes and you know that you’re making progress, that things are soiled and now they’re cleaned. And it’s always this magnetic, hypnotic sound in laundromats. I just love it.\u003c/p>\n\u003cfigure id=\"attachment_13844787\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/IBSCT_11669_R_proxy_md.jpg\" alt=\"L to R: Teyonah Parris as Ernestine, KiKi Layne as Tish, and Regina King as Sharon star in Barry Jenkins’ 'If Beale Street Could Talk.'\" width=\"800\" height=\"534\" class=\"size-full wp-image-13844787\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_11669_R_proxy_md.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_11669_R_proxy_md-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_11669_R_proxy_md-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_11669_R_proxy_md-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_11669_R_proxy_md-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_11669_R_proxy_md-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">L to R: Teyonah Parris as Ernestine, KiKi Layne as Tish, and Regina King as Sharon star in Barry Jenkins’ ‘If Beale Street Could Talk.’ \u003ccite>(Annapurna Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>I was almost late to the movie, stuck on a train, texting my friend and running down the street to get there on time. It was such a contrast to the world inside the movie. You slow down the pace of modern life in \u003cem>If Beale Street Could Talk\u003c/em> from the very first frame.\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After the last film [\u003cem>Moonlight\u003c/em>], I think the audience should know what they’re in for when they come to these movies that we make. Honestly, the way we ingest images is often at a very rapid clip. Now, you go to the \u003cem>New York Times\u003c/em> or ESPN, and you gotta watch a 15 second spot. Spots used to be 60 seconds. Now we’re telling the same story in less time. We’re used to very rapidly ingesting all these nuggets of information, but there’s no emotion around the nugget. In cinema, especially if you’re going to give me two hours, why does that two hours need to flow at this same pace of this hectic, unnatural experience of everyday life now with all these gadgets that we have? To me, it’s just about what is the tone and feeling of the thing? We’re going to create the space for the tone and the feeling to rebuild themselves.\u003c/p>\n\u003cp>\u003cstrong>Justin Simien recently interviewed you for his podcast \u003ca href=\"https://www.kcrw.com/news-culture/shows/dont-at-me/the-auteur-barry-jenkins\" target=\"_blank\" rel=\"noopener\">Don’t @ Me\u003c/a>. He asked you to choose one favorite film. You came up with three but he held you to your top choice, Wong Kar-wai’s \u003ca href=\"https://bampfa.org/event/mood-love-1\" target=\"_blank\" rel=\"noopener\">\u003cem>In the Mood for Love\u003c/em>\u003c/a>. What were your other two?\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Silent Light\u003c/em> (2007) by Carlos Reygadas, for sure. It’s a story set in this Mennonite community in Mexico, which is very strange. It’s about this idea of the human heart having the capacity to love more than one person despite everything the religion tells him is feasible or possible. The third would’ve been \u003cem>\u003ca href=\"https://www.killerofsheep.com/\" target=\"_blank\" rel=\"noopener\">Killer of Sheep\u003c/a>\u003c/em> (1978) by Charles Burnett.\u003c/p>\n\u003cfigure id=\"attachment_13844788\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/beale_stills_round_1__1.72.1.T_proxy_md.jpg\" alt=\"Stephan James stars as Fonny in Barry Jenkins’ 'If Beale Street Could Talk.'\" width=\"800\" height=\"400\" class=\"size-full wp-image-13844788\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/beale_stills_round_1__1.72.1.T_proxy_md.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/beale_stills_round_1__1.72.1.T_proxy_md-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/beale_stills_round_1__1.72.1.T_proxy_md-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/beale_stills_round_1__1.72.1.T_proxy_md-240x120.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/beale_stills_round_1__1.72.1.T_proxy_md-375x188.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/beale_stills_round_1__1.72.1.T_proxy_md-520x260.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stephan James stars as Fonny in Barry Jenkins’ ‘If Beale Street Could Talk.’ \u003ccite>(Annapurna Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>In \u003ci>Beale Street\u003c/i>, Stephan James plays Fonny Hunt, the male lead who’s arrested for a crime he didn’t commit. James does a remarkable job of showing how Fonny begins to change once he’s incarcerated. What led you to cast him?\u003c/strong>\u003c/p>\n\u003cp>He played Jesse Owens in \u003cem>Race\u003c/em>. He was in the film \u003cem>Selma\u003c/em>, just really wise beyond his years. And the biggest thing with his performance [in \u003cem>Beale Street\u003c/em>] is through glass. There’s literally this barrier between him and Tish [his girlfriend, played by KiKi Layne] and between him and the audience. You need to feel what he’s going through in order to track this de-evolution, this deterioration of his person. Stephan and I talked about what that was like and how it was different than what Chiron [the main character] undergoes in \u003cem>Moonlight\u003c/em>. I’d say the analog for him in \u003cem>Moonlight\u003c/em> is in the third chapter where you’re starting to see the life come back into Chiron’s eyes as he spends this fictive, long day into night with his childhood crush.\u003c/p>\n\u003cp>In \u003cem>Beale Street\u003c/em>, you’re seeing Stephan take the opposite journey, where at the beginning, there’s all this hope and vitality. Fonny and Tish are both naïve in the beginning, where they think, he’ll be in prison a week and then we’ll go home and have our baby. But as the reality sets in, you start to see him drift away from his own dream. It’s a lovely and very nuanced performance.\u003c/p>\n\u003cp>\u003cstrong>In \u003cem>Beale Street\u003c/em> as in \u003cem>Moonlight\u003c/em>, how do you get such sensitive performances from your male actors?\u003c/strong>\u003c/p>\n\u003cp>Part of it is casting. The other part is creating a working environment that feels like a space where the men won’t be judged for revealing this part of themselves. Because I’m sure we all have that within us. It’s just the world teaches us that we’re not allowed to show it, and we’re not allowed to “indulge it,” air quotes. Because it feels like an indulgence to allow ourselves to be vulnerable as men. But the scenario that these characters in these last two films find themselves in are almost hyper-vulnerable. Like hyper-masculinity is a word, this is hyper-vulnerability.\u003c/p>\n\u003cfigure id=\"attachment_13844789\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844789\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/IBSCT_05520_RC_proxy_md-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_05520_RC_proxy_md.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_05520_RC_proxy_md-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_05520_RC_proxy_md-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_05520_RC_proxy_md-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_05520_RC_proxy_md-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_05520_RC_proxy_md-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stephan James as Fonny and Brian Tyree Henry as Daniel star in Barry Jenkins’ ‘If Beale Street Could Talk’ (Annapurna Pictures) \u003ccite>(Annapurna Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But to go back to your question about pacing, the scene of the peak male vulnerability in this film is when Fonny’s [and his] friend, Daniel, played by Brian Tyree Henry, have this random encounter in the street. And then there’s this 15-minute sequence where you slowly start to see this exterior posture start to erode and the reality of this is full of nerve endings, a damaged man rebuilding himself.\u003c/p>\n\u003cp>\u003cstrong>Regina King plays Tish’s mother Sharon. Before she says a word to her daughter in their first scene together, you can tell that Sharon has Tish’s back.\u003c/strong>\u003c/p>\n\u003cp>What I love about that is that’s a scene where they could say everything, but because of the power of their faces—and I’ve watched this movie with so many audiences—and the women in the audience, they know what KiKi is going to say before she says it because they can read it on Regina’s face. To me, when you talk about technique, that is, in my films, I want to say everything in as few words as possible. When you work with somebody like Regina King, the words are fine, but it’s all there on the face.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>This interview is part of the KQED Film Hub Newsletter. \u003ca href=\"http://eepurl.com/dqfPBv\" rel=\"noopener\" target=\"_blank\">Click here to subscribe now\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>‘If Beale Street Could Talk’ opens in San Francisco on Tuesday, December 25.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In October, shortly before my Fairmont Hotel interview with Barry Jenkins, the filmmaker \u003ca href=\"https://twitter.com/barryjenkins/status/1051552969672470528\" rel=\"noopener\" target=\"_blank\">tweeted a photograph\u003c/a> of one clean, pink button down shirt captioned, “A very efficient SF laundry day at the coin op on Bush, real chill laundromat.” \u003c/p>\n\u003cp>It wasn’t the kind of messaging you’d expect to see from the Academy Award-winner (for best screenplay) and director of \u003cem>Moonlight\u003c/em>. The truth is, despite a social media feed that includes trips to film festivals around the world, Jenkins is down to earth. \u003c/p>\n\u003cp>He was in San Francisco to screen his latest film \u003cem>If Beale Street Could Talk\u003c/em>, a love story set in New York City during the 1970s adapted from a James Baldwin novel. I started the interview with the most important—and pressing—question.\u003c/p>\n\u003cp>\u003cstrong>Did anyone recognize you in the laundromat?\u003c/strong>\u003c/p>\n\u003cp>No, no, no. I’m not recognized many places, certainly not laundromats. Unless it’s LA or I’m walking a red carpet. I actually enjoy doing laundry. It’s 90 minutes and you know that you’re making progress, that things are soiled and now they’re cleaned. And it’s always this magnetic, hypnotic sound in laundromats. I just love it.\u003c/p>\n\u003cfigure id=\"attachment_13844787\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/IBSCT_11669_R_proxy_md.jpg\" alt=\"L to R: Teyonah Parris as Ernestine, KiKi Layne as Tish, and Regina King as Sharon star in Barry Jenkins’ 'If Beale Street Could Talk.'\" width=\"800\" height=\"534\" class=\"size-full wp-image-13844787\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_11669_R_proxy_md.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_11669_R_proxy_md-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_11669_R_proxy_md-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_11669_R_proxy_md-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_11669_R_proxy_md-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_11669_R_proxy_md-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">L to R: Teyonah Parris as Ernestine, KiKi Layne as Tish, and Regina King as Sharon star in Barry Jenkins’ ‘If Beale Street Could Talk.’ \u003ccite>(Annapurna Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>I was almost late to the movie, stuck on a train, texting my friend and running down the street to get there on time. It was such a contrast to the world inside the movie. You slow down the pace of modern life in \u003cem>If Beale Street Could Talk\u003c/em> from the very first frame.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After the last film [\u003cem>Moonlight\u003c/em>], I think the audience should know what they’re in for when they come to these movies that we make. Honestly, the way we ingest images is often at a very rapid clip. Now, you go to the \u003cem>New York Times\u003c/em> or ESPN, and you gotta watch a 15 second spot. Spots used to be 60 seconds. Now we’re telling the same story in less time. We’re used to very rapidly ingesting all these nuggets of information, but there’s no emotion around the nugget. In cinema, especially if you’re going to give me two hours, why does that two hours need to flow at this same pace of this hectic, unnatural experience of everyday life now with all these gadgets that we have? To me, it’s just about what is the tone and feeling of the thing? We’re going to create the space for the tone and the feeling to rebuild themselves.\u003c/p>\n\u003cp>\u003cstrong>Justin Simien recently interviewed you for his podcast \u003ca href=\"https://www.kcrw.com/news-culture/shows/dont-at-me/the-auteur-barry-jenkins\" target=\"_blank\" rel=\"noopener\">Don’t @ Me\u003c/a>. He asked you to choose one favorite film. You came up with three but he held you to your top choice, Wong Kar-wai’s \u003ca href=\"https://bampfa.org/event/mood-love-1\" target=\"_blank\" rel=\"noopener\">\u003cem>In the Mood for Love\u003c/em>\u003c/a>. What were your other two?\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Silent Light\u003c/em> (2007) by Carlos Reygadas, for sure. It’s a story set in this Mennonite community in Mexico, which is very strange. It’s about this idea of the human heart having the capacity to love more than one person despite everything the religion tells him is feasible or possible. The third would’ve been \u003cem>\u003ca href=\"https://www.killerofsheep.com/\" target=\"_blank\" rel=\"noopener\">Killer of Sheep\u003c/a>\u003c/em> (1978) by Charles Burnett.\u003c/p>\n\u003cfigure id=\"attachment_13844788\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/beale_stills_round_1__1.72.1.T_proxy_md.jpg\" alt=\"Stephan James stars as Fonny in Barry Jenkins’ 'If Beale Street Could Talk.'\" width=\"800\" height=\"400\" class=\"size-full wp-image-13844788\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/beale_stills_round_1__1.72.1.T_proxy_md.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/beale_stills_round_1__1.72.1.T_proxy_md-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/beale_stills_round_1__1.72.1.T_proxy_md-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/beale_stills_round_1__1.72.1.T_proxy_md-240x120.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/beale_stills_round_1__1.72.1.T_proxy_md-375x188.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/beale_stills_round_1__1.72.1.T_proxy_md-520x260.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stephan James stars as Fonny in Barry Jenkins’ ‘If Beale Street Could Talk.’ \u003ccite>(Annapurna Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>In \u003ci>Beale Street\u003c/i>, Stephan James plays Fonny Hunt, the male lead who’s arrested for a crime he didn’t commit. James does a remarkable job of showing how Fonny begins to change once he’s incarcerated. What led you to cast him?\u003c/strong>\u003c/p>\n\u003cp>He played Jesse Owens in \u003cem>Race\u003c/em>. He was in the film \u003cem>Selma\u003c/em>, just really wise beyond his years. And the biggest thing with his performance [in \u003cem>Beale Street\u003c/em>] is through glass. There’s literally this barrier between him and Tish [his girlfriend, played by KiKi Layne] and between him and the audience. You need to feel what he’s going through in order to track this de-evolution, this deterioration of his person. Stephan and I talked about what that was like and how it was different than what Chiron [the main character] undergoes in \u003cem>Moonlight\u003c/em>. I’d say the analog for him in \u003cem>Moonlight\u003c/em> is in the third chapter where you’re starting to see the life come back into Chiron’s eyes as he spends this fictive, long day into night with his childhood crush.\u003c/p>\n\u003cp>In \u003cem>Beale Street\u003c/em>, you’re seeing Stephan take the opposite journey, where at the beginning, there’s all this hope and vitality. Fonny and Tish are both naïve in the beginning, where they think, he’ll be in prison a week and then we’ll go home and have our baby. But as the reality sets in, you start to see him drift away from his own dream. It’s a lovely and very nuanced performance.\u003c/p>\n\u003cp>\u003cstrong>In \u003cem>Beale Street\u003c/em> as in \u003cem>Moonlight\u003c/em>, how do you get such sensitive performances from your male actors?\u003c/strong>\u003c/p>\n\u003cp>Part of it is casting. The other part is creating a working environment that feels like a space where the men won’t be judged for revealing this part of themselves. Because I’m sure we all have that within us. It’s just the world teaches us that we’re not allowed to show it, and we’re not allowed to “indulge it,” air quotes. Because it feels like an indulgence to allow ourselves to be vulnerable as men. But the scenario that these characters in these last two films find themselves in are almost hyper-vulnerable. Like hyper-masculinity is a word, this is hyper-vulnerability.\u003c/p>\n\u003cfigure id=\"attachment_13844789\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844789\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/IBSCT_05520_RC_proxy_md-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_05520_RC_proxy_md.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_05520_RC_proxy_md-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_05520_RC_proxy_md-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_05520_RC_proxy_md-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_05520_RC_proxy_md-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IBSCT_05520_RC_proxy_md-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stephan James as Fonny and Brian Tyree Henry as Daniel star in Barry Jenkins’ ‘If Beale Street Could Talk’ (Annapurna Pictures) \u003ccite>(Annapurna Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But to go back to your question about pacing, the scene of the peak male vulnerability in this film is when Fonny’s [and his] friend, Daniel, played by Brian Tyree Henry, have this random encounter in the street. And then there’s this 15-minute sequence where you slowly start to see this exterior posture start to erode and the reality of this is full of nerve endings, a damaged man rebuilding himself.\u003c/p>\n\u003cp>\u003cstrong>Regina King plays Tish’s mother Sharon. Before she says a word to her daughter in their first scene together, you can tell that Sharon has Tish’s back.\u003c/strong>\u003c/p>\n\u003cp>What I love about that is that’s a scene where they could say everything, but because of the power of their faces—and I’ve watched this movie with so many audiences—and the women in the audience, they know what KiKi is going to say before she says it because they can read it on Regina’s face. To me, when you talk about technique, that is, in my films, I want to say everything in as few words as possible. When you work with somebody like Regina King, the words are fine, but it’s all there on the face.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>This interview is part of the KQED Film Hub Newsletter. \u003ca href=\"http://eepurl.com/dqfPBv\" rel=\"noopener\" target=\"_blank\">Click here to subscribe now\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>‘If Beale Street Could Talk’ opens in San Francisco on Tuesday, December 25.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Fantastic Beasts: The Crimes Of Grindelwald': Beasts? Check. Crimes? Check. Fantastic? Not Quite.",
"headTitle": "‘Fantastic Beasts: The Crimes Of Grindelwald’: Beasts? Check. Crimes? Check. Fantastic? Not Quite. | KQED",
"content": "\u003cp>Hands up, everyone who liked the \u003cem>Harry Potter \u003c/em>series — books and/or movies — at least well enough.\u003c/p>\n\u003cp>OK, well, that’s a \u003cem>lot \u003c/em>of you.\u003c/p>\n\u003cp>Keep them up if you made it all the way through 2016’s \u003cem>Fantastic Beasts and Where to Find Them\u003c/em> — a prequel to the canonical Potter stories, in which Eddie Redmayne played magizoologist Newt Scamander, who came to New York City in 1926 with a magical valise and an annoying, squirrelly affect.\u003c/p>\n\u003cp>Hunh. Thought that would eliminate more of you than it did.\u003c/p>\n\u003cp>Okay, now \u003cem>only \u003c/em>keep them up if you came away from \u003cem>Fantastic Beasts \u003c/em>disappointed. If you liked the setting — the so-called Wizarding World, U.S. edition — but felt the story a meandering, muddled, overstuffed mess that leaned too hard into the cutesy-wutesy magical critters. If to you it captured some of the stylistic flourishes of \u003cem>Harry Potter\u003c/em>, but none of the distinctive particulars, none of the \u003cem>feel\u003c/em>, none — let’s just get this out of the way — of the magic.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Okay. Now. If your hand isn’t up, you’re excused. This next bit isn’t for you — you either don’t care about J.K. Rowling’s world, or you’re so devoted to it that you managed to ignore the fact that \u003cem>Fantastic Beasts \u003c/em>was a cinematic Obscurus — an noisy ball of violent, nonsensical narrative chaos, albeit one that did boffo B.O.\u003c/p>\n\u003cp>So off with you. Everyone else? The ones still sticking around? Here’s the scoop.\u003c/p>\n\u003cp>\u003cem>The Crimes of Grindelwald\u003c/em> is better than the first \u003cem>Beasts \u003c/em>film, and not just because that turns out to be such a low bar to clear, but because it has a firmer grasp on what kind of movie it wants to be. It feels more familiarly Potter-y, in that it assumes the distinctive narrative shape of Harry Potter stories.\u003c/p>\n\u003cp>Once again: Structurally, it’s \u003cem>familiar\u003c/em>, not, you know: \u003cem>good\u003c/em>.\u003c/p>\n\u003cp>https://youtu.be/8bYBOVWLNIs\u003c/p>\n\u003cp>Can we all admit, here, that the plots of Harry Potter books and movies were always frustrating in the extreme? Rowling’s characters delighted in keeping vital information from Harry — and by extension, the reader — turning every tale into an ersatz, low-rent mystery where the goal was never to uncover whodunnit, but to eke out even the most basic understanding of whatthehellsgoingon? Inevitably, we’d discover the answers — well, “discover” is inaccurate. We’d be \u003cem>told\u003c/em>, when Rowling would finally sit Harry down to have him listen to an extended monologue, filled with secret history to which neither he nor we could have been expected to be privy.\u003c/p>\n\u003cp>That’s the kind of plotting \u003cem>The Crimes of Grindelwald\u003c/em> serves up, down to a hilariously out-of-nowhere pseudo-climactic scene in which characters who’ve spent the movie scheming to murder one another just stand around listening patiently to a series of monologues like they’re sleepy kindergartners at storytime.\u003c/p>\n\u003cp>No, it doesn’t work. No, it’s not, not even a little bit, \u003cem>good\u003c/em>. But it’s familiar.\u003c/p>\n\u003cp>It’s actually an improvement, in a very small, specific way. You’ll recall that all of that information was kept from Harry and his friends because no one tells kids anything, forcing them to glean any and all actionable intel via that most overused trope in all of kid-lit: eavesdropping. \u003cem>Magical \u003c/em>eavesdropping, to be sure, but even so: They’d learn something, jump to the wrong conclusion, and proceed to labor under that misinformation until the penultimate chapter, when someone (usually Dumbledore) would finally explain the situation in full. Rinse, repeat. \u003cem>Accio \u003c/em>annoyance.\u003c/p>\n\u003cp>There’s none of that here, at least.\u003c/p>\n\u003cp>Eddie Redmayne’s Newt Scamander is an adult, and he finds things out using magic. There’s a cool sequence when he reconstructs a crime scene using a glittery gold magical powder — pixiedusting for fingerprints, as it were. This time out, the sheer number of putatively hilarious beasts on hand is dialed mercifully back, but the ones who do turn up tend to be used strategically, to bring about some concrete result, instead of simply as a means to up the film’s Whimsy Quotient.\u003c/p>\n\u003cp>Redmayne’s performance, as Newt, remains just as mannered and tic-ridden as ever. But thanks to a brief flashback sequence featuring a teenage Newt played by Joshua Shea, who gamely matches Redmayne’s every furtive head-tilt and skittering glance, it seems less hammy and indulgent, and more a defined, characterizing choice.\u003c/p>\n\u003cp>Of course, one of the main reasons that \u003cem>Grindelwald \u003c/em>works better than the film that preceded it is a function of its status as the middle film of a trilogy. The business of world-building, which the first film made such a corned-beef hash of, is over, and now there is only the task of moving the various characters across the board like the Wizard’s Chess pieces they are. As such, it has a more singular sense of purpose, as all the meandering subplots of the film’s first hour eventually lock in place and fit together.\u003c/p>\n\u003cp>The plot, such as it is: Young Dumbledore (Jude Law) sends Newt to Paris, where a newly escaped Grindelwald (Johnny Depp) is gathering his faithful — pure-blood wizards — in an attempt to rule both the Wizarding world and the human world. Meanwhile, Ezra Miller’s (checks notes) Credence Barebone is … (checks notes again, frowns, shrugs) … \u003cem>Credence Barebone\u003c/em> is also in Paris, searching for his mother, alongside sort-of-girlfriend Nagini (Claudia Kim) a Maledictus cursed to one day turn into a snake. (Yes.)\u003c/p>\n\u003cp>Also there’s love-interest stuff: Newt and his Auror girlfriend Tina (Katherine Waterston) are on the outs over a misunderstanding that could be clarified with a ten-second conversation, but isn’t, because Rowling gonna Rowling. Newt’s pals Jacob (Dan Fogler) and Queenie (Alison Sudol, doing a lot with one of the film’s many underwritten roles for women) show up, as well, and the script puts them through some clearly defined changes that at least \u003cem>feel \u003c/em>like narrative progress.\u003c/p>\n\u003cp>The film’s chief problem is Grindelwald, a dull-as-dishwater villain we’re repeatedly told is charming and deceitful, although Depp’s performance fights hard against any such reading. The character of Grindelwald is \u003cem>supposed \u003c/em>to use guile and rhetoric to win wizards to his side by promising them the chance to “live openly, and love freely” — a not-particularly coy attempt by the screenplay to underline the gay subtext between Grindelwald and Law’s Hot Dumbledore — but Depp just hams it up like a Pantomime baddie.\u003c/p>\n\u003cp>Everything about the guy is second-rate. Voldemort had disquieting slits where his nose should be; Grindelwald a single, discolored iris. When Voldemort summoned \u003cem>his \u003c/em>followers, a leering skull with a snake slithering through its eye-sockets manifested in the sky:\u003cem> that \u003c/em>wizard had \u003cem>style\u003c/em>. When Grindelwald attempts the same move, the buildings of Paris simply get shadowy tarps thrown over them; it’s unclear if he’s calling an army or renovating masonry.\u003c/p>\n\u003cp>So, now. All of you who stuck around? Relax. \u003cem>Grindelwald \u003c/em>is a better, more purposeful and thus more propulsive film than the first, and it does possess its unique charms: Several characters only alluded to in the \u003cem>Harry Potter\u003c/em> tales pop up here, goosing appreciative gasps from the audience in the process. The sight of Hogwarts, accompanied by John Williams’ familiar fanfare, elicits applause.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And not for nothing? Law looks \u003cem>great \u003c/em>as a Dumbledore in bespoke tweed (\u003cem>Fantastic Vests and Where To Find Them\u003c/em>!), even if seeing him so put-together evokes a twinge of sadness at the shapeless robes and chunky jewelry that we know lie in his future, just \u003cem>waiting \u003c/em>to turn him into the Wizarding World’s equivalent of a Santa Fe gallery owner named Jade.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hands up, everyone who liked the \u003cem>Harry Potter \u003c/em>series — books and/or movies — at least well enough.\u003c/p>\n\u003cp>OK, well, that’s a \u003cem>lot \u003c/em>of you.\u003c/p>\n\u003cp>Keep them up if you made it all the way through 2016’s \u003cem>Fantastic Beasts and Where to Find Them\u003c/em> — a prequel to the canonical Potter stories, in which Eddie Redmayne played magizoologist Newt Scamander, who came to New York City in 1926 with a magical valise and an annoying, squirrelly affect.\u003c/p>\n\u003cp>Hunh. Thought that would eliminate more of you than it did.\u003c/p>\n\u003cp>Okay, now \u003cem>only \u003c/em>keep them up if you came away from \u003cem>Fantastic Beasts \u003c/em>disappointed. If you liked the setting — the so-called Wizarding World, U.S. edition — but felt the story a meandering, muddled, overstuffed mess that leaned too hard into the cutesy-wutesy magical critters. If to you it captured some of the stylistic flourishes of \u003cem>Harry Potter\u003c/em>, but none of the distinctive particulars, none of the \u003cem>feel\u003c/em>, none — let’s just get this out of the way — of the magic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Okay. Now. If your hand isn’t up, you’re excused. This next bit isn’t for you — you either don’t care about J.K. Rowling’s world, or you’re so devoted to it that you managed to ignore the fact that \u003cem>Fantastic Beasts \u003c/em>was a cinematic Obscurus — an noisy ball of violent, nonsensical narrative chaos, albeit one that did boffo B.O.\u003c/p>\n\u003cp>So off with you. Everyone else? The ones still sticking around? Here’s the scoop.\u003c/p>\n\u003cp>\u003cem>The Crimes of Grindelwald\u003c/em> is better than the first \u003cem>Beasts \u003c/em>film, and not just because that turns out to be such a low bar to clear, but because it has a firmer grasp on what kind of movie it wants to be. It feels more familiarly Potter-y, in that it assumes the distinctive narrative shape of Harry Potter stories.\u003c/p>\n\u003cp>Once again: Structurally, it’s \u003cem>familiar\u003c/em>, not, you know: \u003cem>good\u003c/em>.\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/8bYBOVWLNIs'\n title='//www.youtube.com/embed/8bYBOVWLNIs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Can we all admit, here, that the plots of Harry Potter books and movies were always frustrating in the extreme? Rowling’s characters delighted in keeping vital information from Harry — and by extension, the reader — turning every tale into an ersatz, low-rent mystery where the goal was never to uncover whodunnit, but to eke out even the most basic understanding of whatthehellsgoingon? Inevitably, we’d discover the answers — well, “discover” is inaccurate. We’d be \u003cem>told\u003c/em>, when Rowling would finally sit Harry down to have him listen to an extended monologue, filled with secret history to which neither he nor we could have been expected to be privy.\u003c/p>\n\u003cp>That’s the kind of plotting \u003cem>The Crimes of Grindelwald\u003c/em> serves up, down to a hilariously out-of-nowhere pseudo-climactic scene in which characters who’ve spent the movie scheming to murder one another just stand around listening patiently to a series of monologues like they’re sleepy kindergartners at storytime.\u003c/p>\n\u003cp>No, it doesn’t work. No, it’s not, not even a little bit, \u003cem>good\u003c/em>. But it’s familiar.\u003c/p>\n\u003cp>It’s actually an improvement, in a very small, specific way. You’ll recall that all of that information was kept from Harry and his friends because no one tells kids anything, forcing them to glean any and all actionable intel via that most overused trope in all of kid-lit: eavesdropping. \u003cem>Magical \u003c/em>eavesdropping, to be sure, but even so: They’d learn something, jump to the wrong conclusion, and proceed to labor under that misinformation until the penultimate chapter, when someone (usually Dumbledore) would finally explain the situation in full. Rinse, repeat. \u003cem>Accio \u003c/em>annoyance.\u003c/p>\n\u003cp>There’s none of that here, at least.\u003c/p>\n\u003cp>Eddie Redmayne’s Newt Scamander is an adult, and he finds things out using magic. There’s a cool sequence when he reconstructs a crime scene using a glittery gold magical powder — pixiedusting for fingerprints, as it were. This time out, the sheer number of putatively hilarious beasts on hand is dialed mercifully back, but the ones who do turn up tend to be used strategically, to bring about some concrete result, instead of simply as a means to up the film’s Whimsy Quotient.\u003c/p>\n\u003cp>Redmayne’s performance, as Newt, remains just as mannered and tic-ridden as ever. But thanks to a brief flashback sequence featuring a teenage Newt played by Joshua Shea, who gamely matches Redmayne’s every furtive head-tilt and skittering glance, it seems less hammy and indulgent, and more a defined, characterizing choice.\u003c/p>\n\u003cp>Of course, one of the main reasons that \u003cem>Grindelwald \u003c/em>works better than the film that preceded it is a function of its status as the middle film of a trilogy. The business of world-building, which the first film made such a corned-beef hash of, is over, and now there is only the task of moving the various characters across the board like the Wizard’s Chess pieces they are. As such, it has a more singular sense of purpose, as all the meandering subplots of the film’s first hour eventually lock in place and fit together.\u003c/p>\n\u003cp>The plot, such as it is: Young Dumbledore (Jude Law) sends Newt to Paris, where a newly escaped Grindelwald (Johnny Depp) is gathering his faithful — pure-blood wizards — in an attempt to rule both the Wizarding world and the human world. Meanwhile, Ezra Miller’s (checks notes) Credence Barebone is … (checks notes again, frowns, shrugs) … \u003cem>Credence Barebone\u003c/em> is also in Paris, searching for his mother, alongside sort-of-girlfriend Nagini (Claudia Kim) a Maledictus cursed to one day turn into a snake. (Yes.)\u003c/p>\n\u003cp>Also there’s love-interest stuff: Newt and his Auror girlfriend Tina (Katherine Waterston) are on the outs over a misunderstanding that could be clarified with a ten-second conversation, but isn’t, because Rowling gonna Rowling. Newt’s pals Jacob (Dan Fogler) and Queenie (Alison Sudol, doing a lot with one of the film’s many underwritten roles for women) show up, as well, and the script puts them through some clearly defined changes that at least \u003cem>feel \u003c/em>like narrative progress.\u003c/p>\n\u003cp>The film’s chief problem is Grindelwald, a dull-as-dishwater villain we’re repeatedly told is charming and deceitful, although Depp’s performance fights hard against any such reading. The character of Grindelwald is \u003cem>supposed \u003c/em>to use guile and rhetoric to win wizards to his side by promising them the chance to “live openly, and love freely” — a not-particularly coy attempt by the screenplay to underline the gay subtext between Grindelwald and Law’s Hot Dumbledore — but Depp just hams it up like a Pantomime baddie.\u003c/p>\n\u003cp>Everything about the guy is second-rate. Voldemort had disquieting slits where his nose should be; Grindelwald a single, discolored iris. When Voldemort summoned \u003cem>his \u003c/em>followers, a leering skull with a snake slithering through its eye-sockets manifested in the sky:\u003cem> that \u003c/em>wizard had \u003cem>style\u003c/em>. When Grindelwald attempts the same move, the buildings of Paris simply get shadowy tarps thrown over them; it’s unclear if he’s calling an army or renovating masonry.\u003c/p>\n\u003cp>So, now. All of you who stuck around? Relax. \u003cem>Grindelwald \u003c/em>is a better, more purposeful and thus more propulsive film than the first, and it does possess its unique charms: Several characters only alluded to in the \u003cem>Harry Potter\u003c/em> tales pop up here, goosing appreciative gasps from the audience in the process. The sight of Hogwarts, accompanied by John Williams’ familiar fanfare, elicits applause.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And not for nothing? Law looks \u003cem>great \u003c/em>as a Dumbledore in bespoke tweed (\u003cem>Fantastic Vests and Where To Find Them\u003c/em>!), even if seeing him so put-together evokes a twinge of sadness at the shapeless robes and chunky jewelry that we know lie in his future, just \u003cem>waiting \u003c/em>to turn him into the Wizarding World’s equivalent of a Santa Fe gallery owner named Jade.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Loners, Rappers, and Bankrobbers: Pete Lee Brings the Bay's Scrappiness to Life",
"headTitle": "Loners, Rappers, and Bankrobbers: Pete Lee Brings the Bay’s Scrappiness to Life | KQED",
"content": "\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Editor’s Note: \u003c/span>\u003c/i>\u003ca href=\"https://www.kqed.org/arts/series/behind-the-lens\">\u003ci>\u003cspan style=\"font-weight: 400\">Behind the Lens\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> is a digital video series featuring bold California indie filmmakers pushing the boundaries of their craft. Each episode captures the personal experiences that inform a filmmaker’s work and the risks they take to bring stories to the screen.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ca href=\"http://www.ohpetelee.com\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Pete Lee\u003c/em>\u003c/a> has never been known to stay in one lane. He’s a writer and director; his short film \u003ca href=\"https://vimeo.com/223838773\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Don’t Be a Hero\u003c/em>\u003c/a> premiered as an official selection at 2018’s Sundance Film Festival. He makes stylish, athletic music videos (for \u003ca href=\"https://www.youtube.com/watch?v=uaFQw52wJug\" target=\"_blank\" rel=\"noopener noreferrer\">The Coup\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=3JrDVPsVbVA\" target=\"_blank\" rel=\"noopener noreferrer\">Atmosphere\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=XabAnAJjDik\" target=\"_blank\" rel=\"noopener noreferrer\">Aesop Rock\u003c/a>, among others). He’s also a food photographer, a lifelong kung fu aficionado, an outspoken advocate for immigrants and homeless folks, and an erstwhile musician-slash-standup-comedian who likes to cover Mariah Carey.\u003c/p>\n\u003cp>But the most accurate word for Lee, really, is ringleader: wherever he goes, interesting people follow. You only need one glimpse of the Taiwan-born, Boston suburb-raised 36-year-old giving direction on a film set—or making jokes and bossing his friends-turned-sous-chefs around in his tiny kitchen in the Mission District as he cooks dinner for a packed house of local artists, writers and musicians—to understand you’re dealing with someone special.\u003c/p>\n\u003cp>Lee’s a ham, but there’s a distinctly collaborative thread that runs through his films: an eye for an unlikely pairing or mashup, a gift for knowing when to step back and let magic work—and then a tendency to just say “to hell with it” and invite everyone to join in. He’s scrappy in a way that screams Bay Area, drawn to artistic and logistical challenges that would make other filmmakers balk. And, whether solo or through \u003ca href=\"http://www.wearescandinavia.com\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Scandinavia\u003c/em>\u003c/a>, the Bay Area production company he co-founded, he always manages to get others excited about outrageous, sometimes far-from-lucrative creative endeavors as well.\u003c/p>\n\u003cp>His protagonists are often loners and outsiders. But: “I’m at my best when I’m in the company of other people,” is how Lee puts it. KQED Arts sat down with the filmmaker to hear more. —\u003cem>Intro by Emma Silvers\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13844805\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844805\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH.jpg 1390w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from “Don’t be A Hero” \u003ccite>(Courtesy of Pete Lee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>How did you get your start in filmmaking?\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Pete: \u003c/b>\u003cspan style=\"font-weight: 400\">When I was 16, my cousin got me a bootleg DVD, an instructional video of Jackie Chan teaching how to shoot fight scenes. So I got a camera and grabbed one of my high school classmates who could do backflips, and then we started making things. But my first like real gig was working with a local hip-hop group Zion I. They were looking to do some guerrilla-style music videos for their new album coming out. They didn’t have any money, but I knew that that was probably going to be the quickest way for me to really get some practice, so I started working with them and made six music videos that summer. The first, I had two or three helpers, and by the end, I had formed this pretty sizable film crew, with a lot of people in film who didn’t just want to hustle on commercial sets. So we kept a very loose, collaborative atmosphere, and I think the payoff was a lot of really interesting work from people with very different backgrounds. And that was the start of this little family [of filmmakers] forming in Oakland. \u003c/span>\u003c/p>\n\u003cp>\u003cb>How do you define success for yourself? \u003c/b>\u003c/p>\n\u003cp>\u003cb>Pete: \u003c/b>\u003cspan style=\"font-weight: 400\">Success for me is if I can keep working with inspiring people whose work I admire. Most of my friends I’ve met on film sets through filmmaking, and most of the people that I’ve considered family, I’ve met through film, so I just want to keep doing that. Also, by “inspiring,” I don’t mean in a high school counselor kind of way. Sometimes motivation comes from being competitive with one another and sometimes it can come from hearing really tough words from people you like.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13844808\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13844808 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/RopeAdope2-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from “Rope A Dope 2”\u003cbr>Courtesy of Pete Lee\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What’s something you wish you could say to your younger self?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Pete: \u003c/b>Filmmaking, freelancing, can be a really tough business. When times get slow, it can feel really, really lonely, especially in a place like San Francisco when there’s not much of a film industry. I would tell myself: ‘Hang in there, and whether you are hibernating or working on your passion projects or trying to reach out to everyone, just understand that we’ve been conditioned to be embarrassed by things beyond our control, like money. Just ride it out, and worry about whether or not you’re putting good work into the world.’\u003c/p>\n\u003cp>There are so many setbacks in filmmaking, so many moving parts. Even when you feel like you failed, it can be hard to know by the final product what adjustments should’ve been made, because the situations are so specific. Was it that I didn’t know how to talk to the actors, or because the weather was just bad that day so the shot looks bad, or that I’m not very good at logistics and making a schedule? And you can think, ‘I’m not meant for this,’ and question, ‘Am I a real artist, a \u003cem>filmmaker\u003c/em>?’ When I was younger I think that identity, that status, was really important to me.\u003c/p>\n\u003cp>\u003cb>What is a source of inspiration to you that might be surprising to other people?\u003c/b>\u003c/p>\n\u003cp>There’s a really beautiful church and community called the \u003ca href=\"http://www.cityofrefugeucc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">City of Refuge\u003c/a> that used to be in San Francisco, but I think, because of gentrification, they are now in East Oakland. They don’t have the biggest choir, church band or whatever, and it’s not a super polished church. But there’s something about their music, and their Sunday services that just really, really moves me. A lot of the people that the church serves are queer and transgender, and I always just feel like it really is true to its name, City of Refuge. And sometimes when I feel disconnected from humanity, or I get a little cynical or whatever, I go there to get lost in the music and the spirit of the place.\u003c/p>\n\u003cfigure id=\"attachment_13844809\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844809\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from Meklit’s video “Super Nova”\u003cbr>Courtesy of Pete Lee\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What does the future of filmmaking look like in your ideal world?\u003c/b>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m really excited by this resurgence of different types of stories and approaches. They kind of come in booms, like very personal independent films and really intelligent takes on genre films with political implications, like \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Get Out\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. And on television and in web series too, all these artists are figuring out different ways to break storytelling [conventions]. Shows like \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Atlanta\u003c/span>\u003c/i>;\u003cspan style=\"font-weight: 400\"> or \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Nanette\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">,\u003c/span>\u003cspan style=\"font-weight: 400\"> the Netflix comedy special [featuring Australian Hannah Gadsby]; \u003c/span>\u003cspan style=\"font-weight: 400\">the really personal documentary \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Minding the Gap \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">that came out this year. I’m excited that we have all these really young filmmakers who are learning to put all of that together—to tell personal stories that are fun, or infused with genre and pop culture that we grow up with, and using that to a political end, and to give strength to people. Very quickly the boom can fade, or things could turn formulaic quickly and everyone turns lazy—that might also be a possible outcome. But I’m excited by the possibility that we might get 10 great years of personal filmmaking that’s really joyful and vibrant and has the ability to change the discourse. \u003cem>–Interview by Masha Pershay\u003c/em>\u003c/span>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Editor’s Note: \u003c/span>\u003c/i>\u003ca href=\"https://www.kqed.org/arts/series/behind-the-lens\">\u003ci>\u003cspan style=\"font-weight: 400\">Behind the Lens\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> is a digital video series featuring bold California indie filmmakers pushing the boundaries of their craft. Each episode captures the personal experiences that inform a filmmaker’s work and the risks they take to bring stories to the screen.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ca href=\"http://www.ohpetelee.com\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Pete Lee\u003c/em>\u003c/a> has never been known to stay in one lane. He’s a writer and director; his short film \u003ca href=\"https://vimeo.com/223838773\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Don’t Be a Hero\u003c/em>\u003c/a> premiered as an official selection at 2018’s Sundance Film Festival. He makes stylish, athletic music videos (for \u003ca href=\"https://www.youtube.com/watch?v=uaFQw52wJug\" target=\"_blank\" rel=\"noopener noreferrer\">The Coup\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=3JrDVPsVbVA\" target=\"_blank\" rel=\"noopener noreferrer\">Atmosphere\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=XabAnAJjDik\" target=\"_blank\" rel=\"noopener noreferrer\">Aesop Rock\u003c/a>, among others). He’s also a food photographer, a lifelong kung fu aficionado, an outspoken advocate for immigrants and homeless folks, and an erstwhile musician-slash-standup-comedian who likes to cover Mariah Carey.\u003c/p>\n\u003cp>But the most accurate word for Lee, really, is ringleader: wherever he goes, interesting people follow. You only need one glimpse of the Taiwan-born, Boston suburb-raised 36-year-old giving direction on a film set—or making jokes and bossing his friends-turned-sous-chefs around in his tiny kitchen in the Mission District as he cooks dinner for a packed house of local artists, writers and musicians—to understand you’re dealing with someone special.\u003c/p>\n\u003cp>Lee’s a ham, but there’s a distinctly collaborative thread that runs through his films: an eye for an unlikely pairing or mashup, a gift for knowing when to step back and let magic work—and then a tendency to just say “to hell with it” and invite everyone to join in. He’s scrappy in a way that screams Bay Area, drawn to artistic and logistical challenges that would make other filmmakers balk. And, whether solo or through \u003ca href=\"http://www.wearescandinavia.com\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Scandinavia\u003c/em>\u003c/a>, the Bay Area production company he co-founded, he always manages to get others excited about outrageous, sometimes far-from-lucrative creative endeavors as well.\u003c/p>\n\u003cp>His protagonists are often loners and outsiders. But: “I’m at my best when I’m in the company of other people,” is how Lee puts it. KQED Arts sat down with the filmmaker to hear more. —\u003cem>Intro by Emma Silvers\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13844805\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844805\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH.jpg 1390w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from “Don’t be A Hero” \u003ccite>(Courtesy of Pete Lee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>How did you get your start in filmmaking?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Pete: \u003c/b>\u003cspan style=\"font-weight: 400\">When I was 16, my cousin got me a bootleg DVD, an instructional video of Jackie Chan teaching how to shoot fight scenes. So I got a camera and grabbed one of my high school classmates who could do backflips, and then we started making things. But my first like real gig was working with a local hip-hop group Zion I. They were looking to do some guerrilla-style music videos for their new album coming out. They didn’t have any money, but I knew that that was probably going to be the quickest way for me to really get some practice, so I started working with them and made six music videos that summer. The first, I had two or three helpers, and by the end, I had formed this pretty sizable film crew, with a lot of people in film who didn’t just want to hustle on commercial sets. So we kept a very loose, collaborative atmosphere, and I think the payoff was a lot of really interesting work from people with very different backgrounds. And that was the start of this little family [of filmmakers] forming in Oakland. \u003c/span>\u003c/p>\n\u003cp>\u003cb>How do you define success for yourself? \u003c/b>\u003c/p>\n\u003cp>\u003cb>Pete: \u003c/b>\u003cspan style=\"font-weight: 400\">Success for me is if I can keep working with inspiring people whose work I admire. Most of my friends I’ve met on film sets through filmmaking, and most of the people that I’ve considered family, I’ve met through film, so I just want to keep doing that. Also, by “inspiring,” I don’t mean in a high school counselor kind of way. Sometimes motivation comes from being competitive with one another and sometimes it can come from hearing really tough words from people you like.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13844808\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13844808 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/RopeAdope2-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from “Rope A Dope 2”\u003cbr>Courtesy of Pete Lee\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What’s something you wish you could say to your younger self?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Pete: \u003c/b>Filmmaking, freelancing, can be a really tough business. When times get slow, it can feel really, really lonely, especially in a place like San Francisco when there’s not much of a film industry. I would tell myself: ‘Hang in there, and whether you are hibernating or working on your passion projects or trying to reach out to everyone, just understand that we’ve been conditioned to be embarrassed by things beyond our control, like money. Just ride it out, and worry about whether or not you’re putting good work into the world.’\u003c/p>\n\u003cp>There are so many setbacks in filmmaking, so many moving parts. Even when you feel like you failed, it can be hard to know by the final product what adjustments should’ve been made, because the situations are so specific. Was it that I didn’t know how to talk to the actors, or because the weather was just bad that day so the shot looks bad, or that I’m not very good at logistics and making a schedule? And you can think, ‘I’m not meant for this,’ and question, ‘Am I a real artist, a \u003cem>filmmaker\u003c/em>?’ When I was younger I think that identity, that status, was really important to me.\u003c/p>\n\u003cp>\u003cb>What is a source of inspiration to you that might be surprising to other people?\u003c/b>\u003c/p>\n\u003cp>There’s a really beautiful church and community called the \u003ca href=\"http://www.cityofrefugeucc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">City of Refuge\u003c/a> that used to be in San Francisco, but I think, because of gentrification, they are now in East Oakland. They don’t have the biggest choir, church band or whatever, and it’s not a super polished church. But there’s something about their music, and their Sunday services that just really, really moves me. A lot of the people that the church serves are queer and transgender, and I always just feel like it really is true to its name, City of Refuge. And sometimes when I feel disconnected from humanity, or I get a little cynical or whatever, I go there to get lost in the music and the spirit of the place.\u003c/p>\n\u003cfigure id=\"attachment_13844809\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844809\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from Meklit’s video “Super Nova”\u003cbr>Courtesy of Pete Lee\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What does the future of filmmaking look like in your ideal world?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m really excited by this resurgence of different types of stories and approaches. They kind of come in booms, like very personal independent films and really intelligent takes on genre films with political implications, like \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Get Out\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. And on television and in web series too, all these artists are figuring out different ways to break storytelling [conventions]. Shows like \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Atlanta\u003c/span>\u003c/i>;\u003cspan style=\"font-weight: 400\"> or \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Nanette\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">,\u003c/span>\u003cspan style=\"font-weight: 400\"> the Netflix comedy special [featuring Australian Hannah Gadsby]; \u003c/span>\u003cspan style=\"font-weight: 400\">the really personal documentary \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Minding the Gap \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">that came out this year. I’m excited that we have all these really young filmmakers who are learning to put all of that together—to tell personal stories that are fun, or infused with genre and pop culture that we grow up with, and using that to a political end, and to give strength to people. Very quickly the boom can fade, or things could turn formulaic quickly and everyone turns lazy—that might also be a possible outcome. But I’m excited by the possibility that we might get 10 great years of personal filmmaking that’s really joyful and vibrant and has the ability to change the discourse. \u003cem>–Interview by Masha Pershay\u003c/em>\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When he’s not busy on a movie set, Jeff Goldblum owns Wednesday nights in Los Angeles.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/664380882/666038529\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>The actor, known for roles in Hollywood blockbusters and a singular, chin-stroking comic persona, plays piano in a jazz band with a standing weekly gig, which he calls The Mildred Snitzer Orchestra. The performances are casual and unstructured, with the man of the hour playing keys one moment, holding court and posing for photos with attendees the next, just generally being … well, Jeff Goldblum.\u003c/p>\n\u003cp>[contextly_sidebar id=”cC8tpilx6wNodlavn9rqJiyEMm49iTkO”]\u003c/p>\n\u003cp>NPR’s David Greene joined Goldblum to talk about \u003cem>The Capitol Studios Sessions\u003c/em>, an album that captures the live show by recreating it — bringing a stage, a buffet, a live audience and guest stars including comedian Sarah Silverman into the storied recording space.\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On discovering jazz as a teenager\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some of these chords started to do something to me that I hadn’t experienced before, and that was just delicious to me — when I discovered that blues scale, my God. So I learned a little bit about that, and got to start to play things. And then — listen to this, what a strange boy I was — one day when I was 15, I locked the door from the inside in our study, where I didn’t think anybody would find me, hear me or bother me. Got the yellow pages, looked up cocktail lounges, and starting with A and going down to Z, I cold-called. I thought I was some kind of scammy salesman or something like that. And I said, “Hi, I understand you need a piano player.” Most of them would say, “No, you’ve been misinformed” — hang up on you. [But] some would say, “Well, jeez … we have a piano. Nobody’s been playing it. You play?” And so I did, and I got a couple of jobs. It was magical.\u003c/p>\n\u003cp>\u003cstrong>On how his two creative practices affect one another\u003c/strong>\u003c/p>\n\u003cp>There’s a cross-training aspect of this, so that my music, I’m just doing it for fun, without nerves really. It has bled over into my acting experience. … I didn’t [used to] feel like a fraud exactly, but I felt like I had to shock myself into functionality. I felt I had to rearrange my molecules and achieve some kind of condition of freedom or aliveness, in order to be worthy of participation in some show or another. The seeds of me knowing myself were there, but it was unformed and underdeveloped, and I had good reason to be scared.\u003c/p>\n\u003cp>\u003cstrong>On the social element of his jazz shows\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It has become kind of an improvised show, where I commune with people and meet them, and interesting people show up. It’s kind of a living room experience that we turn it into. No one’s turning on the lights or introducing me; I kind of start talking and taking pictures with them and finding out who they are and playing games with them, which I like to do. Everything is sort of playful. … People seem to get a kick out of it. And then I go on my Instagram account the next day, see if they’ve posted anything … see how I looked the night before, see how they looked. See if they’re people I can remember. “Oh, yeah. They were nice.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Jeff+Goldblum+The+Jazz+Artist%3F+Life%2C+Uh%2C+Finds+A+Way&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When he’s not busy on a movie set, Jeff Goldblum owns Wednesday nights in Los Angeles.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/664380882/666038529\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>The actor, known for roles in Hollywood blockbusters and a singular, chin-stroking comic persona, plays piano in a jazz band with a standing weekly gig, which he calls The Mildred Snitzer Orchestra. The performances are casual and unstructured, with the man of the hour playing keys one moment, holding court and posing for photos with attendees the next, just generally being … well, Jeff Goldblum.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>NPR’s David Greene joined Goldblum to talk about \u003cem>The Capitol Studios Sessions\u003c/em>, an album that captures the live show by recreating it — bringing a stage, a buffet, a live audience and guest stars including comedian Sarah Silverman into the storied recording space.\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On discovering jazz as a teenager\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Nijla Mu'min Brings a Black Muslim Coming-of-Age Story to the Big Screen",
"headTitle": "Nijla Mu’min Brings a Black Muslim Coming-of-Age Story to the Big Screen | KQED",
"content": "\u003cp>\u003cem>Editor’s Note: \u003ca href=\"https://www.kqed.org/arts/series/behind-the-lens\" target=\"_blank\" rel=\"noopener noreferrer\">Behind the Lens\u003c/a> is a digital video series featuring bold California indie filmmakers pushing the boundaries of their craft. Each episode captures the personal experiences that inform a filmmaker’s work and the risks they take to bring stories to the screen.\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Nijla Mu’min didn’t grow up with much media that reflected her experience as an African-American Muslim woman, so she created her own. Her semi-autobiographical film, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Jinn\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, follows a teen girl named Summer as she navigates friendship, love, sexuality—and all the confusing territory that comes with being a teenager—while adjusting to her mom’s newfound Islamic faith. “I love the African-American Muslim community I was born into, but just like many teenage girls and teenagers, I began to question a lot as I got older,” says \u003ca href=\"https://www.nijlamumin.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mu’min\u003c/a>, who was born and raised in the East Bay and attended a mosque in East Oakland.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">After Summer’s mom converts to Islam, her expectations of her daughter clash with Summer’s lived reality as a high schooler in Los Angeles, where Mu’min shot the film. Questions of family and belonging, faith and community arise as Summer attempts to balance her religion and the pressures of being a teen—something Mu’min went through as a young girl in the Bay Area, though she says her parents weren’t quite as strict. Mu’min, whose directorial credits include Ava Duvernay’s hit series \u003ci>Queen Sugar\u003c/i> on Oprah’s TV network\u003c/span>\u003cspan style=\"font-weight: 400\">, addresses these threads of inquiry with skill; her characters don’t have all the answers, and the messy ways they respond to their complex circumstances makes them feel all the more human.\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://www.jinnfilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">Jinn\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\"> enjoyed a successful run on the festival circuit, picking up awards at SXSW and the Blackstar Film Festival. Following a sold-out Oakland premiere last month at the Matatu Festival at Grand Lake Theatre, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Jinn\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> hits theaters on Nov. 15. KQED Arts sat down with Mu’min to learn more about her first love of poetry, the motivations behind her filmmaking and how more diverse representation in Hollywood can lead to better, more nuanced storytelling.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13844456\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13844456 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2.jpg 1512w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from Jinn, courtesy of Nijla Mu’min\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>How did you get your start in filmmaking?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Filmmaking was a natural progression from other arts forms that I was immersed in first — creative writing and poetry. I started writing poetry when I was a young girl and continued throughout college into adulthood. Then when I attended UC Berkeley, I developed a love of 35 millimeter film photography; developing and printing my own photos was just very cathartic for me, and I loved telling stories through photography. So I felt like filmmaking was the next destination for me. I started to take film classes at UC Berkeley and made my first short film on a North Oakland street corner. And from there I went to film school at \u003c/span>\u003cspan style=\"font-weight: 400\">the California Institute of the Arts (CalArts.) \u003c/span>\u003c/p>\n\u003cp>\u003cb>How do you define success for yourself?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Success for me is being able to create and keep creating and to know that those creations are impacting people on an emotional level. At the same time I want to be able to live comfortably and be able to have a car and pay my bills. So that is a part of success too. We’re taught, ‘oh, we’re just artists, and we’re just here to make art.’ But we have to have a sustainable life. And I’m trying to get to the point where I don’t have to worry about how am I going to pay my rent and I can create every single day. \u003c/span>\u003c/p>\n\u003cp>\u003cb>What is a source of inspiration for you that might be surprising to other people? \u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I don’t really share this a lot, but when I was a young girl, in the first grade, I had some struggles with reading. Reading and writing was difficult. And I had a teacher who even went to the point of saying that maybe I should repeat the grade. I didn’t want that, so it became like an obsession. I became such an avid reader. I started reading novels, adult fiction, black fiction, black history books, anything I could get my hands on. Then I started writing. So that core inspiration is I was doubted at an early age. I was told that I couldn’t do something, and I said, ‘no, I can do it.’ And I feel like that’s my greatest strength. Being told that I couldn’t do something, only made me do it better.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13844457\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844457\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2.jpg 1513w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from Jinn, courtesy of Nijla Mu’min\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What is something you wish you could say to your younger self?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I would tell myself to not always seek approval from other people, because if that’s what’s motivating you, that is not going to be sustainable. Early on, I wanted to be in certain places; I wanted to be accepted by certain people. Sometimes we need that approval to just remind us that we need to keep going. But when it doesn’t come, you have to find another way to be inspired — either from inside yourself or being around other like-minded artists or going to a movie and being moved by someone else’s art. You have to know in your heart that you have to tell your truth, and you’re going to do it no matter what, and it’s something that people want to see.\u003c/span>\u003c/p>\n\u003cp>\u003cb>What does the future of filmmaking look like in your ideal world?\u003c/b>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In my ideal world, women, people of color, LGBTQ people are running the studio system and greenlighting films. That’s really the only way that we’ll see an influx of nuanced, meaningful films — if the people who are making the decisions reflect the creators and we see those positions being taken by people that look like us. Then I think we could see true equity in terms of hiring practices, in terms of people getting in the door. You know it is hard to just get in the room. So that’s what I envision for the future — more of us in decision-making roles to make it possible for us to be successful, and to direct those hundred million dollar-plus films. Because it’s not that we can’t do it, the opportunities just are not given to us. \u003c/span>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s Note: \u003ca href=\"https://www.kqed.org/arts/series/behind-the-lens\" target=\"_blank\" rel=\"noopener noreferrer\">Behind the Lens\u003c/a> is a digital video series featuring bold California indie filmmakers pushing the boundaries of their craft. Each episode captures the personal experiences that inform a filmmaker’s work and the risks they take to bring stories to the screen.\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Nijla Mu’min didn’t grow up with much media that reflected her experience as an African-American Muslim woman, so she created her own. Her semi-autobiographical film, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Jinn\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, follows a teen girl named Summer as she navigates friendship, love, sexuality—and all the confusing territory that comes with being a teenager—while adjusting to her mom’s newfound Islamic faith. “I love the African-American Muslim community I was born into, but just like many teenage girls and teenagers, I began to question a lot as I got older,” says \u003ca href=\"https://www.nijlamumin.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mu’min\u003c/a>, who was born and raised in the East Bay and attended a mosque in East Oakland.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">After Summer’s mom converts to Islam, her expectations of her daughter clash with Summer’s lived reality as a high schooler in Los Angeles, where Mu’min shot the film. Questions of family and belonging, faith and community arise as Summer attempts to balance her religion and the pressures of being a teen—something Mu’min went through as a young girl in the Bay Area, though she says her parents weren’t quite as strict. Mu’min, whose directorial credits include Ava Duvernay’s hit series \u003ci>Queen Sugar\u003c/i> on Oprah’s TV network\u003c/span>\u003cspan style=\"font-weight: 400\">, addresses these threads of inquiry with skill; her characters don’t have all the answers, and the messy ways they respond to their complex circumstances makes them feel all the more human.\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://www.jinnfilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">Jinn\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\"> enjoyed a successful run on the festival circuit, picking up awards at SXSW and the Blackstar Film Festival. Following a sold-out Oakland premiere last month at the Matatu Festival at Grand Lake Theatre, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Jinn\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> hits theaters on Nov. 15. KQED Arts sat down with Mu’min to learn more about her first love of poetry, the motivations behind her filmmaking and how more diverse representation in Hollywood can lead to better, more nuanced storytelling.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13844456\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13844456 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/JInn_Screenshot3-2.jpg 1512w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from Jinn, courtesy of Nijla Mu’min\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>How did you get your start in filmmaking?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Filmmaking was a natural progression from other arts forms that I was immersed in first — creative writing and poetry. I started writing poetry when I was a young girl and continued throughout college into adulthood. Then when I attended UC Berkeley, I developed a love of 35 millimeter film photography; developing and printing my own photos was just very cathartic for me, and I loved telling stories through photography. So I felt like filmmaking was the next destination for me. I started to take film classes at UC Berkeley and made my first short film on a North Oakland street corner. And from there I went to film school at \u003c/span>\u003cspan style=\"font-weight: 400\">the California Institute of the Arts (CalArts.) \u003c/span>\u003c/p>\n\u003cp>\u003cb>How do you define success for yourself?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Success for me is being able to create and keep creating and to know that those creations are impacting people on an emotional level. At the same time I want to be able to live comfortably and be able to have a car and pay my bills. So that is a part of success too. We’re taught, ‘oh, we’re just artists, and we’re just here to make art.’ But we have to have a sustainable life. And I’m trying to get to the point where I don’t have to worry about how am I going to pay my rent and I can create every single day. \u003c/span>\u003c/p>\n\u003cp>\u003cb>What is a source of inspiration for you that might be surprising to other people? \u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I don’t really share this a lot, but when I was a young girl, in the first grade, I had some struggles with reading. Reading and writing was difficult. And I had a teacher who even went to the point of saying that maybe I should repeat the grade. I didn’t want that, so it became like an obsession. I became such an avid reader. I started reading novels, adult fiction, black fiction, black history books, anything I could get my hands on. Then I started writing. So that core inspiration is I was doubted at an early age. I was told that I couldn’t do something, and I said, ‘no, I can do it.’ And I feel like that’s my greatest strength. Being told that I couldn’t do something, only made me do it better.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13844457\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844457\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Jinn_screenshot-2.jpg 1513w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from Jinn, courtesy of Nijla Mu’min\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What is something you wish you could say to your younger self?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I would tell myself to not always seek approval from other people, because if that’s what’s motivating you, that is not going to be sustainable. Early on, I wanted to be in certain places; I wanted to be accepted by certain people. Sometimes we need that approval to just remind us that we need to keep going. But when it doesn’t come, you have to find another way to be inspired — either from inside yourself or being around other like-minded artists or going to a movie and being moved by someone else’s art. You have to know in your heart that you have to tell your truth, and you’re going to do it no matter what, and it’s something that people want to see.\u003c/span>\u003c/p>\n\u003cp>\u003cb>What does the future of filmmaking look like in your ideal world?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In my ideal world, women, people of color, LGBTQ people are running the studio system and greenlighting films. That’s really the only way that we’ll see an influx of nuanced, meaningful films — if the people who are making the decisions reflect the creators and we see those positions being taken by people that look like us. Then I think we could see true equity in terms of hiring practices, in terms of people getting in the door. You know it is hard to just get in the room. So that’s what I envision for the future — more of us in decision-making roles to make it possible for us to be successful, and to direct those hundred million dollar-plus films. Because it’s not that we can’t do it, the opportunities just are not given to us. \u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! Filipino Family Affairs at Cinematografo",
"headTitle": "Now Playing! Filipino Family Affairs at Cinematografo | KQED",
"content": "\u003cp>\u003ca href=\"https://cinematografofilmfestival.com\" rel=\"noopener\" target=\"_blank\">The Cinematografo International Film Festival\u003c/a> is only in its second year, but its founders picked an excellent time to launch. Despite the perennial problem of budget constraints, Filipino cinema is currently enjoying a period of remarkably robust creativity. \u003cem>Signal Rock\u003c/em>, the opening-night film (Nov. 8) and the Philippines’ official submission for the Academy Award for Foreign Language Film, is an excellent entry point for Bay Area moviegoers looking to catch the buzz.\u003c/p>\n\u003cp>Intoy (played by Christian Bables), the underachieving protagonist of veteran director Chito S. Rono’s perceptive drama, lives in the small community of Biri with his parents and brother. The family’s main breadwinner, Intoy’s sister, lives and works in Finland. Her disembodied voice on a cell phone is best heard on the picturesque, elevated Signal Rock; when Intoy learns that she may lose custody of her daughter, he enlists the villagers in a clever scheme.\u003c/p>\n\u003cfigure id=\"attachment_13844353\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/SIGNAL-ROCK-full.jpeg\" alt=\"A scene from 'Signal Rock.'\" width=\"640\" height=\"279\" class=\"size-full wp-image-13844353\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SIGNAL-ROCK-full.jpeg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SIGNAL-ROCK-full-160x70.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SIGNAL-ROCK-full-240x105.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SIGNAL-ROCK-full-375x163.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SIGNAL-ROCK-full-520x227.jpeg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Signal Rock.’ \u003ccite>(Courtesy Cinematografo International Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The beautifully shot \u003cem>Signal Rock\u003c/em> deftly traverses a wide range of Filipino—and universal—concerns, from economic insecurity and lack of opportunity to casual corruption and community cooperation. Rono and Bables are scheduled to attend the Cinematografo International Film Festival, which runs Nov. 8–11 at the AMC Kabuki 8 in San Francico.\u003c/p>\n\u003cp>Closer to home, gifted local indie filmmaker H.P. Mendoza’s third feature, \u003cem>Bitter Melon\u003c/em>, unfolds at a family Christmas reunion in the Mission. The darkly comedic ensemble piece, which had its world premiere at CAAMFest in May, confronts some familiar sibling tensions—and the scars and specter of domestic violence—through a smartly constructed script and a talented cast that includes Jon Norman Schneider, L.A. Renigen, Theresa Navarro, Patrick Epino and Brian Rivera.\u003c/p>\n\u003cp>Mendoza is one of a small handful of Bay Area writer-directors who eschew an L.A. career path and whose work deserves a wider (read: mainstream) audience. \u003cem>Bitter Melon\u003c/em> is a step forward in a career well worth watching.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://cinematografofilmfestival.com\" rel=\"noopener\" target=\"_blank\">The Cinematografo International Film Festival\u003c/a> is only in its second year, but its founders picked an excellent time to launch. Despite the perennial problem of budget constraints, Filipino cinema is currently enjoying a period of remarkably robust creativity. \u003cem>Signal Rock\u003c/em>, the opening-night film (Nov. 8) and the Philippines’ official submission for the Academy Award for Foreign Language Film, is an excellent entry point for Bay Area moviegoers looking to catch the buzz.\u003c/p>\n\u003cp>Intoy (played by Christian Bables), the underachieving protagonist of veteran director Chito S. Rono’s perceptive drama, lives in the small community of Biri with his parents and brother. The family’s main breadwinner, Intoy’s sister, lives and works in Finland. Her disembodied voice on a cell phone is best heard on the picturesque, elevated Signal Rock; when Intoy learns that she may lose custody of her daughter, he enlists the villagers in a clever scheme.\u003c/p>\n\u003cfigure id=\"attachment_13844353\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/SIGNAL-ROCK-full.jpeg\" alt=\"A scene from 'Signal Rock.'\" width=\"640\" height=\"279\" class=\"size-full wp-image-13844353\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SIGNAL-ROCK-full.jpeg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SIGNAL-ROCK-full-160x70.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SIGNAL-ROCK-full-240x105.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SIGNAL-ROCK-full-375x163.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SIGNAL-ROCK-full-520x227.jpeg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Signal Rock.’ \u003ccite>(Courtesy Cinematografo International Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The beautifully shot \u003cem>Signal Rock\u003c/em> deftly traverses a wide range of Filipino—and universal—concerns, from economic insecurity and lack of opportunity to casual corruption and community cooperation. Rono and Bables are scheduled to attend the Cinematografo International Film Festival, which runs Nov. 8–11 at the AMC Kabuki 8 in San Francico.\u003c/p>\n\u003cp>Closer to home, gifted local indie filmmaker H.P. Mendoza’s third feature, \u003cem>Bitter Melon\u003c/em>, unfolds at a family Christmas reunion in the Mission. The darkly comedic ensemble piece, which had its world premiere at CAAMFest in May, confronts some familiar sibling tensions—and the scars and specter of domestic violence—through a smartly constructed script and a talented cast that includes Jon Norman Schneider, L.A. Renigen, Theresa Navarro, Patrick Epino and Brian Rivera.\u003c/p>\n\u003cp>Mendoza is one of a small handful of Bay Area writer-directors who eschew an L.A. career path and whose work deserves a wider (read: mainstream) audience. \u003cem>Bitter Melon\u003c/em> is a step forward in a career well worth watching.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Now Playing! The Ghost of Romance Past Haunts SF Indie ‘Filmmaker’",
"headTitle": "Now Playing! The Ghost of Romance Past Haunts SF Indie ‘Filmmaker’ | KQED",
"content": "\u003cp>In an intriguing coincidence, the latest works by the iconoclastic American independent auteurs Orson Welles and JP Allen open opposite each other in the Bay Area this weekend. One director has written, directed and (with one exception) acted in seven films, all of which he financed himself. The other is Orson Welles.\u003c/p>\n\u003cp>Welles hardly needs elucidation, other than to say that he started filming \u003cem>The Other Side of the Wind\u003c/em> in 1970 and was never able to finish it before he died in 1985. Film buffs had resigned themselves to the probability that the movie would never exist in a completed state. It does now, thankfully, and opens at the \u003ca href=\"https://www.roxie.com/ai1ec_event/the-other-side-of-the-wind-35mm/?instance_id=30460\" rel=\"noopener\" target=\"_blank\">Roxie\u003c/a> and debuts on Netflix Nov. 2. However, \u003cem>The Other Side of the Wind \u003c/em>is not the film to start with if you’re just discovering Orson Welles. That would be \u003cem>Citizen Kane\u003c/em>, or one of his other masterpieces.\u003c/p>\n\u003cp>JP Allen, on the other hand, should be far better known—certainly in San Francisco, where he’s shot all but one of his juicily cerebral films. His recurring theme is the sexual and psychological dynamics that heat and power romantic relationships, but he’s equally passionate about reconfiguring narratives and subverting movie formulas and clichés.\u003c/p>\n\u003cp>\u003cem>The Filmmaker\u003c/em> (opening at the \u003ca href=\"http://www.coffeeandlanguage.com/the-filmmaker.html\" rel=\"noopener\" target=\"_blank\">Presidio Theater on Nov. 2\u003c/a>), like many of Allen’s films, presents its protagonist and the audience with a mystery. A solitary photographer and sometime video maker (played by Allen) discovers that his apartment’s been broken into and his identity compromised. Starkly alone in the deserted, canyon-like half-block of Stockton south of the Broadway Tunnel, he gets a cellphone call entangling him with a woman half his age (Ashley Rain Turner, giving a raw and brave performance) who’s traced him from Las Vegas.\u003c/p>\n\u003cp>As is invariably the case in Allen’s work, the agent of the man’s torment holds the key to his evolution (and, just maybe, redemption). And, as is also typical in his films, the man writhes and wrestles to retain control of the situation to the point of absurdity (though not tragedy). What happened in Vegas many years ago, between our now-jaded and faded hero and a beguiling woman he met at a trade show, can’t stay in Vegas—or his lacquered memory—anymore.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Filmmaker\u003c/em>, which was inspired by rather than adapted from Allen’s 2008 novel of the same name, questions our responsibilities—debts, if you will—to others, and the degree to which we can alter the paths they’re on. Entwined with that altruistic or guilty impulse is the imperative to come to terms with the misunderstandings and desecrations of one’s past. Allen, abetted by Daniel Teixeira-Gomes’ shimmering cinematography, depicts San Francisco as a mixture of Lonely Avenue and Sin City. If you live here, you’re home already.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In an intriguing coincidence, the latest works by the iconoclastic American independent auteurs Orson Welles and JP Allen open opposite each other in the Bay Area this weekend. One director has written, directed and (with one exception) acted in seven films, all of which he financed himself. The other is Orson Welles.\u003c/p>\n\u003cp>Welles hardly needs elucidation, other than to say that he started filming \u003cem>The Other Side of the Wind\u003c/em> in 1970 and was never able to finish it before he died in 1985. Film buffs had resigned themselves to the probability that the movie would never exist in a completed state. It does now, thankfully, and opens at the \u003ca href=\"https://www.roxie.com/ai1ec_event/the-other-side-of-the-wind-35mm/?instance_id=30460\" rel=\"noopener\" target=\"_blank\">Roxie\u003c/a> and debuts on Netflix Nov. 2. However, \u003cem>The Other Side of the Wind \u003c/em>is not the film to start with if you’re just discovering Orson Welles. That would be \u003cem>Citizen Kane\u003c/em>, or one of his other masterpieces.\u003c/p>\n\u003cp>JP Allen, on the other hand, should be far better known—certainly in San Francisco, where he’s shot all but one of his juicily cerebral films. His recurring theme is the sexual and psychological dynamics that heat and power romantic relationships, but he’s equally passionate about reconfiguring narratives and subverting movie formulas and clichés.\u003c/p>\n\u003cp>\u003cem>The Filmmaker\u003c/em> (opening at the \u003ca href=\"http://www.coffeeandlanguage.com/the-filmmaker.html\" rel=\"noopener\" target=\"_blank\">Presidio Theater on Nov. 2\u003c/a>), like many of Allen’s films, presents its protagonist and the audience with a mystery. A solitary photographer and sometime video maker (played by Allen) discovers that his apartment’s been broken into and his identity compromised. Starkly alone in the deserted, canyon-like half-block of Stockton south of the Broadway Tunnel, he gets a cellphone call entangling him with a woman half his age (Ashley Rain Turner, giving a raw and brave performance) who’s traced him from Las Vegas.\u003c/p>\n\u003cp>As is invariably the case in Allen’s work, the agent of the man’s torment holds the key to his evolution (and, just maybe, redemption). And, as is also typical in his films, the man writhes and wrestles to retain control of the situation to the point of absurdity (though not tragedy). What happened in Vegas many years ago, between our now-jaded and faded hero and a beguiling woman he met at a trade show, can’t stay in Vegas—or his lacquered memory—anymore.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Filmmaker\u003c/em>, which was inspired by rather than adapted from Allen’s 2008 novel of the same name, questions our responsibilities—debts, if you will—to others, and the degree to which we can alter the paths they’re on. Entwined with that altruistic or guilty impulse is the imperative to come to terms with the misunderstandings and desecrations of one’s past. Allen, abetted by Daniel Teixeira-Gomes’ shimmering cinematography, depicts San Francisco as a mixture of Lonely Avenue and Sin City. If you live here, you’re home already.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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